World Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches. These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.

Music has long served as an emblem of national identity in educational systems throughout the world. Patriotic songs are commonly considered healthy and essential ingredients of the school curriculum, nurturing the respect, loyalty and 'good citizenship' of students. But to what extent have music educators critically examined the potential benefits and costs of nationalism? Globalization in the contemporary world has revolutionized the nature of international relationships, such that patriotism may merit rethinking as an objective for music education. The fields of 'peace studies' and 'education for international understanding' may better reflect current values shared by the profession, values that often conflict with the nationalistic impulse. This is the first book to introduce an international dialogue on this important theme; nations covered include Germany, the USA, South Africa, Australia, Finland, Taiwan, Singapore and Canada.

Music has long served as an emblem of national identity in educational systems throughout the world. Patriotic songs are commonly considered healthy and essential ingredients of the school curriculum, nurturing the respect, loyalty and 'good citizenship' of students. But to what extent have music educators critically examined the potential benefits and costs of nationalism? Globalization in the contemporary world has revolutionized the nature of international relationships, such that patriotism may merit rethinking as an objective for music education. The fields of 'peace studies' and 'education for international understanding' may better reflect current values shared by the profession, values that often conflict with the nationalistic impulse. This is the first book to introduce an international dialogue on this important theme; nations covered include Germany, the USA, South Africa, Australia, Finland, Taiwan, Singapore and Canada.

World Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches. These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.

This book studies the three concepts of translation, education and innovation from a Nordic and international perspective on Japanese and Korean societies. It presents findings from pioneering research into cultural translation, Japanese and Korean linguistics, urban development, traditional arts, and related fields. Across recent decades, Northern European scholars have shown increasing interest in East Asia. Even though they are situated on opposite sides of the Eurasia landmass, the Nordic nations have a great deal in common with Japan and Korea, including vibrant cultural traditions, strong educational systems, and productive social democratic economies. Taking a cross-cultural and interdisciplinary approach, and in addition to the examination of the three key concepts, the book explores several additional intersecting themes, including sustainability, nature, humour, aesthetics, cultural survival and social change, discourse and representation. This book offers a collection of original interdisciplinary research from the 25th anniversary conference of the Nordic Association for Japanese and Korean Studies (2013). Its 21 chapters are divided into five parts according to interdisciplinary themes: Translational Issues in Literature, Analyses of Korean and Japanese Languages, Language Education, Innovation and New Perspectives on Culture, and The Arts in Innovative Societies.

This book studies the three concepts of translation, education and innovation from a Nordic and international perspective on Japanese and Korean societies. It presents findings from pioneering research into cultural translation, Japanese and Korean linguistics, urban development, traditional arts, and related fields. Across recent decades, Northern European scholars have shown increasing interest in East Asia. Even though they are situated on opposite sides of the Eurasia landmass, the Nordic nations have a great deal in common with Japan and Korea, including vibrant cultural traditions, strong educational systems, and productive social democratic economies. Taking a cross-cultural and interdisciplinary approach, and in addition to the examination of the three key concepts, the book explores several additional intersecting themes, including sustainability, nature, humour, aesthetics, cultural survival and social change, discourse and representation. This book offers a collection of original interdisciplinary research from the 25th anniversary conference of the Nordic Association for Japanese and Korean Studies (2013). Its 21 chapters are divided into five parts according to interdisciplinary themes: Translational Issues in Literature, Analyses of Korean and Japanese Languages, Language Education, Innovation and New Perspectives on Culture, and The Arts in Innovative Societies.

This well researched volume tells the story of music education in Japan and of the wind band contest organized by the All-Japan Band Association. Identified here for the first time as the world s largest musical competition, it attracts 14,000 bands and well over 500,000 competitors. The book s insightful contribution to our understanding of both music and education chronicles music learning in Japanese schools and communities. It examines the contest from a range of perspectives, including those of policy makers, adjudicators, conductors and young musicians. The book is an illuminating window on the world of Japanese wind bands, a unique hybrid tradition that comingles contemporary western idioms with traditional Japanese influences. In addition to its social history of Japanese school music programs, it shows how participation in Japanese school bands contributes to students sense of identity, and sheds new light on the process of learning to play European orchestral instruments.

"Important and unique." - Professor Richard Colwell, "Ethnomusicology Review."
"A major contribution to studies of international music education and of music in Japan." - Professor Bonnie Wade (Foreword to the book).
"The definitive book on Japanese wind music . . . should be in every library" - Maestro Tim Reynish (timreynish.com/)
"A comprehensive, stunning account of wind bands in Japan . . . the most comprehensive information about concert (wind) band participation in any country" - Peter Gouzouasis and Alan Henderson, "Music Education Research."
"Hebert's study should be highly lauded. Seeing extracurricular club activities in the light of Japanese studies is a perspective that I intend to employ in my own research in the future . . . this publication can serve as an important reference and inform the decisions of those attempting to advance changes to the educational system."- Professor Hiroshi Nishijima of Tokyo Metropolitan University, "Social Science Japan Journal."
"It provides an interesting insight into the successful pedagogical techniques and methods required to cultivate collective notions of identity and ultimately musical achievement.This book is a valuable resource to those with interests in a number of musical and academic fields, in particular music education, ethnomusicology and band studies. Throughout the book the author successfully connects these different strands and produces an accurate and engaging picture . . ."- Richard Jones, PhD, "The World of Music."
"

This well researched volume tells the story of music education in Japan and of the wind band contest organized by the All-Japan Band Association. Identified here for the first time as the world s largest musical competition, it attracts 14,000 bands and well over 500,000 competitors. The book s insightful contribution to our understanding of both music and education chronicles music learning in Japanese schools and communities. It examines the contest from a range of perspectives, including those of policy makers, adjudicators, conductors and young musicians. The book is an illuminating window on the world of Japanese wind bands, a unique hybrid tradition that comingles contemporary western idioms with traditional Japanese influences. In addition to its social history of Japanese school music programs, it shows how participation in Japanese school bands contributes to students sense of identity, and sheds new light on the process of learning to play European orchestral instruments.

"Important and unique." - Professor Richard Colwell, "Ethnomusicology Review."
"A major contribution to studies of international music education and of music in Japan." - Professor Bonnie Wade (Foreword to the book).
"The definitive book on Japanese wind music . . . should be in every library" - Maestro Tim Reynish (timreynish.com/)
"A comprehensive, stunning account of wind bands in Japan . . . the most comprehensive information about concert (wind) band participation in any country" - Peter Gouzouasis and Alan Henderson, "Music Education Research."
"Hebert's study should be highly lauded. Seeing extracurricular club activities in the light of Japanese studies is a perspective that I intend to employ in my own research in the future . . . this publication can serve as an important reference and inform the decisions of those attempting to advance changes to the educational system."- Professor Hiroshi Nishijima of Tokyo Metropolitan University, "Social Science Japan Journal."
"It provides an interesting insight into the successful pedagogical techniques and methods required to cultivate collective notions of identity and ultimately musical achievement.This book is a valuable resource to those with interests in a number of musical and academic fields, in particular music education, ethnomusicology and band studies. Throughout the book the author successfully connects these different strands and produces an accurate and engaging picture . . ."- Richard Jones, PhD, "The World of Music."
"

This book introduces the educational philosophies of notable African and Asian thinkers who tend to be little recognized in Europe and North America. It offers specific resources for diversification of higher education curricula.  The book expands the philosophy of education, in clear language, to include ideas of major non-western educational thinkers who are little discussed in previous publications. It includes critical analysis of non-western concepts and consideration of their relevance to schools worldwide. The book features discussions of how the work of Tagore and postcolonial thinkers offers diverse visions that increasingly inspire a decolonizing approach to education.  This book offers a unique emphasis on how a decolonized philosophy of education can especially enable a rethinking of approaches to education in arts and humanities subjects.

Music has long played a prominent role in cultural diplomacy, but until now no resource has comparatively examined policies that shape how non-western countries use music for international relations. Ethnomusicology and Cultural Diplomacy, edited by scholars David G. Hebert and Jonathan McCollum, demonstrates music's role in international relations worldwide. Specifically, this book offers "insider" views from expert contributors writing about music as a part of cultural diplomacy initiatives in Afghanistan, Uzbekistan, Iran, Syria, Japan, China, India, Vietnam, Ethiopia, South Africa, and Nigeria. Unique features include the book's emphasis on diverse legal frameworks, decolonial perspectives, and cultural policies that serve as a basis for how nations outside "the west" use music in their relationships with Europe and North America.

Historical ethnomusicology is increasingly acknowledged as a significant emerging subfield of ethnomusicology due to the fact that historical research requires a different set of theories and methods than studies of contemporary practices and many historiographic techniques are rapidly transforming as a result of new technologies. In 2005, Bruno Nettl observed that "the term 'historical ethnomusicology' has begun to appear in programs of conferences and in publications" (Nettl 2005, 274), and as recently as 2012 scholars similarly noted "an increasing concern with the writing of musical histories in ethnomusicology" (Ruskin and Rice 2012, 318). Relevant positions recently advanced by other authors include that historical musicologists are "all ethnomusicologists now" and that "all ethnomusicology is historical" (Stobart, 2008), yet we sense that such arguments-while useful, and theoretically correct-may ultimately distract from careful consideration of the kinds of contemporary theories and rigorous methods uniquely suited to historical inquiry in the field of music. In Theory and Method in Historical Ethnomusicology, editors Jonathan McCollum and David Hebert, along with contributors Judah Cohen, Chris Goertzen, Keith Howard, Ann Lucas, Daniel Neuman, and Diane Thram systematically demonstrate various ways that new approaches to historiography--and the related application of new technologies--impact the work of ethnomusicologists who seek to meaningfully represent music traditions across barriers of both time and space. Contributors specializing in historical musics of Armenia, Iran, India, Japan, southern Africa, American Jews, and southern fiddling traditions of the United States describe the opening of new theoretical approaches and methodologies for research on global music history. In the Foreword, Keith Howard offers his perspective on historical ethnomusicology and the importance of reconsidering theories and methods applicable to this field for the enhancement of musical understandings in the present and future.