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With the rise of nationalism in the Republic of Korea, music has
come to play a central role in the discourse of identity. This
volume asks what Koreans consider makes music Korean, and how
meaning is ascribed to musical creation. Keith Howard explores
specific aspects of creativity that are designed to appeal to a new
audience that is increasingly westernized yet proud of its
indigenous heritage - updates of tradition, compositions, and
collaborative fusions. He charts the development of the Korean
music scene over the last 25 years and interprets the debates,
claims and statistics by incorporating the voices of musicians,
composers, scholars and critics. Koreanness is a brand identity
with a discourse founded on heritage, hence Howard focuses on music
that is claimed to link to tradition, and on music compositions
where indigenous identity is consciously incorporated. The volume
opens with SamulNori, a percussion quartet known throughout the
world that was formed in 1978 but is rooted in local and itinerant
bands stretching back many centuries. Parallel developments in
vocal genres, folksongs and p'ansori ('epic storytelling through
song') are considered, then three chapters explore compositions
written both for western instruments and for Korean instruments,
and designed both for Korean and international audiences. Over
time, Howard shows how the two musical worlds - kugak, traditional
music, and yangak, western music - have collided, and how fusions
have emerged. This volume documents how identity has been
negotiated by musicians, composers and audiences. Until recently,
references to tradition were common and, by critics and
musicologists, required. Western music increasingly encroached on
the market for Korean music and doubts were raised about the future
of any music identifiably Korean. Today, Korean musical production
exudes a resurgent confidence as it amalgamates Korean and western
elements, as it arranges and incorporates the old in the new, and
as it creates a music suitable for the contemporary world.
Presence Through Sound narrates and analyses, through a range of
case studies on selected musics of China, Japan, Korea, Taiwan, and
Tibet, some of the many ways in which music and 'place' intersect
and are interwoven with meaning in East Asia. It explores how place
is significant to the many contexts in which music is made and
experienced, especially in contemporary forms of longstanding
traditions but also in other landscapes such as popular music and
in the design of performance spaces. It shows how music creates and
challenges borders, giving significance to geographical and
cartographic spaces at local, national, and international levels,
and illustrates how music is used to interpret relationships with
ecology and environment, spirituality and community, and state and
nation. The volume brings together scholars from Australia, China,
Denmark, Japan, Korea, Taiwan, and the UK, each of whom explores a
specific genre or topic in depth. Each nuanced account finds
distinct and at times different aspects to be significant but, in
demonstrating the ability of music to mediate the construction of
place and by showing how those who create and consume music use it
to inhabit the intimate, and to project themselves out into their
surroundings, each points to interconnections across the region and
beyond with respect to perception, conception, expression, and
interpretation. In Presence Through Sound, ethnomusicology meets
anthropology, literature, linguistics, area studies, and -
particularly pertinent to East Asia in the twenty-first century -
local musicologies. The volume serves a broad academic readership
and provides an essential resource for all those interested in East
Asia.
The third edition of this popular book has been extensively revised
to reflect the changes that have affected student research in
higher education in recent years. The ability to carry out research
successfully has come to be seen as a 'key transferable skill'
required of all higher education students - and The Management of a
Student Research Project addresses directly the skill element of
this. Furthermore, the research process, at all levels, is far more
systematized than in the past. The single largest change since the
second edition came out in 1996 has been the impact of the World
Wide Web on student research. The third edition has been thoroughly
rewritten and developed in response to this. In particular, Chapter
4, 'Literature Searching', has been structured around a sample
online search. Throughout, the comments and thoughts of readers of
previous editions have been taken into account in framing this
third edition. Its aims remain the same - to provide a clear,
comprehensive and useful guide to students undertaking research
projects in order to improve their chances of a successful outcome.
Presence Through Sound narrates and analyses, through a range of
case studies on selected musics of China, Japan, Korea, Taiwan, and
Tibet, some of the many ways in which music and 'place' intersect
and are interwoven with meaning in East Asia. It explores how place
is significant to the many contexts in which music is made and
experienced, especially in contemporary forms of longstanding
traditions but also in other landscapes such as popular music and
in the design of performance spaces. It shows how music creates and
challenges borders, giving significance to geographical and
cartographic spaces at local, national, and international levels,
and illustrates how music is used to interpret relationships with
ecology and environment, spirituality and community, and state and
nation. The volume brings together scholars from Australia, China,
Denmark, Japan, Korea, Taiwan, and the UK, each of whom explores a
specific genre or topic in depth. Each nuanced account finds
distinct and at times different aspects to be significant but, in
demonstrating the ability of music to mediate the construction of
place and by showing how those who create and consume music use it
to inhabit the intimate, and to project themselves out into their
surroundings, each points to interconnections across the region and
beyond with respect to perception, conception, expression, and
interpretation. In Presence Through Sound, ethnomusicology meets
anthropology, literature, linguistics, area studies, and -
particularly pertinent to East Asia in the twenty-first century -
local musicologies. The volume serves a broad academic readership
and provides an essential resource for all those interested in East
Asia.
Focussing on music traditions, these essays explore the policy,
ideology and practice of preservation and promotion of East Asian
intangible cultural heritage. For the first time, Japan, Korea,
China and Taiwan - states that were amongst the first to establish
legislation and systems for indigenous traditions - are considered
together. Calls to preserve the intangible heritage have recently
become louder, not least with increasing UNESCO attention. The
imperative to preserve is, throughout the region, cast as a way to
counter the perceived loss of cultural diversity caused by
globalization, modernization, urbanization and the spread of the
mass media. Four chapters - one each on China, Korea, Taiwan and
Japan - incorporate a foundational overview of preservation policy
and practice of musical intangible cultural heritage at the state
level. These chapters are complemented by a set of chapters that
explore how the practice of policy has impacted on specific musics,
from Confucian ritual through Kam big song to the Okinawan sanshin.
Each chapter is based on rich ethnographic data collected through
extended fieldwork. The team of international contributors give
both insider and outsider perspectives as they both account for,
and critique, policy, ideology and practice in East Asian music as
intangible cultural heritage.
SamulNori is a percussion quartet which has given rise to a genre,
of the same name, that is arguably Korea's most successful
'traditional' music of recent times. Today, there are dozens of
amateur and professional samulnori groups. There is a canon of
samulnori pieces, closely associated with the first founding
quartet but played by all, and many creative evolutions on the
basic themes, made by the rapidly growing number of virtuosic
percussionists. And the genre is the focus of an abundance of
workshops, festivals and contests. Samulnori is taught in primary
and middle schools; it is part of Korea's national education
curriculum. It has dedicated institutes, and there are a number of
workbooks devoted to helping wannabe 'samulnorians'. It is a
familiar part of Korean performance culture, at home and abroad, in
concerts but also in films and theatre productions. SamulNori uses
four instruments: kkwaenggwari and ching small and large gongs, and
changgo and puk drums. These are the instruments of local
percussion bands and itinerant troupes that trace back many
centuries, but samulnori is a recent development of these older
traditions: it was first performed in February 1978. This volume
explores this vibrant percussion genre, charting its origins and
development, the formation of the canon of pieces, teaching and
learning strategies, new evolutions and current questions relating
to maintaining, developing, and sustaining samulnori in the future.
Focussing on music traditions, these essays explore the policy,
ideology and practice of preservation and promotion of East Asian
intangible cultural heritage. For the first time, Japan, Korea,
China and Taiwan - states that were amongst the first to establish
legislation and systems for indigenous traditions - are considered
together. Calls to preserve the intangible heritage have recently
become louder, not least with increasing UNESCO attention. The
imperative to preserve is, throughout the region, cast as a way to
counter the perceived loss of cultural diversity caused by
globalization, modernization, urbanization and the spread of the
mass media. Four chapters - one each on China, Korea, Taiwan and
Japan - incorporate a foundational overview of preservation policy
and practice of musical intangible cultural heritage at the state
level. These chapters are complemented by a set of chapters that
explore how the practice of policy has impacted on specific musics,
from Confucian ritual through Kam big song to the Okinawan sanshin.
Each chapter is based on rich ethnographic data collected through
extended fieldwork. The team of international contributors give
both insider and outsider perspectives as they both account for,
and critique, policy, ideology and practice in East Asian music as
intangible cultural heritage.
SamulNori is a percussion quartet which has given rise to a genre,
of the same name, that is arguably Korea's most successful
'traditional' music of recent times. Today, there are dozens of
amateur and professional samulnori groups. There is a canon of
samulnori pieces, closely associated with the first founding
quartet but played by all, and many creative evolutions on the
basic themes, made by the rapidly growing number of virtuosic
percussionists. And the genre is the focus of an abundance of
workshops, festivals and contests. Samulnori is taught in primary
and middle schools; it is part of Korea's national education
curriculum. It has dedicated institutes, and there are a number of
workbooks devoted to helping wannabe 'samulnorians'. It is a
familiar part of Korean performance culture, at home and abroad, in
concerts but also in films and theatre productions. SamulNori uses
four instruments: kkwaenggwari and ching small and large gongs, and
changgo and puk drums. These are the instruments of local
percussion bands and itinerant troupes that trace back many
centuries, but samulnori is a recent development of these older
traditions: it was first performed in February 1978. This volume
explores this vibrant percussion genre, charting its origins and
development, the formation of the canon of pieces, teaching and
learning strategies, new evolutions and current questions relating
to maintaining, developing, and sustaining samulnori in the future.
The third edition of this popular book has been extensively revised
to reflect the changes that have affected student research in
higher education in recent years. The ability to carry out research
successfully has come to be seen as a 'key transferable skill'
required of all higher education students - and The Management of a
Student Research Project addresses directly the skill element of
this. Furthermore the research process, at all levels, is far more
systematized than in the past. The single largest change since the
second edition came out in 1996 has been the impact of the World
Wide Web on student research. The third edition has been thoroughly
rewritten and developed in response to this. In particular, Chapter
4, 'Literature Searching', has been structured around a sample
online search. Throughout, the comments and thoughts of readers of
previous editions have been taken into account in framing this
third edition. Its aims remain the same - to provide a clear,
comprehensive and useful guide to students undertaking research
projects in order to improve their chances of a successful outcome.
How-to books related to computer science (CS) and teaching CS in
K-12 environments are often either step-by-step guides or reference
books, with little or no connection to pedagogy. By contrast,
Coding Math offers the analytical foundation teachers need to
inform their practice, specifically in mathematics. This book will
serve as a deep dive into CS integration for elementary teachers,
providing guidelines for designing integrated CS/math curricula
through case studies and practical examples. Grounded in research,
the book's mini-lessons contrast visual-based coding with
text-based programming and provide guidance in the selection and
creation of lessons, instructional materials and CS platforms to
help educators prepare students for the careers of the future.
As Korea has developed and modernized, music has come to play a
central role as a symbol of national identity. Nationalism has been
stage managed by scholars, journalists and, from the beginning of
the 1960s, by the state, as music genres have been documented,
preserved and promoted as 'Intangible Cultural Properties'.
Practitioners have been appointed 'holders' or, in everyday speech,
'Human Cultural Properties', to maintain, perform and teach
exemplary versions of tradition. Over the last few years, the
Korean preservation system has become a model for UNESCO's 'Living
Human Treasures' and 'Masterpieces of the Oral and Intangible
Heritage of Mankind'. In this volume, Keith Howard provides the
first comprehensive analysis in English of the system. He documents
court music and dance, Confucian and shaman ritual music,
folksongs, the professional folk-art genres of p'ansori ('epic
storytelling through song') and sanjo ('scattered melodies'), and
more, as well as instrument making, food preparation and liquor
distilling - a good performance, after all, requires wine to flow.
The extensive documentation reflects considerable fieldwork,
discussion and questioning carried out over a 25-year period, and
blends the voices of scholars, government officials, performers,
craftsmen and the general public. By interrogating both
contemporary and historical data, Howard negotiates the debates and
critiques that surround this remarkable attempt to protect local
and national music and other performance arts and crafts. An
accompanying downloadable resource illustrates many of the music
genres considered, featuring many master musicians including some
who have now died. The preservation of music and other performance
arts and crafts is part of the contemporary zeitgeist, yet occupies
contested territory. This is particularly true when the concept of
'tradition' is invoked. Within Korea, the recognition of the
fragility of indigenous music inherited from earlier times is
balanced by an awareness of the need to maintain identity as
lifestyles change in response to modernization and globalization.
Howard argues that Korea, and the world, is a better place when the
richness of indigenous music is preserved and promoted.
Famously reclusive and secretive, North Korea can be seen as a
theatre that projects itself through music and performance. The
first book-length account of North Korean music and dance in any
language other than Korean, Songs for "Great Leaders" pulls back
the curtain on this theatre for the first time. Renowned
ethnomusicologist Keith Howard moves from the first songs written
in the northern part of the divided Korean peninsula in 1946 to the
performances in February 2018 by a North Korean troupe visiting
South Korea for the Pyeongchang Winter Olympic Games. Through an
exceptionally wide range of sources and a perspective of deep
cultural competence, Howard explores old revolutionary songs and
new pop songs, developments of Korean instruments, the creation of
revolutionary operas, and mass spectacles, as well as dance and
dance notation, and composers and compositions. The result is a
nuanced and detailed account of how song, together with other music
and dance production, forms the soundtrack to the theater of daily
life, embedding messages that tell the official history, the
exploits of leaders, and the socialist utopia yet-to-come. Based on
fieldwork, interviews, and resources in private and public archives
and libraries in North Korea, South Korea, China, North America and
Europe, Songs for "Great Leaders" opens up the North Korean regime
in a way never before attempted or possible.
Christopher Hitchens and Richard Dawkins give voice to the
aspirations of hundreds of millions of atheists and secular
humanists around the world. The duo are the most influential
activists for a generation, energizing secular humanists and
non-believers through their landmark and best selling books The God
Delusion (2006) by Dawkins and Hitchens God is Not Great, How
Religion Poisons Everything (2007). Promoting rational principles
and common sense logic, Hitchens and Dawkins argue for the
advancement of reason, science and secularism over blind obedience
to religious dogma and worn out, stagnant mythologies. In Religion
Free, Keith Howard assembles an anthology of the two intellectuals
very finest thoughts selected from their essays, debates, lectures,
and media interviews, supplemented with correlated news stories and
excerpts from other prominent atheists and activists. The result is
a comprehensive collection of the most compelling opinions and
ideas of the modern day humanist and religion free communities.
Over the past decade, cultural diversity in music education has
come of age, both in terms of content and approach. The world of
music education is now widely considered to be culturally diverse
by definition.Within this environment, appropriate strategies for
learning and teaching are being reconsidered. Many scholars and
practitioners have abandoned rigid conceptions of context and
authenticity, or naive perceptions of music as a universal language
that appeals to all.
In four sections, this volume offers contemporary views from
scholars, educationalists, classroom practitioners and experts in
specific disciplines. From this diversity of perspectives, the
challenges posed by music travelling through time, place and
contexts are being addressed for what they are: fascinating studies
in the dynamic life of music, education and culture. In this way,
Cultural diversity in music education chronicles the latest
insights into a field that has convincingly moved from the
sidelines to centre stage in both the practice and theory of music
education.
Almost forty years after the publication of Hobsbawm and Ranger’s
The Invention of Tradition, the subject of invented
traditions—cultural and historical practices that claim a
continuity with a distant past but which are in fact of relatively
recent origin—is still relevant, important, and highly
contentious. Invented Traditions in North and South Korea examines
the ways in which compressed modernity, Cold War conflict, and
ideological opposition has impacted the revival of traditional
forms in both Koreas. The volume is divided thematically into
sections covering: (1) history, religions, (2) language, (3) music,
food, crafts, and finally, (4) space. It includes chapters on
pseudo-histories, new religions, linguistic politeness, literary
Chinese, p’ansori, heritage, North Korean food, architecture, and
the invention of children’s pilgrimages in the DPRK. As the first
comparative study of invented traditions in North and South Korea,
the book takes the reader on a journey through Korea’s epic
twentieth century, examining the revival of culture in the context
of colonialism, decolonization, national division, dictatorship,
and modernization. The book investigates what it describes as
"monumental" invented traditions formulated to maintain order,
loyalty, and national identity during periods of political upheaval
as well as cultural revivals less explicitly connected to political
power. Invented Traditions in North and South Korea demonstrates
that invented traditions can teach us a great deal about the
twentieth-century political and cultural trajectories of the two
Koreas. With contributions from historians, sociologists,
folklorists, scholars of performance, and anthropologists, this
volume will prove invaluable to Koreanists, as well as teachers and
students of Korean and Asian studies undergraduate courses.
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.
Cultural Writing. Published through Muske, whose purpose is to
research, recover, document and conserve the world's
ethnomusicological heritage and to disseminate it across a wide
audience, the papers in MUSIC AND RITUAL "were first prepared for a
panel...at the 2005 annual conference of the British Forum for
Ethnomusicology....At the conference, it seemed timely to return to
how performance informs, illustrates and interpenetrates ritual,
without setting a clear, narrow, agenda in our call for papers...
These papers] explore questions raised by the performance of music
and movement, and their interrelationships, in artistic practice
beyond the European art and popular music canons"--from the
Introduction by Keith Howard.
Almost forty years after the publication of Hobsbawm and Ranger's
The Invention of Tradition, the subject of invented
traditions-cultural and historical practices that claim a
continuity with a distant past but which are in fact of relatively
recent origin-is still relevant, important, and highly contentious.
Invented Traditions in North and South Korea examines the ways in
which compressed modernity, Cold War conflict, and ideological
opposition has impacted the revival of traditional forms in both
Koreas. The volume is divided thematically into sections covering:
(1) history, religions, (2) language, (3) music, food, crafts, and
finally, (4) space. It includes chapters on pseudo-histories, new
religions, linguistic politeness, literary Chinese, p'ansori,
heritage, North Korean food, architecture, and the invention of
children's pilgrimages in the DPRK. As the first comparative study
of invented traditions in North and South Korea, the book takes the
reader on a journey through Korea's epic twentieth century,
examining the revival of culture in the context of colonialism,
decolonization, national division, dictatorship, and modernization.
The book investigates what it describes as "monumental" invented
traditions formulated to maintain order, loyalty, and national
identity during periods of political upheaval as well as cultural
revivals less explicitly connected to political power. Invented
Traditions in North and South Korea demonstrates that invented
traditions can teach us a great deal about the twentieth-century
political and cultural trajectories of the two Koreas. With
contributions from historians, sociologists, folklorists, scholars
of performance, and anthropologists, this volume will prove
invaluable to Koreanists, as well as teachers and students of
Korean and Asian studies undergraduate courses.
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Music and Conflict (Paperback)
John Morgan O'Connell, Salwa El-Shawan Castelo-Branco; Contributions by Samuel Araujo, William Beeman, Stephen Blum, …
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R804
Discovery Miles 8 040
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Ships in 12 - 17 working days
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This volume charts a new frontier of applied ethnomusicology by
highlighting the role of music in both inciting and resolving a
spectrum of social and political conflicts in the contemporary
world. Examining the materials and practices of music-making,
contributors detail how music and performance are deployed to
critique power structures and to nurture cultural awareness among
communities in conflict. The essays here range from musicological
studies to ethnographic analyses to accounts of practical
interventions that could serve as models for conflict resolution.
"Music and Conflict" reveals how musical texts are manipulated by
opposing groups to promote conflict and how music can be utilized
to advance conflict resolution. Speaking to the cultural
implications of globalization and pointing out how music can
promote a shared musical heritage across borders, the essays
discuss the music of Albania, Azerbaijan, Brazil, Egypt, Germany,
Indonesia, Iran, Ireland, North and South Korea, Uganda, the United
States, and the former Yugoslavia. The volume also includes dozens
of illustrations, including photos, maps, and musical scores.
Contributors are Samuel Araujo, William Beeman, Stephen Blum, Salwa
El-Shawan Castelo-Branco, David Cooper, Keith Howard, Inna
Naroditskaya, John Morgan O'Connell, Svanibor Pettan, Anne K.
Rasmussen, Adelaida Reyes, Anthony Seeger, Jane C. Sugarman, and
Britta Sweers.
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