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A rich collection of the best offerings from the 2006 and 2008
National Symposiums on Multicultural Music, Kaleidoscope of
Cultures is full of resources, references, lesson plans, and ethnic
music. In addition to lively speeches, engaging workshops
(including making ethnic instruments), and reviews of vocal and
instrumental multicultural literature, research papers address
timely topics. With video clips from the conference performances
and presentations available on the MENC Web site, you can see
authentic demonstrations of the music and share them with your
students.
A rich collection of the best offerings from the 2006 and 2008
National Symposiums on Multicultural Music, Kaleidoscope of
Cultures is full of resources, references, lesson plans, and ethnic
music. In addition to lively speeches, engaging workshops
(including making ethnic instruments), and reviews of vocal and
instrumental multicultural literature, research papers address
timely topics. With video clips from the conference performances
and presentations available on the MENC Web site, you can see
authentic demonstrations of the music and share them with your
students.
Responding to the development of a lively hip hop culture in
Central and Eastern European countries, this interdisciplinary
study demonstrates how a universal model of hip hop serves as a
contextually situated platform of cultural exchange and becomes
locally inflected. After the Soviet Union fell, hip hop became
popular in urban environments in the region, but it has often been
stigmatized as inauthentic, due to an apparent lack of connection
to African American historical roots and black identity. Originally
strongly influenced by aesthetics from the US, hip hop in Central
and Eastern Europe has gradually developed unique, local
trajectories, a number of which are showcased in this volume. On
the one hand, hip hop functions as a marker of Western
cosmopolitanism and democratic ideology, but as the contributors
show, it is also a malleable genre that has been infused with so
much local identity that it has lost most of its previous
associations with "the West" in the experiences of local musicians,
audiences, and producers. Contextualizing hip hop through the prism
of local experiences and regional musical expressions, these
valuable case studies reveal the broad spectrum of its impact on
popular culture and youth identity in the post-Soviet world.
Responding to the development of a lively hip hop culture in
Central and Eastern European countries, this interdisciplinary
study demonstrates how a universal model of hip hop serves as a
contextually situated platform of cultural exchange and becomes
locally inflected. After the Soviet Union fell, hip hop became
popular in urban environments in the region, but it has often been
stigmatized as inauthentic, due to an apparent lack of connection
to African American historical roots and black identity. Originally
strongly influenced by aesthetics from the US, hip hop in Central
and Eastern Europe has gradually developed unique, local
trajectories, a number of which are showcased in this volume. On
the one hand, hip hop functions as a marker of Western
cosmopolitanism and democratic ideology, but as the contributors
show, it is also a malleable genre that has been infused with so
much local identity that it has lost most of its previous
associations with "the West" in the experiences of local musicians,
audiences, and producers. Contextualizing hip hop through the prism
of local experiences and regional musical expressions, these
valuable case studies reveal the broad spectrum of its impact on
popular culture and youth identity in the post-Soviet world.
Since its inception in the mid-twentieth century, American music
theory has been framed and taught almost exclusively by white men.
As a result, whiteness and maleness are woven into the fabric of
the field, and BIPOC music theorists face enormous hurdles due to
their racial identities. In On Music Theory, Philip Ewell brings
together autobiography, music theory and history, and theory and
history of race in the United States to offer a black perspective
on the state of music theory and to confront the field’s white
supremacist roots. Over the course of the book, Ewell undertakes a
textbook analysis to unpack the mythologies of whiteness and
western-ness with respect to music theory, and gives, for the first
time, his perspective on the controversy surrounding the
publication of volume 12 of the Journal of Schenkerian Studies. He
speaks directly about the antiblackness of music theory and the
antisemitism of classical music writ large and concludes by
offering suggestions about how we move forward. Taking an
explicitly antiracist approach to music theory, with this book
Ewell begins to create a space in which those who have been
marginalized in music theory can thrive.
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