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The musical human: without a doubt, this vision of the human
species as naturally musical has become the most enduring legacy
John Blacking bequeathed to ethnomusicology. The image aptly
embodies his preoccupations, which integrated theoretical and
methodological issues within the discipline with a deep concern for
the physical and psychological well-being of humanity. Blacking
believed sincerely in the power of music, and he contended that
people's general health depended upon the musical opportunities
made available to them. For this reason, he placed great importance
upon ethnomusicology, the discipline that investigates the way
different societies around the world organize their musical
activities, and the impact of these diverse alternatives upon the
people involved in them. Each essay draws upon distinct aspects of
Blacking's writings but complements them with quite different sets
of sources. Themes include the role of fieldwork in the postmodern
era; the role of music amongst subaltern communities existing in a
rapidly changing social environment with particular reference to
Vendaland; the manipulation of traditional performance settings in
pursuit of political or social strategies; children's music
acquisition as an indicator of the innate musical capacity of
humans; the biology of music making; the creation of pleasure, pain
and power during dance; cognitive processes and the social
consequences of the power of music, and a consideration of the
method of applying ethnomusicological research methods to Western
art music. In this way, the volume provides fresh assessments of
Blacking's work, taking up his challenge to push the boundaries of
ethnomusicology into new territories.
Bands structured around western wind instruments are among the most
widespread instrumental ensembles in the world. Although these
ensembles draw upon European military traditions that spread
globally through colonialism, militarism and missionary work, local
musicians have adapted the brass band prototype to their home
settings, and today these ensembles are found in religious
processions and funerals, military manoeuvres and parades, and
popular music genres throughout the world. Based on their expertise
in ethnographic and archival research, the contributors to this
volume present a series of essays that examine wind band cultures
from a range of disciplinary perspectives, allowing for a
comparison of band cultures across geographic and historical
fields. The themes addressed encompass the military heritage of
band cultures; local appropriations of the military prototype;
links between bands and their local communities; the spheres of
local band activities and the modes of sociability within them; and
the role of bands in trajectories toward professional musicianship.
This book will appeal to readers with an interest in
ethnomusicology, colonial and post-colonial studies, community
music practices, as well as anyone who has played with or listened
to their local band.
Bands structured around western wind instruments are among the most
widespread instrumental ensembles in the world. Although these
ensembles draw upon European military traditions that spread
globally through colonialism, militarism and missionary work, local
musicians have adapted the brass band prototype to their home
settings, and today these ensembles are found in religious
processions and funerals, military manoeuvres and parades, and
popular music genres throughout the world. Based on their expertise
in ethnographic and archival research, the contributors to this
volume present a series of essays that examine wind band cultures
from a range of disciplinary perspectives, allowing for a
comparison of band cultures across geographic and historical
fields. The themes addressed encompass the military heritage of
band cultures; local appropriations of the military prototype;
links between bands and their local communities; the spheres of
local band activities and the modes of sociability within them; and
the role of bands in trajectories toward professional musicianship.
This book will appeal to readers with an interest in
ethnomusicology, colonial and post-colonial studies, community
music practices, as well as anyone who has played with or listened
to their local band.
The musical human: without a doubt, this vision of the human
species as naturally musical has become the most enduring legacy
John Blacking bequeathed to ethnomusicology. The image aptly
embodies his preoccupations, which integrated theoretical and
methodological issues within the discipline with a deep concern for
the physical and psychological well-being of humanity. Blacking
believed sincerely in the power of music, and he contended that
people's general health depended upon the musical opportunities
made available to them. For this reason, he placed great importance
upon ethnomusicology, the discipline that investigates the way
different societies around the world organize their musical
activities, and the impact of these diverse alternatives upon the
people involved in them. Each essay draws upon distinct aspects of
Blacking's writings but complements them with quite different sets
of sources. Themes include the role of fieldwork in the postmodern
era; the role of music amongst subaltern communities existing in a
rapidly changing social environment with particular reference to
Vendaland; the manipulation of traditional performance settings in
pursuit of political or social strategies; children's music
acquisition as an indicator of the innate musical capacity of
humans; the biology of music making; the creation of pleasure, pain
and power during dance; cognitive processes and the social
consequences of the power of music, and a consideration of the
method of applying ethnomusicological research methods to Western
art music. In this way, the volume provides fresh assessments of
Blacking's work, taking up his challenge to push the boundaries of
ethnomusicology into new territories.
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