Music Traditions, Cultures, and Contexts

Description

Music Traditions, Cultures, and Contexts is a tribute to the ethnomusicologist Beverley Diamond in recognition of her outstanding scholarly accomplishments. The volume includes essays by leading ethnomusicologists and music scholars as well as a biographical introduction.

The book’s contributors engage many of the critical themes in Diamond’s work, including musical historiography, musical composition in historical and contemporary frameworks, performance in diverse contexts, gender issues, music and politics, and how music is nested in and relates to broader issues in society. The essays raise important themes about knowing and understanding musical traditions and music itself as an agent of social, cultural, and political change. Music Traditions, Cultures, and Contexts will appeal to music scholars and students, as well as to a general audience interested in learning about how music functions as social process as well as sound.

Sujets

• Music

Informations

• Publié par: Wilfrid Laurier University Press
• Date de parution: 19 avril 2010
• Nombre de lectures: 8
• EAN13: 9781554581993
• Langue: English
• Poids de l'ouvrage: 3 Mo

Extrait

MUSIC TRADITIONS
CULTURES
CONTEXTS&This page intentionally left blank MUSIC TRADITIONS
CULTURES
CONTEXTS&
Edited by Robin Elliott and Gordon E. SmithWilfrid Laurier University Press acknowledges the financial support of the Government of
Canada through the Book Publishing Industry Development Program for our publishing
activities.
Library and Archives Canada Cataloguing in Publication
Music traditions, cultures, and contexts / Robin Elliott and Gordon E. Smith, editors
Festschrift in honour of Beverley Diamond.
Includes bibliographical references and index.
Issued also in electronic format.
isbn 978-1-55458-177-1
1. Diamond, Beverley, [date]. 2. Music—History and criticism. 3. Ethnomusicology.
I. Elliott, Robin, [date] II. Smith, Gordon Ernest, [date]
ml55.d53 2010 781.620092 c2009-904919-8
Music traditions, cultures, and contexts [electronic resource] / Robin Elliott and
Gordon E. Smith, editors
isbn 978-1-55458-199-3
ml55.d53 2010a 781.620092 c2009-904920-1
Cover design by Graham A. Blair. Text design by Catharine Bonas-Taylor.
© 2010 Wilfrid Laurier University Press
Waterloo, Ontario, Canada
www.wlupress.wlu.ca
This book is printed on FSC recycled paper and is certified Ecologo. It is made from 100%
post-consumer fibre, processed chlorine free, and manufactured using biogas energy.
Printed in Canada
Every reasonable effort has been made to acquire permission for copyright material used in
this text, and to acknowledge all such indebtedness accurately. Any errors and omissions
called to the publisher’s attention will be corrected in future printings.
No part of this publication may be reproduced, stored in a retrieval system or transmitted,
in any form or by any means, without the prior written consent of the publisher or a licence
from The Canadian Copyright Licensing Agency (Access Copyright). For an Access
Copyright licence, visit www.accesscopyright.ca or call toll free to 1-800-893-5777.To Beverley Diamond, in admiration and friendshipThis page intentionally left blank Contents
list of illustrations / ix
list of music illustrations / xi
acknowledgements / xiii
preface / xv
1 Beverley Diamond: Life Stories, Academic Directions and
Teaching, Research and Scholarly Activity / 1
Robin Elliott and Gordon E. Smith
2 Conversations with Clifford Crawley / 23
Beverley Diamond
3 Ethnomusicology Critiques Itself: Comments on the History
of a Tradition / 85
Bruno Nettl
4 Is Fieldwork Still Necessary? / 101
Ellen Koskoff
5 Toward a History of Ethnomusicology’s North Americanist
Agenda / 113
Kay Kaufman Shelemay
6 Encountering Oral Performance as Total Musical Fact / 129
Regula Burckhardt Qureshi
7 You Also Work as a Church Organist? Whatever For? / 145
Charlotte J. Frisbie
8 The Politics of Organology and the Nova Scotia Banjo:
An Essay in Honour of Beverley Diamond / 181
Neil V. Rosenberg
9 Strategies of Survival: Traditional Music, Politics, and Music
Education among Two Minorities of Finland / 209
Pirkko Moisala
10 Father of Romance, Vagabond of Glory: Two Canadian
Composers as Stage Heroes / 227
John Beckwith
viiviii Contents
11 Funk and James Brown: Re-Africanization, the Interlocked
Groove, and the Articulation of Community / 261
Rob Bowman
12 On the One: Parliament/Funkadelic, the Mothership,
and Transformation / 269
Rob Bowman
13 Politics through Pleasure: Party Music in Trinidad / 279
Jocelyne Guilbault
14 A Festschrift for the Twenty-First Century: Student Voices / 295
Kip Pegley and Virginia Caputo
appendix: beverley diamond—publications and
lectures / 307
contributors / 321
index / 327List of Illustrations
The photographs section appears between pages 16 and 17.
figure 5.1 Table of Contents, Excursions in world music /
117
figure 5.2 TWorlds of music / 117
figure 8.1 Letter from Fred Isenor / 189
figure 9.1 Gunnar Sundström and Oili Jansson playing
together with the children of Kökar / 220
figure 14.1 Recollecting in Diamonds, by Andra McCartney,
a former student / 298
figure 14.2 Bev’s doodles, collected by Maureen Houston
and Janice Esther Tulk and arranged by Kelly
Best / 305
ixThis page intentionally left blank List of Music Illustrations
Chapter 2, “Conversations with Clifford Crawley,”
by Beverley Diamond
figure 2.1 Short excerpts from Toccatas: (a) quartal
harmony, expanding intervals in the 4/8
measures; (b) bitonality; (c) sudden register
changes; (d) four-note segments of alternating
whole-tone scales / 47
figure 2.2 Excerpt from Grey Island / 48
figure 2.3 Opening of “Thunder and Lightning” / 50
figure 2.4 Ending of “Trolls” / 52
figure 2.5 Transformed themes: (a) The twist on “British
Grenadiers” in “Progression,” one of the Stevie
Smith Songs; (b) “Good King Wenceslas” in
the overture Koleda / 54
figure 2.6 Excerpt from Serenade for Cello and
Orchestra, first movement / 58
figure 2.7 From Crawley’s arrangement of “Night in
Tunisia” for violin and piano, (a), (b), and
(c) are the openings of three choruses / 61
figure 2.8 Opening theme from the final movement of
the Serenade for Cello and Orchestra (piano
reduction by the composer) / 67
Chapter 6, “Encountering Oral Performance as Total
Musical Fact,” by Regula Burckhardt Qureshi
figure 6.1 Qawwali hymn in outline form / 133
figure 6.2 Qawwali hymn executed in performance / 134
figure 6.3 Qawwali performance and ecstasy / 136
xixii List of Music Illustrations
Chapter 10, “Father of Romance, Vagabond of Glory:
Two Canadian Composers as Stage Heroes,” by John
Beckwith
figure 10.1 Le Père des amours, Act 1: “Chœur
triomphal,” soprano line only / 247
figure 10.2 do., Act 2: (a) “Chœur des moissoneurs”;
(b) “Meunier, du dors” / 247
figure 10.3 do., Act 5: “Grand chœur final,” chorus parts
only / 248
figure 10.4 do., Act 4: “Charlemagne,” solo line only / 249
figure 10.5 do., Act 2: “Le P’tit bonhomme” / 250
figure 10.6 do., Act 3: “Romance,” solo line only / 251
figure 10.7 do., Act 2: (a) “Cancans”; (b) “C’est légal,”
solo lines only / 251
figure 10.8 do., Act 2: “Arioso de Labadie,” solo line
only / 251
figure 10.9 do., Act 2: “Couplets de Labadie,” solo line
only / 252
figure 10.10 do., Act 4: “Complainte de Josette,” solo line
only / 252
figure 10.11 do., Act 4: (a) “Chœur des bûcherons,” opening,
chorus parts only; (b) “Chœur des bûcherons,”
ending / 252
figure 10.12 do., Act 2: “Gavotte,” main melody (oboe) of
musette section / 253
figure 10.13 do., Act 2: “Valse de la gerbe” / 253
figure 10.14 do., Act 2: “Menuet,” opening melody
(violin) / 253
figure 10.15 Le Vagabond de la gloire, Act 1, Scene 2: “Trio
des ménestrels,” voice parts only / 254Acknowledgements
We would like to thank all who have contributed to making Music
traditions, cultures, and contexts a reality, including, first and foremost, the
book’s contributors: John Beckwith, Rob Bowman, Virginia Caputo,
Beverley Diamond, Charlotte Frisbie, Jocelyne Guilbault, Ellen Koskoff, Pirkko
Moisala, Bruno Nettl, Kip Pegley, Regula Burckhardt Qureshi, Neil V.
Rosenberg, and Kay Kaufman Shelemay, as well as the group of Bev’s
students who so generously and enthusiastically supported this project and
contributed their reminiscences about Bev for the book’s website. We are
grateful to all of these people for their excellent contributions to the book,
and for their patience during the genesis of this volume.
We are indebted to those who have read these texts at various stages
and have provided valuable feedback, including colleagues, friends,
external assessors, and copy editors. We take this opportunity to thank two
former students, Erin Bustin and Vincent Spilchuk: Erin transcribed some
twelve hours of interviews between the editors and Beverley Diamond
that were recorded in St. John’s, and Vincent provided valuable editorial
assistance in the final preparation of the book typescript. A special word
of thanks to Graham Blair, Memorial University, who created the
splendid cover design for the book. Thanks also to Brian Henderson, Leslie
Macredie, Lisa Quinn, and Rob Kohlmeier at Wilfrid Laurier University
Press: Brian for his help and encouragement from the very beginning of
the project early in 2006, and Leslie, Lisa, and Rob for shepherding it
through the final stages of production.
Our sincere thanks go to Beverley Diamond and Clifford Crawley for
their hospitality and generosity during our research visit to St. John’s in
May 2007. We also take this opportunity to thank Bev for her assistance
in providing us with ideas and information through all stages of the
preparation of this book, and for her knowledge, inspiration, and much valued
friendship. Working on this book, which is a tribute to her exemplary
schol