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: 3
• EAN13: 9781554582761
• Langue: English
• Poids de l'ouvrage: 3 Mo

Extrait

MUSIC TRADITIONS CULTURES CONTEXTS
MUSIC TRADITIONS CULTURES CONTEXTS
Edited by Robin Elliott and Gordon E. Smith
Wilfrid 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]
ML 55. D 53 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
ML 55. D 53 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 friendship
Contents
LIST OF ILLUSTRATIONS
LIST OF MUSIC ILLUSTRATIONS
ACKNOWLEDGEMENTS
PREFACE
1 Beverley Diamond: Life Stories, Academic Directions and Teaching, Research and Scholarly Activity
Robin Elliott and Gordon E. Smith
2 Conversations with Clifford Crawley
Beverley Diamond
3 Ethnomusicology Critiques Itself: Comments on the History of a Tradition
Bruno Nettl
4 Is Fieldwork Still Necessary?
Ellen Koskoff
5 Toward a History of Ethnomusicology s North Americanist Agenda
Kay Kaufman Shelemay
6 Encountering Oral Performance as Total Musical Fact
Regula Burckhardt Qureshi
7 You Also Work as a Church Organist? Whatever For?
Charlotte J. Frisbie
8 The Politics of Organology and the Nova Scotia Banjo: An Essay in Honour of Beverley Diamond
Neil V. Rosenberg
9 Strategies of Survival: Traditional Music, Politics, and Music Education among Two Minorities of Finland
Pirkko Moisala
10 Father of Romance, Vagabond of Glory: Two Canadian Composers as Stage Heroes
John Beckwith
11 Funk and James Brown: Re-Africanization, the Interlocked Groove, and the Articulation of Community
Rob Bowman
12 On the One: Parliament/Funkadelic, the Mothership, and Transformation
Rob Bowman
13 Politics through Pleasure: Party Music in Trinidad
Jocelyne Guilbault
14 A Festschrift for the Twenty-First Century: Student Voices
Kip Pegley and Virginia Caputo
APPENDIX: BEVERLEY DIAMOND-PUBLICATIONS AND LECTURES
CONTRIBUTORS
INDEX
List 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
Table of Contents, Worlds of music / 117
FIGURE 8.1
Letter from Fred Isenor / 189
FIGURE 9.1
Gunnar Sundstr m and Oili Jansson playing together with the children of K kar / 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
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
Chapter 10, Father of Romance, Vagabond of Glory: Two Canadian Composers as Stage Heroes, by John Beckwith
FIGURE 10.1
Le P re des amours, Act 1: Ch ur triomphal, soprano line only / 247
FIGURE 10.2
do., Act 2: (a) Ch ur des moissoneurs ; (b) Meunier, du dors / 247
FIGURE 10.3
do., Act 5: Grand ch ur 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 l gal, 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) Ch ur des b cherons, opening, chorus parts only; (b) Ch ur des b cherons, 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 m nestrels, voice parts only / 254
Acknowledgements
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 scholarship and collegiality, has been an honour and a real pleasure for both of us.
For financial assistance in the production of this book, we would like to thank the Faculty of Arts and Science at Queen s University and the Institute for Canadian Music at the University of Toronto.
Finally, we would like to thank our families and partners, who have encouraged and sustained us throughout this project. To them, as always, we owe everything.
R.E. and G.E.S.
Preface
Music traditions, cultures, and contexts is a tribute to Beverley Diamond to celebrate her sixtieth birthday, which fell on 4 June 2008. Together with the volume s contributors, we offer it to Bev 1 in recognition of her outstanding scholarly accomplishments, and with sincere thanks for the collegiality and friendship th