Kati Szego - Academia.edu (original) (raw)
Papers by Kati Szego
Yearbook for Traditional Music, 2014
Berghahn Books, Mar 10, 2021
MUSICultures, Oct 25, 2013
University of Hawaii Press eBooks, Dec 31, 2019
MUSICultures, Oct 30, 2015
From the late 1960s to mid-1980s, 'ukulele was the spark plug of an extracurricular music program... more From the late 1960s to mid-1980s, 'ukulele was the spark plug of an extracurricular music program in the Halifax school system. Ignoring the instrument's novelty associations, the Supervisor of Music Education redefined its use value, calling on mostly female teachers and volunteer mothers to propagate it anew. The instrument itself was redesigned physically and acoustically as a technology of inclusion, attracting multitudes of women and girls in Atlantic Canada, but few boys. This article accounts for gendered differences in the uptake of 'ukulele during this period. Résumé: À partir de la fin des années 1960 et jusqu'au milieu des années 1980, l'ukulélé fut l'étincelle qui déclencha un programme de musique extrascolaire dans le système scolaire d'Halifax. Ignorant les connotations de futilité associées à cet instrument, le directeur de l'enseignement musical a redéfini sa valeur d'usage, battant le rappel des enseignants, majoritairement des femmes, et des mères bénévoles, pour renouveler sa diffusion. L'instrument lui-même fut redessiné physiquement et acoustiquement pour en faire une technique d'inclusion servant à attirer des multitudes de femmes et de filles du Canada atlantique, mais très peu de garçons. Cet article tient compte des différences de genre dans le fait de se mettre à jouer du ukulélé pendant cette période. "M usical instruments mean" (Qureshi 1997: 1). Human actors encode them with significance. The 'ukulele, modelled after instruments transplanted to Hawai'i by Portuguese labourers in 1879, is a technology that, upon entering global circuits of performance and consumption in the early 20th century, has enjoyed waves of popularity (Tranquada and King 2012). 1 It has meant different things in different hands, at different moments in history. In the hands of 1930s British stage and screen star, George Formby, the 'ukulele (or banjolele) was a vehicle for musical virtuosity and risqué humour. In Hawai'i-themed films from the 1960s, 2 Elvis Presley's characters used 'ukulele to "other" themselves and to seduce. In Tiny Tim's hands, it was
Yearbook for Traditional Music, 2012
In the first half of the twentieth century, Newfoundland in particular was a mecca for collectors... more In the first half of the twentieth century, Newfoundland in particular was a mecca for collectors from abroad, among them Maud Karpeles (one of the founders of the IFMC) whose achievements as scholar and cultural mobilizer were recognized at the 2011 conference in an exhibit curated by Anna Guigne, ICTM Executive Board members and family members of singers who had recorded for Karpeles attended the launch of the exhibit just prior to the opening of the world conference. Only in the late 1960s did ethnomusicology become part of the music curricula in Canadian universities. The discipline's rapid growth in the late twentieth and early twenty-first centuries (see Diamond 2006) was evident in the participation of more than one hundred Canadian delegates in the St. John's conference of2011. A collaborator in the organization of the ICTM meeting was the Canadian Society for Traditional Music / La Societe canadienne des traditions musicales, founded by Barbeau in 1956, but revitalized in the past decade as a vibrant forum for ethnomusicological exchange. As advertised on their website, the CSTM/SCTM's broad outlook is congruent with the inclusiveness of the ICTM.
New Directions for Teaching and Learning, 1989
Baumgartner, E. (2007). A professional development teaching course for science graduate students.
Berghahn Books, Dec 31, 2022
Journal of American Folklore, 2009
... to clearly isolate the ways in which his chant might directly quote mele oli or mele hula or ... more ... to clearly isolate the ways in which his chant might directly quote mele oli or mele hula or how it might be what Boris Asafiev would call an intonation (quoted in Pisani 2005:190 ... 2. The Kamehameha School for Boys was founded in 1887 by the Bernice Pauahi Bishop Estate. ...
Yearbook for Traditional Music, 2016
Yearbook for Traditional Music, 2014
Indigenous modernities, a phrase which we have cast in the plural for this specially themed issue... more Indigenous modernities, a phrase which we have cast in the plural for this specially themed issue of MUSICultures, is a concept that has been infrequently defined though widely used in Indigenous circles in the Americas, Europe, and Australasia during the past decade.1 Both “indigenous ” and “modernities ” are
The Journal of the Acoustical Society of America, 1996
This paper is based on results of research undertaken at the Kamehameha Schools, Hawaii’s only pr... more This paper is based on results of research undertaken at the Kamehameha Schools, Hawaii’s only private school for native Hawaiians. The Kamehameha Schools are renowned for their Hawaiian‐language choral singing tradition and their unique choral timbre, which is often described as ‘‘dark’’ and ‘‘sensual.’’ The first part of the paper addresses features of the Hawaiian language that may contribute to this choral sound and the symbolic significance of Kamehameha students singing in their ancestral language. The second part addresses how Kamehameha students apprehend music. They prefer vocal music to purely instrumental music, and focus much of their attention on timbre. In addition to describing vocal timbre with adjectives like ‘‘warm’’ or ‘‘harsh,’’ they interpret timbre socially, i.e., they impute personal attributes to singers on the basis of their sound quality. This phenomenon parallels other kinds of Hawaiian communicative practice, where individuals interpret expressive cues to determine others’ comm...
From the late 1960s to mid-1980s, ‘ukulele was the spark plug of an extracurricular music program... more From the late 1960s to mid-1980s, ‘ukulele was the spark plug of an extracurricular music program in the Halifax school system. Ignoring the instrument’s novelty associations, the Supervisor of Music Education redefined its use value, calling on mostly female teachers and volunteer mothers to propagate it anew. The instrument itself was redesigned physically and acoustically as a technology of inclusion, attracting multitudes of women and girls in Atlantic Canada, but few boys. This article accounts for gendered differences in the uptake of ‘ukulele during this period.
New Directions for Teaching and Learning, 1989
Baumgartner, E. (2007). A professional development teaching course for science graduate students.
MUSICultures, 2012
I modernities, a phrase which we have cast in the plural for this specially themed issue of MUSIC... more I modernities, a phrase which we have cast in the plural for this specially themed issue of MUSICultures, is a concept that has been infrequently defined though widely used in Indigenous circles in the Americas, Europe, and Australasia during the past decade.1 Both “indigenous” and “modernities” are complicated and contested terms. Most definitions of “indigenous” recognize the reciprocal ties between people, their land and culture. “Indigenous” might mean simply “native of [a specific place or nation state]” as conceptualized by one of the authors (Léotar) in this volume. In other contexts, additional criteria have been developed. For the purpose of developing such tools as their Declaration on the Rights of Indigenous People, for instance, the United Nations Working Group on Indigenous Peoples (UNWGIP) developed a definition of “Indigenous People” as
Journal of American Folklore, Apr 1, 2012
Musicultures, Oct 25, 2013
Yearbook for Traditional Music, 2014
Berghahn Books, Mar 10, 2021
MUSICultures, Oct 25, 2013
University of Hawaii Press eBooks, Dec 31, 2019
MUSICultures, Oct 30, 2015
From the late 1960s to mid-1980s, 'ukulele was the spark plug of an extracurricular music program... more From the late 1960s to mid-1980s, 'ukulele was the spark plug of an extracurricular music program in the Halifax school system. Ignoring the instrument's novelty associations, the Supervisor of Music Education redefined its use value, calling on mostly female teachers and volunteer mothers to propagate it anew. The instrument itself was redesigned physically and acoustically as a technology of inclusion, attracting multitudes of women and girls in Atlantic Canada, but few boys. This article accounts for gendered differences in the uptake of 'ukulele during this period. Résumé: À partir de la fin des années 1960 et jusqu'au milieu des années 1980, l'ukulélé fut l'étincelle qui déclencha un programme de musique extrascolaire dans le système scolaire d'Halifax. Ignorant les connotations de futilité associées à cet instrument, le directeur de l'enseignement musical a redéfini sa valeur d'usage, battant le rappel des enseignants, majoritairement des femmes, et des mères bénévoles, pour renouveler sa diffusion. L'instrument lui-même fut redessiné physiquement et acoustiquement pour en faire une technique d'inclusion servant à attirer des multitudes de femmes et de filles du Canada atlantique, mais très peu de garçons. Cet article tient compte des différences de genre dans le fait de se mettre à jouer du ukulélé pendant cette période. "M usical instruments mean" (Qureshi 1997: 1). Human actors encode them with significance. The 'ukulele, modelled after instruments transplanted to Hawai'i by Portuguese labourers in 1879, is a technology that, upon entering global circuits of performance and consumption in the early 20th century, has enjoyed waves of popularity (Tranquada and King 2012). 1 It has meant different things in different hands, at different moments in history. In the hands of 1930s British stage and screen star, George Formby, the 'ukulele (or banjolele) was a vehicle for musical virtuosity and risqué humour. In Hawai'i-themed films from the 1960s, 2 Elvis Presley's characters used 'ukulele to "other" themselves and to seduce. In Tiny Tim's hands, it was
Yearbook for Traditional Music, 2012
In the first half of the twentieth century, Newfoundland in particular was a mecca for collectors... more In the first half of the twentieth century, Newfoundland in particular was a mecca for collectors from abroad, among them Maud Karpeles (one of the founders of the IFMC) whose achievements as scholar and cultural mobilizer were recognized at the 2011 conference in an exhibit curated by Anna Guigne, ICTM Executive Board members and family members of singers who had recorded for Karpeles attended the launch of the exhibit just prior to the opening of the world conference. Only in the late 1960s did ethnomusicology become part of the music curricula in Canadian universities. The discipline's rapid growth in the late twentieth and early twenty-first centuries (see Diamond 2006) was evident in the participation of more than one hundred Canadian delegates in the St. John's conference of2011. A collaborator in the organization of the ICTM meeting was the Canadian Society for Traditional Music / La Societe canadienne des traditions musicales, founded by Barbeau in 1956, but revitalized in the past decade as a vibrant forum for ethnomusicological exchange. As advertised on their website, the CSTM/SCTM's broad outlook is congruent with the inclusiveness of the ICTM.
New Directions for Teaching and Learning, 1989
Baumgartner, E. (2007). A professional development teaching course for science graduate students.
Berghahn Books, Dec 31, 2022
Journal of American Folklore, 2009
... to clearly isolate the ways in which his chant might directly quote mele oli or mele hula or ... more ... to clearly isolate the ways in which his chant might directly quote mele oli or mele hula or how it might be what Boris Asafiev would call an intonation (quoted in Pisani 2005:190 ... 2. The Kamehameha School for Boys was founded in 1887 by the Bernice Pauahi Bishop Estate. ...
Yearbook for Traditional Music, 2016
Yearbook for Traditional Music, 2014
Indigenous modernities, a phrase which we have cast in the plural for this specially themed issue... more Indigenous modernities, a phrase which we have cast in the plural for this specially themed issue of MUSICultures, is a concept that has been infrequently defined though widely used in Indigenous circles in the Americas, Europe, and Australasia during the past decade.1 Both “indigenous ” and “modernities ” are
The Journal of the Acoustical Society of America, 1996
This paper is based on results of research undertaken at the Kamehameha Schools, Hawaii’s only pr... more This paper is based on results of research undertaken at the Kamehameha Schools, Hawaii’s only private school for native Hawaiians. The Kamehameha Schools are renowned for their Hawaiian‐language choral singing tradition and their unique choral timbre, which is often described as ‘‘dark’’ and ‘‘sensual.’’ The first part of the paper addresses features of the Hawaiian language that may contribute to this choral sound and the symbolic significance of Kamehameha students singing in their ancestral language. The second part addresses how Kamehameha students apprehend music. They prefer vocal music to purely instrumental music, and focus much of their attention on timbre. In addition to describing vocal timbre with adjectives like ‘‘warm’’ or ‘‘harsh,’’ they interpret timbre socially, i.e., they impute personal attributes to singers on the basis of their sound quality. This phenomenon parallels other kinds of Hawaiian communicative practice, where individuals interpret expressive cues to determine others’ comm...
From the late 1960s to mid-1980s, ‘ukulele was the spark plug of an extracurricular music program... more From the late 1960s to mid-1980s, ‘ukulele was the spark plug of an extracurricular music program in the Halifax school system. Ignoring the instrument’s novelty associations, the Supervisor of Music Education redefined its use value, calling on mostly female teachers and volunteer mothers to propagate it anew. The instrument itself was redesigned physically and acoustically as a technology of inclusion, attracting multitudes of women and girls in Atlantic Canada, but few boys. This article accounts for gendered differences in the uptake of ‘ukulele during this period.
New Directions for Teaching and Learning, 1989
Baumgartner, E. (2007). A professional development teaching course for science graduate students.
MUSICultures, 2012
I modernities, a phrase which we have cast in the plural for this specially themed issue of MUSIC... more I modernities, a phrase which we have cast in the plural for this specially themed issue of MUSICultures, is a concept that has been infrequently defined though widely used in Indigenous circles in the Americas, Europe, and Australasia during the past decade.1 Both “indigenous” and “modernities” are complicated and contested terms. Most definitions of “indigenous” recognize the reciprocal ties between people, their land and culture. “Indigenous” might mean simply “native of [a specific place or nation state]” as conceptualized by one of the authors (Léotar) in this volume. In other contexts, additional criteria have been developed. For the purpose of developing such tools as their Declaration on the Rights of Indigenous People, for instance, the United Nations Working Group on Indigenous Peoples (UNWGIP) developed a definition of “Indigenous People” as
Journal of American Folklore, Apr 1, 2012
Musicultures, Oct 25, 2013