Guest Editor's preface (original) (raw)
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European Journal of Research , 2020
Ethnomusicology, formerly known as Comparative Musicology (Ethnomusicology Newsletter in 1953) is a theoretical subject which is the combination of archiving, research, teaching & learning, presentation, outreaching, interviewing, gathering data, observation, documenting musical tradition, for the development of human being, global development, community sustainability, peace and harmony, social integrity, justice, health and education. It is music like other music through singing, dancing, playing instruments, drama, poetry (Ramayana, a great Indian epic written by a great monk and poet Tulsi Das, it reflexes nationalism, music folklore, ethnology (Giving Voice to Hope for Liberia, a refugee camp in Ghana's village is the combination of nationalism, folklore and ethnology, international folk music council, a UNESCO affiliated organization created for international cooperation manifested in the creation of the United Nations). The paper aims to explore Ethnomusicology as an independent subject from the subject of Musicology and to know traditional music from around the world through its participatory research activities within the community and in the classroom. The outcome is to establish and understanding its glimpses to the society, its complexity through social, economic, cultural bonds in every ethnic and traditional community such as discover of Pigmy Community through the reading of Rain Forest. The question is how does Ethnomusicology work as a medication for the deprived community from the ancient world to the present world? The future activities are to expand its various roots by writing and researching especially to know about the music of lost communities from humanity such as Maya civilization.
Discovering Metis and Inuit Dance Music ' Saturday , October 31
2002
s from the 1998 Conference Friday evening, October 30 Richard Burleson: "The Pen and the Voice: Approaches to Aboriginal Music in the Academic Setting" These styles of music have been embraced by Newfoundlanders everywhere and can be found throughout the island in bars, folk festivals, and the mass media. For many, there is little difference between the traditional and the contemporary, for they share many elements, especially in textural content. Newfoundlanders have embraced certain aspects of their music and have created new ones in an attempt to maintain their unique identity, despite the ever increasing presence of music from outside. In this paper I will attempt to better define what Newfoundland music is, demonstrating its different perceptions by various groups of people. I will be looking at musical and textural changes, such as the retention of traditional instruments in combination with non-traditional ones, and the mixing of older texts and songs with newer one...
2013
textbook itself. The links accompanying Miller and Shahriari’s textbook are better, although most are for institutions and commercial enterprises rather than for sites providing supplemental information or relevant activities. Happily, each textbook website provides some innovative materials. Titon, for example, includes the Japan chapter that appeared in earlier editions of the textbook but which was deleted from the current edition. A spectacular resource is the “World Music Resource Center,” which provides relevant YouTube and other videos, iTunes lists (although these are annoyingly only available through the US store), and instrument flashcards featuring an image of the instrument, an audio clip, and relevant information. The videos would be even more useful if they were annotated. Miller and Shahriari offer a number of additional musical examples, a handful of articles, a healthy selection of YouTube videos to accompany each chapter, chapter powerpoint presentations, and some ...