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E-raamat: World Music Pedagogy, Volume VII: Teaching World Music in Higher Education: Teaching World Music in Higher Education [Taylor & Francis e-raamat]

(University of North Texas, USA), (Western Norway University of Applied Sciences, Norway), (University of Washington, USA)
  • Formaat: 214 pages, 2 Tables, black and white; 23 Line drawings, black and white; 19 Halftones, black and white; 42 Illustrations, black and white
  • Sari: Routledge World Music Pedagogy Series
  • Ilmumisaeg: 31-Aug-2020
  • Kirjastus: Routledge
  • ISBN-13: 9780429278617
  • Taylor & Francis e-raamat
  • Hind: 180,03 €*
  • * hind, mis tagab piiramatu üheaegsete kasutajate arvuga ligipääsu piiramatuks ajaks
  • Tavahind: 257,19 €
  • Säästad 30%
  • Formaat: 214 pages, 2 Tables, black and white; 23 Line drawings, black and white; 19 Halftones, black and white; 42 Illustrations, black and white
  • Sari: Routledge World Music Pedagogy Series
  • Ilmumisaeg: 31-Aug-2020
  • Kirjastus: Routledge
  • ISBN-13: 9780429278617

World Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches.

These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.

Series Foreword xii
Patricia Shehan Campbell
Acknowledgments xvii
Episodes and Activities xix
Chapter 1 Teaching and Learning in Context
1(2)
Setting the Scene for Courses in World Music Studies
3(2)
Music in Higher Education: Tradition and Change
5(2)
Teaching World Music in Higher Education
7(2)
Pluralism, Innovation, and Interdisciplinary Study
8(1)
Core Matters of Culturally Inclusive Music Programs
9(5)
Acknowledging Positionality and Personal Limitations
10(4)
Ethnomusicology and World Music: Overlaps and Distinctions
14(1)
World Music Pedagogy
15(3)
Overview of the Book
18(2)
WMP and the Road Ahead
20(1)
Glossary
20(1)
References
21(2)
Chapter 2 Attentive Listenings for Cultural Awakenings
23(25)
More Than Just Music From "Far Away Lands"
25(3)
Taking the Initial Dive Into WMP: Attentive Listening
28(3)
Finding Quality Repertoire
30(1)
Focusing on Sonic Features
31(1)
Cultural Awakenings Through Attentive Listening Experiences
32(9)
Two Nations Under One Sky: Iraqi Oud and Iranian Santur (Learning Pathway #1)
32(2)
A Tale of Tahitian Mourning (Learning Pathway #2)
34(2)
Poetic Expressions of Puerto Rican Pride (Learning Pathway #3)
36(2)
Rhythm and Melody in Basque Country
38(1)
Recreational Music From the Central Region of Ghana
39(2)
Facilitating Student-Centered Experiences With Large Classes
41(2)
Small Group Work
41(1)
Checking for Understanding
42(1)
From Large Lectures to Small Seminars
43(2)
Attentive Listening Toward Participatory Musicking
45(1)
Glossary
46(1)
Notes
46(1)
References
47(1)
Listening Links
47(1)
Chapter 3 Participatory Musicking: Engaged Listening and Enactive Listening
48(28)
"But I'm Not a Musician!" and Other Participatory Pretexts
50(1)
Establishing a Climate of Musical Participation
51(1)
Principles of Engaged and Enactive Listening
52(2)
Finding the Groove and Performing Rhythms
53(1)
Performing Melodies and Harmonies
53(1)
Participatory Musicking With Learning Pathways
54(10)
Additional Engaged and Enactive Listening Exemplars
64(5)
A Mardi Gras Indian Chant
64(2)
Tango Criollo and the Bandoneon
66(1)
Cameroonian Baka Music
67(2)
The DIY of WMP: Toward Immersive Cultural Encounters
69(4)
From Participating to Performing World Music
73(1)
Glossary
74(1)
Notes
74(1)
References
74(2)
Listening Links
75(1)
Chapter 4 Performing World Music
76(29)
Inroads to Performing World Music
77(1)
Fostering a Music-Making Culture
78(1)
Benefits of Performing World Music
79(3)
Practicalities in Performing World Music
82(2)
Finding the Time
82(1)
Nurturing Vocal Skills
83(1)
Applying Instrumental Skills
83(1)
Venues and Functions for Performing World Music
84(1)
The Course as Launch to the Ensemble
85(1)
Guidelines for Performing Recommended Selections
86(9)
Performing Middle Eastern Fusion Music
87(3)
Performing a Tahitian Elegy
90(3)
Performing Jibaro of Puerto Rico
93(2)
Implementing Performances in World Music Pedagogy
95(7)
Performance as the Culmination of Sustained Listening
102(1)
Glossary
103(1)
Notes
103(1)
References
103(2)
Listening Links
104(1)
Chapter 5 Creating World Music
105(29)
Creativity From a Global Lens
107(1)
Reigniting Creativity in Higher Ed Classrooms
108(1)
Creating World Music: Strategies and Considerations
109(6)
Motivic Composition
111(1)
Lyrical Composition and Improvisation
112(3)
Full-Fledged Improvisation
115(6)
Improvising With "Jarabi" From Mali
117(4)
Arranging Folk Songs
121(2)
Employing App-Based Technology
123(8)
Composing With Digital Pipa
124(7)
The Pinnacle of Artistic Expression
131(1)
Glossary
131(1)
Notes
132(1)
References
132(2)
Listening Links
132(2)
Chapter 6 Integrating World Music
134(30)
Integration and Music
135(2)
Disciplines as Lenses for Integrating World Music
137(1)
Interdisciplinarity and the Ethnomusicological Approach
138(1)
Integration and World Music Pedagogy
139(22)
Interdisciplinary Knowledge and World Music Pedagogy
146(1)
Interdisciplinary Theme 1 Islam, Women, and Music
146(2)
Interdisciplinary Theme 2 Indigenous Peoples and the Environment
148(5)
Interdisciplinary Theme 3 Autocracy and World Peace
153(2)
Interdisciplinary Theme 4 Human Migration in History
155(6)
Integration for Robust Understandings
161(1)
Glossary
162(1)
Notes
162(1)
References
162(2)
Listening Links
162(2)
Chapter 7 Surmountable Challenges and Worthy Outcomes
164(20)
Developing Musical-Cultural Understanding
165(1)
Challenges and Solutions to Teaching World Music
166(5)
Preliminaries and Set-Ups
166(1)
Course Content
167(2)
Sources and Resources
169(2)
Pedagogical Essentials
171(6)
Developing a World Music Syllabus
172(4)
Designing Short- and Long-Term Assignments
176(1)
Ethnomusicological Principles for Pedagogical Application
177(5)
Emic-Etic Views
178(1)
Orality-Aurality
178(1)
Interdisciplinarity
179(1)
Othering, Tokenizing, and Essentializing
180(1)
Cultural Appropriation vs. Cultural Appreciation
180(1)
Authenticity
181(1)
Toward a More Mindful Pedagogy of World Music Cultures
182(1)
Glossary
182(1)
Notes
183(1)
References
183(1)
Appendix 1 Learning Pathways 184(22)
Appendix 2 Additional Resources 206(3)
Index 209
William J. Coppola is assistant professor of music education at the University of North Texas. He is co-author of World Music Pedagogy, Volume IV: Instrumental World Music, and is a Smithsonian Folkways World Music Pedagogy certified music educator.

David G. Hebert is a Professor at Western Norway University of Applied Sciences, Professor-II at Lund University, and Manager of Nordic Network for Music Education.

Patricia Shehan Campbell is Donald E. Petersen Professor at the University of Washington. She is editor of the Routledge World Music Pedagogy Series, and board member for Smithsonian Folkways Recordings and the Association for Cultural Equity.