scholarly journals Music‐making in the community with people living with dementia and care‐partners – ‘I'm leaving feeling on top of the world’

2021 ◽  
Author(s):  
Sarah K. Smith ◽  
Anthea Innes ◽  
Sophie Bushell
Keyword(s):  
Music Making ◽  
Care Partners ◽  
The World

Contemplating Compilations

2017 ◽  
Author(s):  
Joseph Pate ◽  
Brian Kumm
Keyword(s):  
Music Making ◽  
Van Manen ◽  
The World ◽  
The Creation ◽  
Pass Through ◽  
Sound Objects ◽  
Meaningful Experiences ◽  
The Voice ◽  
Max Van Manen

Through this chapter the crafting of compilations is explored as an act, art, and expression of music making, illuminating the listeners’ and compilers’ positions as cocreators of meaning, function, and purpose. Music becomes repositioned and repurposed as found or sound objects that pass through Gaston Bachelard’s triptych of resonance, repercussion, and reverberations, a process of music speaking to so as to speak for individuals’ deeply personal and significantly meaningful experiences. The chapter addresses the question, “What motivates someone to partake in this personally meaningful, vulnerable, and artistic endeavor?” Using Josef Pieper’s conceptions of leisure as celebration, an orientation toward the wonderful, and an act of affirmation, the chapter concludes that the creation and crafting of compilations (e.g., mix tape) affords poetic spaces for connection, enchantment, felt-aliveness, or what Max van Manen called an “incantative, evocative speaking, a primal telling, [whose] aim [is] to involve the voice in an original singing of the world.”

The Steel Heard ‘Round the World: Exposing the Global Reach of Indigenous Musical Journeys with the Hawaiian Steel Guitar

Itinerario ◽  
2017 ◽  
Vol 41 (2) ◽  
pp. 253-274
Author(s):  
John W. Troutman
Keyword(s):  
New Orleans ◽  
International Markets ◽  
Native Hawaiians ◽  
Late Nineteenth Century ◽  
Commercial Music ◽  
Kanaka Maoli ◽  
Music Making ◽  
The World ◽  
Late Nineteenth ◽  
A New Technique

In the late nineteenth century, Kānaka Maoli (Native Hawaiians) physically modified guitars and created a new technique for playing them. In the years that followed, hundreds of Hawaiian troupes, engaging new entertainment circuits that crisscrossed the globe, introduced the world to their “Hawaiian steel guitar,” from Shanghai to London, Kolkata to New Orleans. While performing Hawaiianmele, or songs, with their instrument, they demonstrated new virtues for the guitar’s potential in vernacular and commercial music making in these international markets. Based upon archival research, this essay considers the careers of several Hawaiian guitarists who travelled the world in the early twentieth century, connecting local soundscapes through the proliferation of an indigenous technology.

scholarly journals Music-Makers and Reformed Theology

2017 ◽  
Vol 3 (1) ◽  
pp. 77
Author(s):  
Jahdiel N Perez
Keyword(s):  
Final Part ◽  
Reformed Theology ◽  
Christian Churches ◽  
Music Making ◽  
The World ◽  
Christian Apologetics ◽  
The Church ◽  
Unique Power

ABSTRACT: If Reformed theology hopes to impact contemporary and future societies as much as possible it will have to harness the unique power of music to influence the world beyond the walls of the Church. In this essay, I want to draw attention to the ways in which Christianity, in general, and Reformed theology, in particular, are criticized through music and what we can do to respond. I will introduce an approach to Christian apologetics, which I call sonic-apologetics that enables our music-makers to defend the faith musically. In the first part of this paper, I will discuss five problems to which sonic-apologetics is an answer. This will anchor the second part of this essay, in which I construct sonic-apologetics from three notions: (1) methodological emphasis on effects, (2) genres of expression, and (3) the distinction between linear and angled apologetic responses. In the final part of this essay, I present two different study cases of sonic-apologetics. Nothing about what I will discuss regarding sonic-apologetics changing existing liturgical norms of Christian churches, especially Reformed ones. It does, however, call for those producing and performing music in these churches to direct their music-making interests and abilities toward the world outside the church walls. KEYWORDS: reformed theology, music, sonic-apologetics.

“A Wild Sort of Note”

2017 ◽  
Author(s):  
James Revell Carr
Keyword(s):  
Nineteenth Century ◽  
Performing Arts ◽  
Social Conditions ◽  
Expressive Culture ◽  
Multicultural Environment ◽  
Music Making ◽  
The Social ◽  
The World ◽  
Work Song

This chapter addresses Hawaiians' roles in the multicultural environment aboard European and American sailing ships during the nineteenth century, focusing particularly on the expressive culture of American whalers. Whaling ships began regularly calling at Hawaiian ports in 1820, and over the next six decades thousands of Hawaiian men shipped out as whalemen, joining one of the most cosmopolitan workforces in the world. The chapter begins by describing the social conditions aboard American ships that enabled a variety of performing arts to flourish and encouraged intercultural bonding. It then explicates the different styles and contexts of shipboard music starting with the work song tradition known as the sea chantey (or shanty). It describes the recreational music-making activities of sailors, distinct from the work song tradition, providing accounts of Hawaiian singing and dancing aboard ships at sea and in various global ports, and the responses of Euro-American sailors to that music and dance.

Choosing Engaging Tools for the Music Classroom

2021 ◽  
pp. 43-55
Author(s):  
James Thomas Frankel
Keyword(s):  
Case Studies ◽  
Music Teachers ◽  
Music Educators ◽  
Music Classroom ◽  
Software Designers ◽  
Music Making ◽  
The World ◽  
Software And Hardware ◽  
Teaching Learning ◽  
Music Classrooms

Over the course of the past fifty years, countless software and hardware products have been introduced into music classrooms around the world with varying degrees of pedagogical success. The majority of these products were geared toward professional and amateur musicians and composers, only to be introduced to music teachers, either organically (teachers bringing real-world products into their classrooms) or through the efforts of manufacturers to obtain a new revenue stream for their products by selling them to schools. Knowing this, teachers often find it difficult to become aware of, identify, and choose these tools for use in their classroom instruction. The chapter presents key elements in successfully identifying and implementing creative, intuitive, and engaging tools for teaching, learning, and music making in the music classroom, as well as measuring their efficacy. Case studies focusing on the practices of several music educators are presented, including interviews with the software designers to illuminate the process behind innovative design. In addition to these case studies, a discussion of current products and their individual features and design ethos is given, with an emphasis on concepts instead of brands and devices.

The First Harvest

Dearest Lenny ◽  
2019 ◽  
pp. 199-211
Author(s):  
Mari Yoshihara
Keyword(s):  
Health Issues ◽  
Leonard Bernstein ◽  
Music Festival ◽  
Music Making ◽  
Natural Beauty ◽  
The Pacific ◽  
Healing Power ◽  
The World

At the Pacific Music Festival (PMF), Leonard Bernstein poured all he had into communicating the rigor and joy of music making with the young musicians from around the world. Despite his serious health issues, the peace and quiet at the Nidom, a brand new resort surrounded by natural beauty, and the company of his musical family provided remarkable healing power for the maestro. The concert on July 3 at Sapporo Shimin Kaikan was a highlight for the young musicians of the PMF Orchestra, culminating in their performance of Schumann’s Symphony no. 2 conducted by Bernstein. During the festival, Kunihiko Hashimoto attended to every need of Bernstein and his entourage and played a central role in realizing the maestro’s dream in Sapporo.

2. The West and the world

2020 ◽  
pp. 18-36
Author(s):  
Philip V. Bohlman
Keyword(s):  
Balance Of Power ◽  
Folk Songs ◽  
World Music ◽  
Middle Passage ◽  
The West ◽  
Music Making ◽  
The World ◽  
History Of ◽  
Different Cultures

‘The West and the world’ investigates the unequal balance of power in the transcription, recording, and history of world music. World music may have been forged in the ‘Middle Passage’ from Africa to slavery elsewhere, but its musicians were nameless. Their music-making was documented by those with power. Collectors of world music have an anthological impulse, bringing together songs from different cultures. Johann Gottfried Herder’s collection of Volkslieder or ‘Folk Songs’ and two of the first anthologies on record—the Demonstration Collection and Music of the Orient—show that the products of the overarching anthological impulse can be very different.

Community Music Contexts, Dynamics, and Sustainability

2018 ◽  
Author(s):  
Huib Schippers
Keyword(s):  
Community Music ◽  
Music Making ◽  
Key Characteristics ◽  
The World ◽  
The Relationship ◽  
Music Activities

Across the world, much community music-making continues to flourish as ‘organic’ practices. But as communities and their circumstances change, sometimes the need arises for active interventions with the aim to establish or restore. It is mostly these interventions that are now widely referred to as ‘community music activities’. A third—and rarely recognized—aspect on the community music spectrum is institutionalized music-making. Often depicted as the very antithesis of community music-making, I will argue in this chapter that most music institutions in fact arose from an expressed community need, and they are therefore essential in understanding the full scope and dynamics of community music-making. Next, a nine-domain framework of key characteristics of community music practices serves to address the problem of trying to define a great diversity of practices. From there, the discussion moves towards the relationship between community and the sustainability of music practices, introducing the concept of ‘musical ecosystems’.

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