University Geographies and Folk Music Landscapes

2016 ◽  
Vol 33 (1) ◽  
pp. 92-116 ◽  
Author(s):  
David K. Blake

By examining folk music activities connecting students and local musicians during the early 1960s at the University of Illinois at Urbana-Champaign, this article demonstrates how university geographies and musical landscapes influence musical activities in college towns. The geography of the University of Illinois, a rural Midwestern location with a mostly urban, middle-class student population, created an unusual combination of privileged students in a primarily working-class area. This combination of geography and landscape framed interactions between students and local musicians in Urbana-Champaign, stimulating and complicating the traversal of sociocultural differences through traditional music. Members of the University of Illinois Campus Folksong Club considered traditional music as a high cultural form distinct from mass-culture artists, aligning their interests with then-dominant scholarly approaches in folklore and film studies departments. Yet students also interrogated the impropriety of folksong presentation on campus, and community folksingers projected their own discomfort with students’ liberal politics. In hosting concerts by rural musicians such as Frank Proffitt and producing a record of local Urbana-Champaign folksingers called Green Fields of Illinois (1963), the folksong club attempted to suture these differences by highlighting the aesthetic, domestic, historical, and educational aspects of local folk music, while avoiding contemporary socioeconomic, commercial, and political concerns. This depoliticized conception of folk music bridged students and local folksingers, but also represented local music via a nineteenth-century rural landscape that converted contemporaneous lived practice into a temporally distant object of aesthetic study. Students’ study of folk music thus reinforced the power structures of university culture—but engaging local folksinging as an educational subject remained for them the most ethical solution for questioning, and potentially traversing, larger problems of inequality and difference.

Author(s):  
Peter Gough ◽  
Peggy Seeger

This chapter explores California's Federal Music Project (FMP), which produced the largest, most comprehensive and eclectic of the Music Projects in the western region. More than in any other state outside of New York, the opera proved quite popular in California, and musical productions drew tremendous critical praise and public interest. African American choral groups in both the Bay Area and Los Angeles also garnished much approval and remained some of the most popular of all Federal One efforts. Moreover, the California Folk Music Project—cosponsored by the University of California, Berkeley—collected and preserved an extensive array of traditional music, and several orquestas tipicas in Southern California grew and public approval. Federal Music in California also engaged the first female conductor of a major symphony orchestra.


2021 ◽  
pp. 8-24
Author(s):  
Andrew Zangwill

Anderson’s parents come from academic families in Indiana. Phil and his sister Grace grew up in Urbana, Illinois because their father was a plant pathologist at the University of Illinois (UI). Mother Elsie demanded academic excellence and respect for others. Father Harry was a model of integrity, a fact displayed during the so-called Krebiozen affair. The Depression affected the family relatively little and Phil acquired his lifelong liberal politics from a UI social group called the Saturday Hikers. At age twelve, he accompanies his family to Europe (a sabbatical for his father) where they observe the rise of Nazism. Phil attends and excels at the University High School where he enjoys math, tennis, and speed skating, but not physics. He wins a National Scholarship to attend Harvard University with a plan to major in mathematics.


2016 ◽  
Vol 1 (5) ◽  
pp. 4-12
Author(s):  
David P. Kuehn

This report highlights some of the major developments in the area of speech anatomy and physiology drawing from the author's own research experience during his years at the University of Iowa and the University of Illinois. He has benefited greatly from mentors including Professors James Curtis, Kenneth Moll, and Hughlett Morris at the University of Iowa and Professor Paul Lauterbur at the University of Illinois. Many colleagues have contributed to the author's work, especially Professors Jerald Moon at the University of Iowa, Bradley Sutton at the University of Illinois, Jamie Perry at East Carolina University, and Youkyung Bae at the Ohio State University. The strength of these researchers and their students bodes well for future advances in knowledge in this important area of speech science.


1992 ◽  
Vol 2 (2) ◽  
pp. 215-245
Author(s):  
Winton U. Solberg

For over two centuries, the College was the characteristic form of higher education in the United States, and the College was closely allied to the church in a predominantly Protestant land. The university became the characteristic form of American higher education starting in the late nineteenth Century, and universities long continued to reflect the nation's Protestant culture. By about 1900, however, Catholics and Jews began to enter universities in increasing numbers. What was the experience of Jewish students in these institutions, and how did authorities respond to their appearance? These questions will be addressed in this article by focusing on the Jewish presence at the University of Illinois in the early twentieth Century. Religion, like a red thread, is interwoven throughout the entire fabric of this story.


2020 ◽  
Vol 14 (2) ◽  
pp. 23-43
Author(s):  
Omi S. Salas-SantaCruz

In this article, the author explores the concept of terquedad or waywardness as a blueprint towards gender/queer justice in education. Using María Lugones’s (2003) theorizing resistance against multiple oppressions, the author presents Gloria Anzaldúa’s' writings in Borderlands/La Frontera (1987) and This Bridge Called My Back (1981/2015) as a project of storying the plurality of terquedad. In doing so, the author calls for a theory and praxis of terquedad as a framework to understand the embodied resistances queer and trans-Latinx/e students deploy as textual inconveniences to push back and resist the “institutional grammars” of U.S. universities (Crawford & Ostrom, 1995; Bonilla-Silva, 2012). Through a plática methodology (Fierros & Delgado Bernal, 2016), the author introduces Quiahuitl, a doctoral student engaging with a praxis of terquedad when confronted with institutional and sexual violence as she moves within and against the geographies and power structures of the university.


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