scholarly journals Last Rites: Self-Representation and Counter-Canon Practices in Classical Music through Radhe Radhe

2021 ◽  
Author(s):  
Sharanya Murali
Keyword(s):  
Performing Arts ◽  
Classical Music ◽  
First Century ◽  
Indian American ◽  
Chapel Hill ◽  
Live Music ◽  
Rite Of Spring ◽  
Performance Traditions ◽  
The University ◽  
Western Classical Music

To commemorate the centennial ofthe 1913 Paris premiere of The Rite of Spring, the University of NorthCarolina at Chapel Hill organised The Rite of Spring at 100. As part ofthis, the Carolina Performing Arts (CPA) commissioned new pieces interpretingand responding to The Rite. Among these was Radhe Radhe: Ritesof Holi, created by the Indian-American composer-scholar and pianist VijayIyer, performed by the International Contemporary Ensemble, and accompanied by afilm about Holi—the annual Hindu harvest festival—assembled by filmmakerPrashant Bhargava. Radhe Radhe eventually took the form of a performancedocument mediated between live music and film, as well as culturally divergentnotions of ‘ritual’.   This article will ask, consideringBhargava’s film and Iyer’s score, along with documentation of live chamberperformances of the piece: how does ‘western’ classical music represent itselfin the twenty-first century? In what ways is self-representation performed in anintercultural collaboration such as Radhe Radhe that destabilises thedominant whiteness of the classical music canon by reimagining its soundscapein reference to a canonical work such as The Rite? Radhe Radhe—andIyer’s score in particular—I propose, echoes as a sonic postcolonial ur-textthrough its engagement with Holi. As an instance of the Deleuzian simulacrum,it represents a radical departure from the cultural politics of ‘everyday colonialracism’ (Levitz 2017: 163) surrounding the 1913 Rite, by employing a collaborativevocabulary that resists the hegemonic performance traditions of westernclassical music.

scholarly journals Performance Anxiety in Western Classical Music: A Malaysian Study

2020 ◽  
Vol 1 (2) ◽  
pp. 227-230
Author(s):  
Rita Mardhatillah Binti Umar Rauf ◽  
Faezah Hamdan
Keyword(s):  
Classical Music ◽  
Performance Anxiety ◽  
The Body ◽  
Stage Fright ◽  
Important Relationship ◽  
The University ◽  
Western Classical Music ◽  
University Setting ◽  
Symptoms And Signs

Although performance anxiety is a common problem in life, there are only a few studies on this subject in Malaysia. This article presents the expansion to the body of literature on this important relationship between performance anxiety in Western Classical Music. Millions of people suffer and may experience from performance anxiety, which commonly called as ‘stage fright’. Worst of all, it may prevent a musician from doing what they enjoy or quit from performing which can effect the career. The knowledge affecting to symptoms and signs anxiety during adolescence among students could help if possible areas can be highlighted for the mediating and prevention on the subjects which may assist Malaysian youths in the university setting so they can control the emotions and reduce the anxiety

J.H. Kwabena Nketia

Music ◽  
2021 ◽  
Keyword(s):  
Instrumental Music ◽  
Performing Arts ◽  
Classical Music ◽  
Rockefeller Foundation ◽  
Field Research ◽  
The United States ◽  
African Studies ◽  
London School ◽  
Birkbeck College ◽  
The University

Joseph Hanson Kwabena Nketia (b. 22 June 1921–d. 13 March 2019) from Ghana was the preeminent scholar of African musics, whose field research in the 1940s in varied ways formed the foundation of music scholarship in Africa and predated ethnomusicology as an academic discipline in the United States. A prolific writer, music educator, and composer, his publications on key topics in African musicology are pivotal to the transdisciplinary field of African studies. Born and raised in Asante Mampong, Nketia was tutored in two worlds of knowledge systems: his traditional musical environment generated and sustained a lifelong interest in indigenous systems, and his European-based formal education provided the space for scholarship at home and around the world. At the Presbyterian Training College at Akropong-Akwapem, he was introduced to the elements of European music by Robert Danso and Ephraim Amu. The latter’s choral and instrumental music in the African idiom made a lasting impression on Nketia as he combined oral compositional conventions in traditional music with compositional models in European classical music in his own written compositions. From 1944 to 1949, Nketia studied modern linguistics in SOAS at the University of London. His mentor was John Firth, who spearheaded the famous London school of linguistics. He also enrolled at the Trinity College of Music and Birkbeck College to study Western music, English, and history. The result of his studies in linguistics and history are the publications of classic texts cited in this bibliography. From 1952 to 1979, Nketia held positions at the University of Ghana including a research fellow in sociology, the founding director of the School of Performing Arts, and the first African director of the Institute of African Studies; and together with Mawere Opoku, he established the Ghana Dance Ensemble. This was a time that he embarked on extensive field research and documentation of music traditions all over Ghana. His students and the school provided creative outlets for his scholarly publications as he trained generations of Ghanaians. In 1958, a Rockefeller Foundation Fellowship enabled Nketia to study composition and musicology at Juilliard and Columbia with the likes of Henry Cowell, and he came out convinced that his compositions should reflect his African identity. Further, he interacted with Curt Sachs, Melville Herskovits, Alan Merriam, and Mantle Hood, which placed Nketia at the center of intellectual debates in the formative years of ethnomusicology. From 1979 to 1983, Nketia was appointed to the faculty of the Institute of Ethnomusicology at UCLA; and from 1983 to 1991, to the Mellon Chair at the University of Pittsburgh, where he trained generations of Americans and Africans. Nketia returned to Ghana and founded the International Center for African Music and Dance (1992–2010) and also served as the first chancellor of the Akrofi-Christaller Institute of Theology (2006–2016). Joseph Hanson Kwabena Nketia died in Accra and was honored with a state burial on 4 May 2019 by the Government of Ghana.

The Unanswered Question: Music and Theory of Religion

2014 ◽  
Vol 26 (1) ◽  
pp. 22-43 ◽  
Author(s):  
Christopher I. Lehrich
Keyword(s):  
Classical Music ◽  
Max Weber ◽  
Unanswered Question ◽  
Founding Fathers ◽  
Theory Of Religion ◽  
Rite Of Spring ◽  
Universal Category ◽  
Western Imagination ◽  
Johan Huizinga ◽  
Western Classical Music

Abstract Several of the great “founding fathers” of theory of religion discerned a deep connection between religion and music, particularly Western “classical” music. Our relatively recent acceptance that “religion” as universal category was an early modern European invention should prompt suspicion that this connection is historically specific. Yet while scholars in many disciplines have recognized the importance of music in Western imagination, modern scholars of religion have largely ignored it. This article surveys three important discussions of music and religion, in Rudolf Otto, Johan Huizinga, and Max Weber, to provide groundwork for rethinking an important, unanswered question. In conclusion, some preliminary remarks are made about reconstituting this question in contemporary theory, using a brief discussion of Igor Stravinsky’s Rite of Spring to suggest the potential value of treating Western music as a discourse of imagining religion.

scholarly journals STTEP by STEPP in the spirit of Umuntu ungumuntu ngabantu

2012 ◽  
Vol 29 (1) ◽  
pp. 75-89
Author(s):  
Caroline van Niekerk ◽  
Maria Typpo
Keyword(s):  
Classical Music ◽  
Case Study Research ◽  
Spelling Error ◽  
University Of Pretoria ◽  
Hybrid Data ◽  
African Youth ◽  
The Right ◽  
The University ◽  
Western Classical Music

In a recent article, ‘Sttepping in the right direction? Western classical music in an orchestral programme for disadvantaged African youth’, ‘sttepping’ was noted as no spelling error. The same applies here; reference is to STTEP Music School, an outreach project at the University of Pretoria. STTEP teaches the playing of orchestral instruments, plus background areas like music theory, to disadvantaged learners. Ethnographic and case study research of STTEP, its teachers, pupils and administrators, over the period 2005–2009 was conducted within a sociological meta-theoretical framework. From the hybrid data obtained, conclusions have been drawn, including on observed effects of the African philosophy Ubuntu.

Inverting the Formula: Devising through Adaptation

2017 ◽  
Vol 33 (3) ◽  
pp. 240-253
Author(s):  
Frank Camilleri
Keyword(s):  
Performing Arts ◽  
Associate Professor ◽  
First Century ◽  
Research Centre ◽  
Theatre Studies ◽  
The Subject ◽  
Performance Project ◽  
Or Organization ◽  
The University ◽  
Artistic Director

Adaptation in contemporary performance takes on different forms and engages various strategies. In this article, Frank Camilleri explores the subject in terms of compositional devising via his practice as research in the area. He considers adaptation as a process of adjustment and modification that occurs at the level of format or organization, and which results from a change in context. He proposes terminological and structural frameworks, namely types, movements, modes, and phases of adaption. These taxonomies are then subsequently exemplified through three case studies from the author's performance and pedagogical work. Frank Camilleri is Associate Professor in Theatre Studies at the University of Malta, where he is Director of the School of Performing Arts and leads P21 (Performance 21), the research centre for Twenty-first Century Studies in Performance. He is Artistic Director of Icarus Performance Project and co-edits the Routledge/Icarus ‘Theatre as a Laboratory’ series.

A Tracer Study of ICT Graduate Students at Mzuzu University, Malawi

Mousaion ◽  
2019 ◽  
Vol 36 (3) ◽  
Author(s):  
Chimango Nyasulu ◽  
Winner Chawinga ◽  
George Chipeta
Keyword(s):  
Language Processing ◽  
Mobile Application ◽  
First Century ◽  
Application Development ◽  
Job Requirements ◽  
Level Of Satisfaction ◽  
Information And Communication ◽  
Quantitative Design ◽  
The Right ◽  
The University

Governments the world over are increasingly challenging universities to produce human resources with the right skills sets and knowledge required to drive their economies in this twenty-first century. It therefore becomes important for universities to produce graduates that bring tangible and meaningful contributions to the economies. Graduate tracer studies are hailed to be one of the ways in which universities can respond and reposition themselves to the actual needs of the industry. It is against this background that this study was conducted to establish the relevance of the Department of Information and Communication Technology at Mzuzu University to the Malawian economy by systematically investigating occupations of its former students after graduating from the University. The study adopted a quantitative design by distributing an online-based questionnaire with predominantly closed-ended questions. The study focused on three key objectives: to identify key employing sectors of ICT graduates, to gauge the relevance of the ICT programme to its former students’ jobs and businesses, and to establish the level of satisfaction of the ICT curriculum from the perspectives of former ICT graduates. The key findings from the study are that the ICT programme is relevant to the industry. However, some respondents were of the view that the curriculum should be strengthened by revising it through an addition of courses such as Mobile Application Development, Machine Learning, Natural Language Processing, Data Mining, and LINUX Administration to keep abreast with the ever-changing ICT trends and job requirements. The study strongly recommends the need for regular reviews of the curriculum so that it is continually responding to and matches the needs of the industry.

Sign in / Sign up

Export Citation Format

Share Document