In Ethnomusicologizing: Essays on Music in the New Paradigms, composer and musicologist brings together a series of essays on music making in contemporary culture. More specifically, it focuses on the myriad ways we engage with musicas makers, as listeners, as consumers, as producers. Banfield labels this fully engaged process as “ethnomusicologizing,” as he explores the ways we create, share, teach, and discuss music. Throughout he argues that music is more than the experience of structured sound. It is rather a way of being more critically present as musicians and as citizens of sharing in the world itself.
Ethnomusicologizing contains writings on contemporary music and culture studies, offering glimpses on more than just music history through reflective essays, interviews with contemporary artists, and exercises in the analysis and criticism of popular culture. In this work, Banfield instructs readers in the ways by which we may better appreciate and understand creative artistry and process, and their relation to history and its meaning. The essays comprise a choir of voices and perspectives that provide insight into contemporary music culture that provide readers a text that uses his own experiences as a musicianand in particular his travels through the musical world of Cubaas well as his takes on contemporary popular recording artists, American music traditions, and music education to explore every aspect of creating, performing, and being in music.
Offering many points of entry into the idea that musical experience, global citizenship and community-mindedness are all parts of a greater whole, Ethnomusicologizing encourages artists and readers to talk about the meaning of musicand art more generallyin entirely new ways.
|Publisher:||Rowman & Littlefield Publishers, Inc.|
|Series:||African American Cultural Theory and Heritage Series|
|Edition description:||New Edition|
|Product dimensions:||5.90(w) x 8.90(h) x 1.40(d)|
About the Author
Bill Banfield serves as professor of Africana Studies / Music and Society, composition, and graduate history studies at the Berklee College of Music. He is director of the Center for Africana Studies. An award-winning composer, former Pulitzer Prize judge, jazz guitarist, recording artist, and public radio show host, he is the author of six books on music, arts, cultural criticism, and history.
Table of Contents
Keeping the Core Creative Soul-Spirit
Part 1: Theory: Music Thinking Theories, Teaching, and Approaches
Chapter 1: Ethnomusicologizing: The Way Forward, Cultural Relevancy
Chapter 2: Ethnomusicology Studies in Music Culture
Chapter 3: Popular Music Culture: How to Teach and Reach within Popular Music
Chapter 4: Black Music Matters
Chapter 5: Notes From Cuba
Chapter 6: The “I Theory”
Part 2: History: Backbones, Songs
Chapter 7: A Progressive View of American Popular Music History, 1948-2014
Chapter 8: American Mavericks Interviews
Chapter 9: Harlem Renaissance 1920-1935: Artistry, Aesthetics, Politics and Popular Culture
Chapter 10: CBMR Letter
Chapter 11: Mom, Dad, and the Making of Symphony 10 with Sweet Honey In The Rock
Part 3: Culture: New Standards, Cultural Critique
Chapter 12: Wake up! What Time is It Really? Who Turns it Up, Down, and Back?: Values on The Cultural Dial
Chapter 13: Does Our Music Still Bring The Good News Of The Day?
Chapter 14: On The Crisis of Popular Arts and Society: Steps Ahead
Chapter 15: The Problem With Jazz
Chapter 16: Review of George Lewis, Les Exercices Spirituels
Chapter 17: Don’t Use the “J word”: Jazz in its Connections to Culture and Meaning
Chapter 18: From Hip-Hop To Zombie Nation
Chapter 19: Critical Culture Concerns Today
Chapter 20: The Songs We Need To Be Hearing Again: Music Culture and A Musician’s Credo To Citizenry
Postlude: Afterthought on Ethnomusicologizing