Diane thram (3 resultados)
Yearbook for Traditional Music, Vol. 34 (2002)
Araujo, Samuel (ed.); Wild, Stephen (ed.); Medeiros, Elton; Impey, Angela; Rice, Timothy; García, Miguel A.; Barendregt, Bart; Van Zanten,m Wim; Lucas, Glaura; Thram, Diane; Soon, Lee Tong; Fernando-Marandola, Nathalie; Seeger, Anthony
Editorial: International Council for Traditional Music, Los Angeles, 2002
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Librería: Cat's Cradle Books, Archdale, NC, Estados Unidos de AmericaCat's Cradle Books
Contactar con el vendedorVendedor de 5 estrellasCondición: Usado
EUR 17,63
Gastos de envío gratisSe envía dentro de Estados Unidos de AmericaCantidad disponible: 1 disponibles
Añadir al carritoSoftcover. Condición: Very Good with no dust jacket. Sound binding. Clean, bright pages. Wrappers have light handling wear including some curling. Contents: Medeiros, Oral Tradition and Brazilian Popular Music. Impey, Culture, Conservation and Community Reconstruction: Explorations in Advocacy Ethnomusicology and Participatory A…ction Research in Northern Kwazulu Natal. Rice, Bulgaria or Chalgaria: The Attenuation of Bulgarian Nationalism in a Mass-Mediated Popular Music. García, Making Culture Coherent: Nomadism, "Open Agenda" and Music in Wichi Society. Barendregt and van Zanten, Popular Music in Indonesia since 1988, in Particular Fusion, Indie and Islamic Music on Video Compact Discs and the Internet. Lucas, Musical Rituals of Afro-Brazilian Religious Groups within the Ceremonies of Congado. Thram, Therapeutic Efficacy of Music-Making: Neglected Aspect of Human Experience Integral to Performance Process. Soon, Chinese Street Opera Performance and the Shaping of Cultural Aesthetics in Contemporary Singapore. Fernando-Marandola, New Perspectives on Interactive Field Experiments. Seeger, A Tropical Meditation on Comparison in Ethnomusicology: A Metaphoric Knife, a Real Banana, and an Edible Demonstration. 9.0" tall; 227 pages.
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Librería: Rarewaves.com USA, London, LONDO, Reino UnidoRarewaves.com USA
Contactar con el vendedorVendedor de 5 estrellasCondición: Nuevo
EUR 100,48
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Paperback. Condición: New. Historical ethnomusicology is increasingly acknowledged as a significant emerging subfield of ethnomusicology due to the fact that historical research requires a different set of theories and methods than studies of contemporary practices and many historiographic techniques are rapidly transforming as…a result of new technologies. In 2005, Bruno Nettl observed that "the term 'historical ethnomusicology' has begun to appear in programs of conferences and in publications" (Nettl 2005, 274), and as recently as 2012 scholars similarly noted "an increasing concern with the writing of musical histories in ethnomusicology" (Ruskin and Rice 2012, 318). Relevant positions recently advanced by other authors include that historical musicologists are "all ethnomusicologists now" and that "all ethnomusicology is historical" (Stobart, 2008), yet we sense that such arguments-while useful, and theoretically correct-may ultimately distract from careful consideration of the kinds of contemporary theories and rigorous methods uniquely suited to historical inquiry in the field of music. In Theory and Method in Historical Ethnomusicology, editors Jonathan McCollum and David Hebert, along with contributors Judah Cohen, Chris Goertzen, Keith Howard, Ann Lucas, Daniel Neuman, and Diane Thram systematically demonstrate various ways that new approaches to historiography--and the related application of new technologies--impact the work of ethnomusicologists who seek to meaningfully represent music traditions across barriers of both time and space. Contributors specializing in historical musics of Armenia, Iran, India, Japan, southern Africa, American Jews, and southern fiddling traditions of the United States describe the opening of new theoretical approaches and methodologies for research on global music history. In the Foreword, Keith Howard offers his perspective on historical ethnomusicology and the importance of reconsidering theories and methods applicable to this field for the enhancement of musical understandings in the present and future.
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Librería: Rarewaves.com UK, London, Reino UnidoRarewaves.com UK
Contactar con el vendedorVendedor de 5 estrellasCondición: Nuevo
EUR 94,95
Envío por EUR 75,90Se envía de Reino Unido a Estados Unidos de AmericaCantidad disponible: Más de 20 disponibles
Paperback. Condición: New. Historical ethnomusicology is increasingly acknowledged as a significant emerging subfield of ethnomusicology due to the fact that historical research requires a different set of theories and methods than studies of contemporary practices and many historiographic techniques are rapidly transforming as…a result of new technologies. In 2005, Bruno Nettl observed that "the term 'historical ethnomusicology' has begun to appear in programs of conferences and in publications" (Nettl 2005, 274), and as recently as 2012 scholars similarly noted "an increasing concern with the writing of musical histories in ethnomusicology" (Ruskin and Rice 2012, 318). Relevant positions recently advanced by other authors include that historical musicologists are "all ethnomusicologists now" and that "all ethnomusicology is historical" (Stobart, 2008), yet we sense that such arguments-while useful, and theoretically correct-may ultimately distract from careful consideration of the kinds of contemporary theories and rigorous methods uniquely suited to historical inquiry in the field of music. In Theory and Method in Historical Ethnomusicology, editors Jonathan McCollum and David Hebert, along with contributors Judah Cohen, Chris Goertzen, Keith Howard, Ann Lucas, Daniel Neuman, and Diane Thram systematically demonstrate various ways that new approaches to historiography--and the related application of new technologies--impact the work of ethnomusicologists who seek to meaningfully represent music traditions across barriers of both time and space. Contributors specializing in historical musics of Armenia, Iran, India, Japan, southern Africa, American Jews, and southern fiddling traditions of the United States describe the opening of new theoretical approaches and methodologies for research on global music history. In the Foreword, Keith Howard offers his perspective on historical ethnomusicology and the importance of reconsidering theories and methods applicable to this field for the enhancement of musical understandings in the present and future.
