![]() ![]() ![]() Now Javanese, Spanish, Hindi, Portuguese, Navajo, Finnish, Quechua, Korean or any other topic-relevant language can fulfill foreign language requirements. Abstract: Meditating on works of fiction such as Crosthwaite’s El gran preténder (1992) and Laviera’s AmeRican (1985), this article proposes bi-musicality (Hood 1960) as both a link between sociolinguistics and literary aesthetics and as a corrective challenge to the positivism of ethnic, demographic, and geographic labeling. This led to the breakdown of the steadfast rule of having to have competence in French and German at many ethnomusicology programs. Agawu American anthropology approach area studies audio auditory Baily benet bi-musicality Bigenho Bohlman Cambridge Clayton clip concern context critical. He also strongly proposed that ethnomusicology students should know the spoken language of the musical culture being studied. Hood applied the term to music the same way a linguist would when describing someone who spoke two languages. The inspiration of "bi-musical" was "bi-lingual". The student is also able to better connect socially with the community being studied and have better access to the community's rituals and performances. The approach enables the researcher to, in some manner, learn about music "from the inside", and thereby experience its technical, conceptual and aesthetic challenges. It has been an important ethnomusicological research tool ever since. While Hood was not the first ethnomusicologist to attempt learning to perform the music being studied, he gave the approach a name in his 1960 article on bi-musicality. Khalil’s work at UCSD’s Temporal Dynamics of Learning Center.Īnd here’s a nice video documenting the ongoing gamelan program at the Museum School.Mantle Hood explained ethnomusicology as being the "study of music wherever and whenever." While his teacher Jaap Kunst wrote the two volumes of Music in Java without actually playing any of the music, Hood required that his students learn to play the music they were studying. Read the full text of this article on the Smithsonian Institution’s National Museum of Asian Art website.įind out more about Dr. Brown, who studied under Hood at UCLA and subsequently founded the Center for World Music, made his first efforts to bring world music, a term he is credited with having invented, to the elementary classroom in 1973 through his “world music in the schools” program in the San Francisco Bay Area. ![]() ![]() The gamelan program at the Museum School has its philosophical roots in Mantle Hood’s well-known concept of “bi-musicality.” Just as one who is bi-lingual must have fluency in more than one language, one must be fluent in more than one musical language to be considered bi-musical. Our current work explores whether improvements at interpersonal time processing, or synchrony, may translate into improved attention.Īlso of interest in this article is Alex’s account of the history of the Center for World Music’s World Music in the Schools program, based on his experience as a founding instructor during and after the program’s 1999 inauguration in San Diego at the Museum School: Our research has found a connection between the ability to synchronize with an ensemble in a gamelan-like setting and other cognitive characteristics, particularly the ability to focus and maintain attention. Khalil offers important observations on attention in children, impaired temporal processing, ADHD, and the benefits of bi-musicality. Gamelan aficionados and music educators alike with find much of interest in this great Smithsonian article on the value of music education for kids by Center for World Music board member Alexander Khalil, PhD. ![]()
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