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Simone Krüger provides an innovative account of the transmission of ethnomusicology in European universities, and explores the ways in which students experience and make sense of their musical and extra-musical encounters. By asking questions as to what students learn about and through world musics (musically, personally, culturally), Krüger argues that musical transmission, as a reflector of social and cultural meaning, can impact on students' transformations in attitude and perspectives towards self and other. In doing so, the book advances current discourse on the politics of musical representation in university education as well as on ethnomusicology learning and teaching, and proposes a model for ethnomusicology pedagogy that promotes in students a globally, contemporary and democratically informed sense of all musics.
Simone KrÃ-ger is a Senior Lecturer in Music at Liverpool John Moores University (UK) where she leads higher education courses and modules on globalisation, world music studies, popular music studies, and the role of music in culture. Simone KrÃ-ger publishes in the areas of educational anthropology, ethnomusicology 'at home', and globalisation. Besides her monograph Experiencing Ethnomusicology: Teaching and Learning in European Universities, she is completing a jointly authored book entitled Media and Globalised Cultures. Simone KrÃ-ger is a committee member of the British Forum for Ethnomusicology and Fellow of the Higher Education Academy. For further information, please see www.simonekruger.net.
Contents: Prologue; Part I Disciplining Ethnomusicology: Transmitting ethnomusicology, expressing progression; Transmitting ethnomusicology, expressing culture. Part II Listening to Ethnomusicology: Listening to music, experiencing identity; Listening to music, experiencing authenticity; Listening to music, experiencing democracy. Part III Performing Ethnomusicology: Performing music, discovering material culture; Performing music, discovering expression and form; Performing music, experiencing emotion; Performing music, discovering value. Part IV Constructing Ethnomusicology: Transcribing music, exploring structures, or reinforcing Eurocentrism?; Composing ethnography: strategies, impact and change; Mediating fieldwork experience: ethnomusicological uses of film and video; Epilogue: Modelling ethnomusicology pedagogy; Bibliography; Index.
