Connecting migration studies and the theory of valuation, this collection offers an interdisciplinary approach to the study of transnational music practices. Conceiving music as a practice not confined to audibility, the contributions reveal how music emerges in concrete situations through people, objects, techniques, meanings, and emotions in different parts of the world and during different historic periods. Values are thereby created and shared, and creative processes are evaluated in terms of diversity, space and exchange. This book presents cases of contemporary, popular and traditional music, festivals and trade fairs, albums and band projects, shedding light on the tensions between the transfer, reconstruction and creation of music in different contexts.

Klavier plus Streichquartett. Im vierstelligen Bereich sind Werke bekannt. In mittlerer dreistelliger Zahl als Tonaufnahme zugänglich. Über 200 Jahre kontinuierliche Produktion. Bis heute. Und doch fehlt das Genre weitgehend in den Leitmedien Klassischer Musik. In den meinungsführenden Feuilletons und Musikgeschichtswerken. Und in den Programmen der prestigeträchtigen Rundfunksender und Labels, Konzertsäle, Festivals und Ensembles. Bis auf die Handvoll Werke berühmter Komponisten, von Schumann über Brahms bis Schostakowitsch. Frédéric Döhl präsentiert ein Nachdenken über Musikgeschichtsschreibung in Zeiten der Digital Humanities - und über die Rolle des eigenen ästhetischen Erlebens dabei. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.

Listening Across Borders: Musicology in the Global Classroom provides readers with the tools and techniques for integrating a global approach to music history—within the framework of the roots, challenges, and benefits of internationalization—into the modern music curriculum. Contributors from around the world offer strategies for empowering students to critique the economic, ideological, and political structures that propagate global challenges. Applicable in a variety of classroom settings, the internationalized teaching methods collected here suggest fruitful ways forward in a global age, in three parts: Creating Global Citizens Teaching with Case Studies of Intercultural Encounters Challenges and Opportunities In reevaluating the role of higher education in a cosmopolitan world, modern educators have come to question the limits of geographically defined canons, traditional curricular content, and other longstanding teaching approaches. Listening Across Borders places the music history classroom at the center of the conversation about internationalization in higher education, embracing pedagogies that develop the skillsets to become global citizens in a world where international cooperation is increasingly essential.

The first in-depth study of banda, a Mexican and Mexican American musical practice.

Through the study of a large variety of musical practices from the U.S.-Mexico border, Transnational Encounters seeks to provide a new perspective on the complex character of this geographic area. By focusing not only on norteña, banda or conjunto musics (the most stereotypical musical traditions among Hispanics in the area) but also engaging a number of musical practices that have often been neglected in the study of this border's history and culture (indigenous musics, African American musical traditions, pop musics), the authors provide a glance into the diversity of ethnic groups that have encountered each other throughout the area's history. Against common misconceptions about the U.S.-Mexico border as a predominant Mexican area, this book argues that it is diversity and not homogeneity which characterizes it. From a wide variety of disciplinary and multidisciplinary enunciations, these essays explore the transnational connections that inform these musical cultures while keeping an eye on their powerful local significance, in an attempt to redefine notions like "border," "nation," "migration," "diaspora," etc. Looking at music and its performative power through the looking glass of cultural criticism allows this book to contribute to larger intellectual concerns and help redefine the field of U.S.-Mexico border studies beyond the North/South and American/Mexican dichotomies. Furthermore, the essays in this book problematize some of the widespread misconceptions about U.S.-Mexico border history and culture in the current debate about immigration.

This volume brings together for the first time book chapters, articles and position pieces from the debates on music and identity, which seek to answer classic questions such as: how has music shaped the ways in which we understand our identities and those of others? In what ways has scholarly writing about music dealt with identity politics since the Second World War? Both classic and more recent contributions are included, as well as material on related issues such as music's role as a resource in making and performing identities and music scholarship's ambivalent relationship with scholarly activism and identity politics. The essays approach the music-identity relationship from a wide range of methodological perspectives, ranging from critical historiography and archival studies, psychoanalysis, gender and sexuality studies, to ethnography and anthropology, and social and cultural theories drawn from sociology; and from continental philosophy and Marxist theories of class to a range of globalization theories. The collection draws on the work of Anglophone scholars from all over the globe, and deals with a wide range of musics and cultures, from the Americas, Australasia, Europe, the Middle East and Africa. This unique collection of key texts, which deal not just with questions of gender, sexuality and race, but also with other socially-mediated identities such as social class, disability, national identity and accounts and analyses of inter-group encounters, is an invaluable resource for music scholars and researchers and those working in any discipline that deals with identity or identity politics.

Educating Across Borders is an ethnography of the learning experiences of transfronterizxs, border-crossing students who live on the U.S.-Mexico border, their lives spanning two countries and two languages. Authors María Teresa de la Piedra, Blanca Araujo, and Alberto Esquinca examine language practices and funds of knowledge these students use as learning resources to navigate through their binational, dual language school experiences. The authors, who themselves live and work on the border, question artificially created cultural and linguistic borders. To explore this issue, they employed participant-observation, focus groups, and individual interviews with teachers, administrators, and staff members to construct rich understandings of the experiences of transfronterizx students. These ethnographic accounts of their daily lives counter entrenched deficit perspectives about transnational learners. Drawing on border theory, immigration and border studies, funds of knowledge, and multimodal literacies, Educating Across Borders is a critical contribution toward the formation of a theory of physical and metaphorical border crossings that ethnic minoritized students in U.S. schools must make as they traverse the educational system.