Simone KrÃ¼ger 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), KrÃ¼ger 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.
'KrÃ¼ger asks what ethnomusicology is achieving in higher education: whose voices it projects, what values it expresses, what students make of the panoply of world musics and musicians thrust upon them, and how far, finally, teachers of world music succeed in their educationally transformative interventions. Informed by fieldwork at institutions in Britain and Germany, and by KrÃ¼ger's own experiences as teacher and former student, this is a provocative and necessary study, rich in insights for ethnomusicologist and music educator alike.' Professor Jonathan Stock, University of Sheffield, UK ’A fascinating and thorough discussion … the book is a good read, as KrÃ¼ger is an entertaining writer who couples engagement with her subject with a forensic, non-judgemental approach.’ 4 stars, Songlines 'KrÃ¼gerÊ¼s book takes a fresh look at what is most familiar to ethnomusicologists in ways which, at different times, can be enlightening, challenging or inspiring, and although based on research in Europe, it is of no less relevance to ethnomusicologists in other continents… This is an important book, not only essential reading for ethnomusicologists, but also potentially mind-expanding for all music educators, regardless of disciplinary allegiances, theoretical perspectives or current pedagogical practices.' Journal of the Musical Arts in Africa
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.