1st Edition
Navigating Stylistic Boundaries in the Music History Classroom Crossover, Exchange, Appropriation
Introduction: Teaching Liminal Musicking
ESTHER M. MORGAN-ELLIS
PART I: Denaturalizing Western Art Music
1 European Art Music is an Ethnic Music: Fraying the Edges in a Music History Classroom
D. LINDA PEARSE AND SANDRIA P. BOULIANE
2 From Beijing to Paris: Teaching Music of the Global Eighteenth Century
QINGFAN JIANG
3 “Song of the Spirit Dance” and Native American Songs: Teaching about Appropriation in Late Nineteenth- and Early Twentieth-Century Symphonic Compositions
ERINN E. KNYT
4 Examining Vernacular Borrowings to Denaturalize Western Art Music: The Case of “Hoe-Down”
ESTHER M. MORGAN-ELLIS
PART II: Teaching Blended Musics
5 Music of the Hyphen: Diaspora Music as Process and Product
VARSHINI NARAYANAN
6 African-Focused Approaches to Teaching African Popular Music in Western Classrooms
ALABA ILESANMI
7 Por ti seré: Jarocho Fusion and Revivalism in “La Bamba”
GREGORY REISH
PART III: Training Global Musicians
8 From Brazilian Worship Houses to a U.S. College: Recontextualizations of Afro-Brazilian Religious Music and Movement
MARC M. GIDAL
9 Crossing Over Popular and Classical Traditions through Musical Theater
ALEX BÁDUE
10 The Anti-Colonial Conservatory: The Case of the University “Folk Band”
CHRISTOPHER J. SMITH
Index
Biography
Esther M. Morgan-Ellis is Associate Professor of Music History at the University of North Georgia.
