Music of the Americas and Historical Narratives

Burkholder, J. Peter

doi:10.2307/25652227

Cited by 5 publications

(3 citation statements)

References 40 publications

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“…Which world regions does the term 'Western music' encompass?' (Burkholder, 2009). In this regard, authors such as Tuinstra (2019) and Lee (2020) also defend the need to incorporate non-Western music into formal music teaching.…”

Section: Narrative In the Construction And Teaching Of Music Historymentioning

confidence: 99%

“…To all these issues concerning the several approaches that govern the construction of narratives influenced by the researcher’s various interests, motivations or ideologies, we must add a number of questions about what and how should be taught as music history. Burkholder (2009) points out that these questions became a source of concern for him when he was asked to prepare reissues of A History of Western Music – the leading textbook in English for the last half century – and the Norton Anthology of Western Music (p. 399). These volumes, in Burkholder’s words, are canonical in many ways, as they are the oldest music history coursebooks that are widely used today.…”

Section: Narrative In the Construction And Teaching Of Music Historymentioning

confidence: 99%

“…Should music composed for purposes other than their contemplation as works of art be excluded from the historical narrative of Western music? Which world regions does the term ‘Western music’ encompass?’ (Burkholder, 2009). In this regard, authors such as Tuinstra (2019) and Lee (2020) also defend the need to incorporate non-Western music into formal music teaching.…”

Section: Narrative In the Construction And Teaching Of Music Historymentioning

confidence: 99%

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Antiquity in the history of music: A critical review of the music textbooks for secondary education in Spain

Rodríguez

2022

International Journal of Music Education

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The history of music is shaped through narratives that sometimes contain a number of issues regarding cultural stereotypes, historiographic approaches, Eurocentrism or colonialism. For this reason, its transmission and the way it is taught must be the object of study and careful consideration. The present research analyses – on the basis of narratological and organological premises – the contents that shape the discourses underlying the coverage of the ancient period by music education textbooks used in the Spanish compulsory secondary education stage. To this effect, an ad hoc instrument was designed and implemented on 24 coursebooks. The results confirmed that the chronological narrative is the most widely used strategy and that in more than half of the textbooks under examination the history of music begins to be told after Antiquity. Other findings were that the construct of the ‘foundational’ civilisations of the West is still perpetuated and that an organological narrative is proposed which is inspired by a diffusionist approach. In conclusion, we detect patterns that are controversial and need to be subjected to revision at a time when educational textbooks are a decisive resource that adapts the official curriculum and mediates between the latter and music education teachers.

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Section: Narrative In the Construction And Teaching Of Music Historymentioning

confidence: 99%

Section: Narrative In the Construction And Teaching Of Music Historymentioning

confidence: 99%

Section: Narrative In the Construction And Teaching Of Music Historymentioning

confidence: 99%

See 1 more Smart Citation

Antiquity in the history of music: A critical review of the music textbooks for secondary education in Spain

Rodríguez

2022

International Journal of Music Education

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Exploring the Protest Language of Chants “Everyday I’m çapulling” and “Sí se puede”

Hill

2018

The Language of Protest

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The Operas of Maurice Ravel

Kilpatrick¹

2015

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Maurice Ravel's operas L'Heure espagnole (1907/1911) and L'Enfant et les sortilèges (1919–25) are pivotal works in the composer's relatively small œuvre. Emerging from periods shaped by very distinct musical concerns and historical circumstances, these two vastly different works nevertheless share qualities that reveal the heart of Ravel's compositional aesthetic. In this comprehensive study, Emily Kilpatrick unites musical, literary, biographical and cultural perspectives to shed new light on Ravel's operas. In documenting the operas' history, setting them within the cultural canvas of their creation and pursuing diverse strands of analytical and thematic exploration, Kilpatrick reveals crucial aspects of the composer's working life: his approach to creative collaboration, his responsiveness to cultural, aesthetic and musical debate, and the centrality of language and literature in his compositional practice. The first study of its kind, this book is an invaluable resource for students, specialists, opera-goers and devotees of French music.

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Music of the Americas and Historical Narratives

Cited by 5 publications

References 40 publications

Antiquity in the history of music: A critical review of the music textbooks for secondary education in Spain

Antiquity in the history of music: A critical review of the music textbooks for secondary education in Spain

Exploring the Protest Language of Chants “Everyday I’m çapulling” and “Sí se puede”

The Operas of Maurice Ravel

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