Sociomusicology: Further Research in Japan

7/23/08

Further Research in Japan

During the summer of 2009, I will be using my vacation time from Sibelius Academy to conduct research in Japan as a Visiting Research Scholar in affiliation with Professor Shuhei Hosokawa at Nichibunken: the International Research Center for Japanese Studies.

I am excited about this important opportunity, since Nichibunken is one of Japan’s prestigious National Institutes for the Humanities and Professor Hosokawa is a highly respected Japanese musicologist who shares my interests in sociomusicology, popular music, wind bands, and music technology.

I anticipate that Nichibunken will be an unusually stimulating environment and look forward to returning to Finland with new findings regarding both historical and current musical practices in Japan. I hope to also help forge some new relationships for Sibelius Academy with both educational institutions and music industry in Japan.

The following link provides further information regarding Japan's National Institutes for the Humanities:

http://www.nihu.jp/e/index.html

Click HERE to view my current homepage at Sibelius Academy.

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Welcome to Sociomusicology

For over 15 years (since 2007), this website has offered musings on contemporary society and its music by David G. Hebert, PhD. He is a sociomusicologist specializing in global music education who has held academic positions with universities on five continents. Dr. Hebert is now a tenured full Professor with Western Norway University of Applied Sciences, Bergen. There he leads the Grieg Academy Music Education (GAME) research group and manages the multinational government-funded Nordic Network for Music Education, which organizes annual intensive Master courses and exchange of teachers and students across eight countries. He is also an Affiliated Professor with University of the Faroe Islands and an Honorary Professor in China with the Education University of Hong Kong.

Professor Hebert's research applies an international-comparative perspective to issues of pluralism, identity, and cultural relevance in music education, as well as processes by which new music traditions emerge and change - both sonically and socially - as they are adopted into institutions. Born in the 1970s, he is among the most widely-published and globally-active music scholars of his generation (h-index:20; i10-index:30), with professional activities in an average of 8 countries per year across the past decade (2008-2020).