Sociomusicology: Reviews of Music Glocalization Book

10/11/19

Reviews of Music Glocalization Book

There have already been some positive reviews of our book from 2018, Music Glocalization: Heritage and Innovation in a Digital Age, and it is cited in recent publications by scholars in Cyprus, Poland, Norway, and the Czech Republic. Additionally, my co-editor Mikolaj Rykowski has been favorably reviewed for a promotion, with this book as a significant part of his portfolio.

Below are some excerpts from the recent reviews of our book:

According to leading glocalization theorist Victor Roudometof, “The volume displays remarkable thematic coherence, which allows the editors to use the material presented within individual chapters in order to build broader theoretical arguments. In its conception and execution, this volume is a noteworthy effort to insert the problematic of glocalization into the disciplines of musicology and ethnomusicology … The author advances the notion of being ‘glocalimbodied’ (2018:6), a neologism that combines ‘glocal’ with ‘limbo’ in order to make sense of an unbalanced condition attributed to glocal forces as well as the necessity of situating the body within the newfound condition of personalized branding strategies … The editors’ synthesis of the volume’s research is highly original and represents a good point of departure for thinking further about the uses of glocalization in musicology” (Victor Roudometof, Ethnomusicology Review, 2019).

Source: https://www.ethnomusicologyreview.ucla.edu/content/review-music-glocalization-heritage-and-innovation-digital-age

According to Professor Wai-Chung Ho (Hong Kong), “This book offers a critical study of the undertheorized concept of glocalization, intertwining the ‘global’ and the ‘local’ forces between music and society, both past and present … the book provides a fresh amalgam of perspectives that address music-related subjects. It also covers diverse topics from theoretical perspectives on local and global identities of music, art music composition in the digital age, glocalized music beyond Europe, and glocalized music professions… This book is the first comprehensive account of how the notion of ‘glocalization’ may be useful in rethinking nationality in music and the use of local musical traditions that serve as a means for global strategies. It reconstructs the emergence of music in the global context and provides an innovative framework for studying how glocalization transforms aesthetic hierarchies and cultural transmissions, thus breaking new ground for musicology and the sociology of music” (Wai-Chung Ho, Cambridge Scholars blog, 2018).

Source: https://cambridgescholarsblog.wordpress.com/2018/06/08/book-review-music-glocalization-heritage-and-innovation-in-a-digital-age/

Here is a link for reviews of my other books:

http://sociomusicology.blogspot.com/2015/12/book-review-update-2015.html

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Welcome to Sociomusicology

For a decade (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 a Visiting Professor in Sweden with the Malmo Academy of Music (Lund University), 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:28), with professional activities in an average of 8 countries per year across the past decade (2008-2020).