It is a pleasure to announce a new book that promises to become an invaluable resource for anyone interested in the current state of music in Japan. The Handbook of Japanese Music in the Modern Era is soon being published by Brill. It is edited by Henry Johnson, an accomplished ethnomusicologist who is known for his important books on Japanese instruments. Johnson has worked in this field for many years and is a skilled and meticulous editor who carefully selected leading experts to write on an array of topics for this anthology. Here is how the book is described:
“Exploring an array of captivating topics, from hybridized Buddhist music to AI singers, this book introduces Japanese music in the modern era. The twenty-five chapters show how cultural change from the late nineteenth century to the present day has had a profound impact on the Japanese musical landscape, including the recontextualization and transformation of traditional genres, and the widespread adoption of Western musical practices ranging from classical music to hip hop.”
I am happy to have developed a chapter for this book on the teaching of musical instruments in Japanese schools, co-authored with Koji Matsunobu as a research outcome of the Global Competence Partnership project between our institutions. We look forward to further collaborations of this kind, and I encourage anyone interested in this topic to examine the book.
Here is a link to our chapter:
It was a joy to learn that I have been appointed to the Editorial Board along with a group of accomplished scholars from around the world: Emily Akuno, José Luis Aróstegui, Pamela Burnard, Chee Hoo Lum, Alexandra Kertz Welzel, Susan O’Neill, and John O’Flynn. The series is led by senior editor Gwen Moore.
Clearer procedures have now been established for handling proposals, contracting, and reviews for robust quality assurance and I am pleased to report that we have some quite interesting books on a broad range of topics coming soon!
The next Bergen Summer Research School (2024) will include an exciting new PhD course called Creative Innovations in Higher Education.
Colleges and universities across the world are evolving to better meet the needs of a changing society, seeking new opportunities through innovations in teaching, research, outreach, and governance. This course will explore and critique concepts and initiatives that promise to improve the effectiveness and relevance of higher education.
Click HERE for more information on Bergen Summer Research School, which attracts PhD students from all around the world each year.
Here is more information about the course Creative Innovations in Higher Education:
David G. Hebert, Professor, Faculty of Education, Western Norway University of Applied Sciences (HVL), Bergen.
Learning outcomes - Students will:
• Understand how the higher education sector can contribute to the UN’s Sustainable Development Goals.
• Develop a global sense of various ways that colleges and universities are changing worldwide, and the underlying reasons for their evolution.
• Recognize diverse approaches and initiatives to generate sustainable innovations to teaching, research, outreach, and governance in higher education institutions.
• Critically evaluate applications of “innovation” discourse in higher education.
• Produce research publications based on the course material.
David G. Hebert, PhD, is a professor with the Faculty of Education, Western Norway University of Applied Sciences, Bergen. He is also Honorary Professor with the Education University of Hong Kong and Affiliated Professor with University of the Faroe Islands. Additionally, he mentors postgraduate students with Kyambogo and Makerere universities and teaches a course on arts policy for China University of Political Science and Law. Author or editor of 10 academic books, he has taught for universities on each inhabited continent. With grant support from Norwegian government programs, he is now co-developing new doctoral programs in China and Uganda.
Participation at the BSRS is credited under the European Credit Transfer System (ECTS). Participants submitting an essay, in a form of a publishable manuscript of 10-20 pages, after the end of the summer school will receive 10 ECTS. Deadline for submission will be decided by your course leader. It is also possible to participate without producing an essay. This will give you 5 ECTS. In order to receive credits, we expect full participation in the course-specific modules, plenary events and roundtables.
In just a few months, a new book will be published by Mikolaj Rykowski (vice rector, Paderewski Academy of Music, Poznan, Poland) as the fourth volume in Deep Soundings: The Lexington Series in Historical Ethnomusicology (Lexington Books, Rowman & Littlefield).
This book applies the theoretical concept music glocalization and methods from historical ethnomusicology to bring unprecedented insights into the life, times, and social milieu of European composer Franz Xaver Scharwenka (1850-1924), who experienced great success in the USA as well as central Europe. The book promises to be a useful model for others who seek to apply an ethnomusicological perspective to western art music.
Music Glocalization and the Composer: The Case of Franz Xaver Scharwenka (1850-1924) examines the life and compositions of composer Franz Xaver Scharwenka. Mikołaj Rykowski argues that Scharwenka held the ability to function on a global scale relatively early in music history, founding conservatories in Berlin and New York, becoming one of the first artists to record music using cutting-edge audio technology of his time, namely the Welte-Mignon rolls, and by staging his own opera at The Met. Using a relatively new methodological perspective called music glocalization, Rykowski enables us to explore the composer's cultural roots in Poland and observe how the nineteenth century global sense of nationality influenced his musical output.
It was a great pleasure to learn today that Sympathetic Resonance Trio has been awarded some funding from the Norwegian Barents Secretariat. This will enable us to work on project development and concert planning in the Kirkenes area, along the Russian border in the far Northeast of Norway.
We hope our songs from Norway, Russia, and the United States, will encourage the diverse peoples of that region (which has long depended on mutually-beneficial trade with Russia) by sharing some collective hope as we all eagerly await a return to peaceful and prosperous cooperation.
This year, 2023, will be my fourth year of doing some teaching for the annual university-wide faculty professional development course on Doctoral Supervision at University of Bergen UPED 691: Becoming a Supervisor: Community, Expertise, Dialogue. Each time this course has quite interesting discussions, and includes lecturers and young professors from a vast array of academic fields, so I look forward to it.
I am now developing a similar course for faculty at Western Norway University of Applied Sciences through the Global Competence Partnership project. Also, I am now authoring a book chapter that discusses this topic through a critical literature review as well as reflections on my own experiences as a PhD student and mentor. There is so much to say about this topic, and I am hopeful that the chapter will be useful for readers.
Here are links to postings about previous years in which I taught for this course: https://sociomusicology.blogspot.com/2020/10/doctoral-supervision-course.html