Sociomusicology: Research in New Zealand Performing Arts, Vol. 2

8/13/08

Research in New Zealand Performing Arts, Vol. 2

THE NZ JOURNAL OF RESEARCH IN PERFORMING ARTS AND EDUCATION

E-LAUNCH

The School of Literacies and Arts in Education at the

University of Canterbury

in association with Drama NZ

is pleased to announce the e-launch of the

NZ Journal of Research in Performing Arts and Education

The launch will take place on the web via live links with several universities in NZ and other institutions across the world on

Tuesday 19 August

3.30pm to assemble

Official launch time 4 pm (NZ time)

This is one of the only peer-reviewed scholarly journals in New Zealand that publishes music research. Although the journal examines performing arts generally, nearly half of its articles have been music-related. I serve on its editorial board.

The newest issue contains four music-related articles. Follow this link for a more detailed announcement: http://www.dramatool.org/en/news/item/330/

Here is a link to the new issue:
http://www.drama.org.nz/ejournal.asp?ID=3

Here is a link to the previous issue:
http://www.drama.org.nz/ejournal.asp?ID=2

No comments:

Post a Comment

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).