Sociomusicology: Hebert-Goto Duo 2018

10/27/18

Hebert-Goto Duo 2018

Below are some videos of brief songs performed by the Hebert-Goto Duo when we were preparing recitals as part of the Kairos Research Group at Western Norway University of Applied Sciences, Bergen.

Although filmed in late 2017, the production on these videos was just completed in October 2018.

Earlier, there were some professional singing activities in Norway and Germany.

Rachmaninov song:

Verdi song:

Grieg song:

Toreador song:

**Click HERE to hear our rendition of Bizet’s renowned “Toreador Song” from the opera Carmen.

Sarastro's aria from Mozart's Magic Flute:

Aria from Mozart's Don Giovanni:

Brahms, O Tod from Serious Songs:

Barber, Rain Has Fallen:

Grimen's Aria from Tchaikovsky's Eugene Onegin:
Also, below is an amateur video of our original composition ‘Facing Global Challenges’ which was performed at the opening of the 2018 Bergen Summer Research School.

Further information on ‘Facing Global Challenges’:

https://app.cristin.no/results/show.jsf?id=1590923

https://www.uib.no/en/globalchallenges/118469/all-over-world-summer-research-school-bergen

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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).