Sociomusicology: Intercultural Music Research

4/12/19

Intercultural Music Research

It is a pleasure to be part of two intercultural music research panels with excellent scholars at international conferences in Bergen and Malmo in early summer, 2019.

Panel Chair/Organizer, “Chinese Music” (with Directors of Confucius Institutes in Norway and Denmark). Paper presentation, “Musicians’ Reflections on the Teaching of Traditional Chinese Instruments for Prominent Conservatories in Europe and China,” Nordic Association for China Studies (NACS) international conference, University of Bergen, Norway (June 13-14, 2019, PLANNED).

Panelist, “Indigeneity in the 21st century classroom: Reconstruction and reconciliation in Scandinavia and North America” (with Eva Saether, David Johnson, Ylva Hofvander Trulsson, and Patrick Schmidt), European Association for Music in Schools (EAS) annual international conference, Malmo Academy of Music, Lund University, Sweden (May 16-18, 2019, PLANNED).

Displayed is a photo I took of a lesson on the Chinese guqin late last year.

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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).