Sociomusicology: Shared Listenings Book

3/11/22

Shared Listenings Book

Our complete manuscript has been submitted to Cambridge University Press for the book Shared Listenings: Methods for Transcultural Music Performance and Research. The book is co-authored by Stefan Ostersjo, David Hebert, Thanh Thuy Nguyen, and Henrik Frisk, and is an outcome of the Musical Transformations project in Vietnam, which was led by Prof. Stefan Ostersjo.

In addition to his chaired professorship in Sweden, Stefan is now affiliated with the GAME research group as our Professor II for artistic research in music. Thuy is also currently a Swedish Research Council-funded Postdoctoral Researcher affiliated with the GAME research group. Henrik is a full professor of composition at the Royal Swedish Academy of Music in Stockholm.

With the aim of creating “a decolonized methodology - for both music performance and research,” in this book we “demonstrate how a combination of stimulated recall and collaborative autoethnographic strategies can be applied to artistic and scholarly work at the intersection of ethnomusicology and practice-led research.”

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).