Sociomusicology: Singing Maps in Iceland

6/11/24

Singing Maps in Iceland

The Singing Maps project, managed by David Thorarinn Johnson, will soon have a meeting in Reykjavik, Iceland for further development of the project’s activities. Singing Maps is a “trans-Nordic partnership between music educators, researchers, culture bearers and digital designers to support the greater presence of Indigenous and traditional Nordic singing practices in music education.”

The Singing Maps project includes singing researchers and music educators, as well as prominent Sami musicians and Nordic folk singers. This meeting in Reykjavik will be the third project meeting sponsored by Nordforsk as the project seeks other sources of funding and prepares for presentations at ISME and other conferences.

Below is a video developed by filmmaker Ferruccio Goia (at the Medialab of Western Norway University of Applied Sciences) for the Nordic Network for Music Education during the last time I visited Iceland:

https://www.youtube.com/watch?v=BfyrO0AH3HA

[The Creative Commons source of the image posted far above is: https://www.flickr.com/photos/vicmontol/541613158]

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Welcome to Sociomusicology

For a decade (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 a Visiting Professor in Sweden with the Malmo Academy of Music (Lund University), 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:29), with professional activities in an average of 8 countries per year across the past decade (2008-2020).