Sociomusicology: Master Graduation

9/25/24

Master Graduation

Today in Kampala, Uganda, Lydia Basemera became the first person in Music from the CABUTE project to be fully approved to graduate with her Master degree at Kyambogo University. It was a great pleasure to join her viva voce examination online, which contained many rigorous and insightful questions as well as opportunities for Lydia to demonstrate her competence.

We have been impressed by the work ethic and professionalism of the staff at Kyambogo University, and I would especially like to thank Dean Elizabeth Kyazike, Peter Ekadu-Ereu (Lydia’s supportive local co-supervisor), James Isabirye (another important mentor and productive scholar), Nicholas Ssempiija (ethnomusicologist and local leader of the Music branch of CABUTE), and Steinar Satre, who leads the entire project from here in Bergen, Norway.

The Music team of CABUTE has consistently benefitted from timely and effective cooperation, which is beneficial to all involved in the project. Indeed, there is an impressive community of music education researchers in Uganda that is determined to nurture the next generation.

Congratulations, Lydia Basemera!

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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).