UPDATE: The proceedings from this conference,
with my keynote speech, can be downloaded for free by clicking here and going to the bottom right of the next website: https://www.ifmpf.hmtm-hannover.de/de/publikationen/forschungsberichte/forschungsbericht-33/
In late January 2022, I look forward to
giving a conference opening speech for the third German-Dutch Colloquium on Research
in Arts Education in Hannover, Germany. The theme for
this government-sponsored event is “Multiculturalism in Music and Drama
Education,” and it is hosted by Prof. Andreas Lehmann-Wermser, a prolific
researcher who heads the Institute for Music Education Research at the Hannover University of Music, Drama and
Media.
The host institution, which has been in operation for over 120 years, offers
comprehensive studies (including in jazz and popular music), and has produced
many influential musicians, some of whom originally came from East Asia. The
city of Hannover itself has also long played an important role in Germany, from
its roots as the home of Gottfried Leibniz to today as the headquarters of
Volkswagen. Among the more notable scholars to have come from Hannover (Linden-Limmer
borough) is Hannah Arendt, whose work has seen a profound impact across recent
generations in philosophy and social theory.
Depending on the
status of the pandemic, this event will either be held face-to-face or online
only. Click HERE for more information on the colloquium.
This colloquium is generously supported by the Rat für Kulturelle Bildung (Counsel for Cultural Education) and the Federal Ministry of Education and Research (BMBF). It is hosted by the Hochschule für Musik Theater und Medien Hannover.
In the late
winter and spring, if the Covid pandemic allows for it, I am expected to make
trips to Riga, Copenhagen,
Prilep, and
Kampala for various music research
and writing projects. Due to the Omicron variant of Covid-19, it looks increasingly
doubtful whether much travel will be possible, so probably in most cases we
will have to continue with online cooperation until the pandemic is less of a
concern. In March we will focus on further data collection for a book on Viking
musical heritage for Bloomsbury press, and by around that time we expect to see
two more volumes published in the
Deep Soundings series, volume II on music and cultural diplomacy, and volume III on traditional Malaysian court music.
In April, I will give
a plenary address in Lithuania as a scientific committee
member of the conference Music and Science Labyrinths at Vilnius
University-Siauliai Academy. This partly online event celebrates the achievement of musicologist Eduardas Balčytis, who played a central role in the establishment of formal music
pedagogy in Lithuania.
There are also some new developments in East
Asia to report: It was exciting to see the work of Prof. Qi Kun of China
Conservatory, published in a new edition of the journal Chinese
Musicology. Qi is an accomplished researcher who serves as Editor-in-Chief
of the journal Chinese Music, and her recent work concludes that many recommendations from our book Theory and Method in Historical Ethnomusicology are particularly relevant to music scholarship in China. When travel
becomes possible, I plan to continue developing several projects in various
parts of China.
The Grieg Academy Music Education (GAME) research group has
also nearly completed our co-authored chapter on music education in Norway for
a book edited by Prof. Masafumi Ogawa to be published in Japan by Minerva Shobo press. In mid-January, I have meetings scheduled to continue developing the book Transcultural Musicianship and Research: Methods for Shared Listening and Performance (forthcoming, Cambridge University Press), which is being
co-authored with a team of music researchers and performers from a project in
the Mekong Delta of Vietnam.
https://orcid.org/0009-0002-1446-3893
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