Appel à contributions pour l’ouvrage Crossover, Exchange, Appropriation. Navigating Stylistic Boundaries in the Music History Classroom à paraître chez Routledge dans la collection Modern Musicology and the College Classroom, sous la dir. de Esther Morgan-Ellis (University of North Georgia).
« Amid increasing calls to teach a global music history, instructors are faced with a challenge : How can we adjust our perspective in a way that denaturalizes the practices of « Western art music” and invite students to engage with other traditions—vernacular, popular, non-Western—on their own terms? It has become increasingly common to combine the teaching of diverse musical traditions within a single course, often by means of exploring themes that intersect across practices, yet it is unquestionably the case that practitioners in different traditions hold heterogenous values and understandings regarding their musical activities. In order to accord appropriate respect to musical traditions, it is necessary to clearly specify the objectives of practitioners and the standards by which they assess their own activities. This volume will investigate cases that might be located along stylistic borders—cases in which the musical characteristics of one category of practice are subjected to the values of another.
Each chapter in this collection will navigate a specific case in which an artist or community engages in what might be termed “crossover” (bringing a set of skills developed in one stylistic world to another), “exchange” (absorbing influence from another style by means of immersive learning), or “appropriation” (surface use of another style without the acquisition of deep understanding). The object of each chapter, however, is not to pass judgment on which of the three techniques has been applied, but rather to trouble the concepts themselves. How does musical meaning change when a melody, texture, or style is transferred from one world of practice to another? What is lost when artists fail to engage thoughtfully with sources from which they borrow? How are we to categorize, analyze, and assess musical practices situated in boundary spaces? Chapters will address works and subjects that music instructors are likely already teaching in their classrooms, but will present new ways to understand and interpret the material. »
Date limite de soumission (résumé de 500 mots à envoyer à firstname.lastname@example.org) : 15 octobre 2021 (les articles retenus seront à soumettre le 1 juin 2022).