This book reviews the current practices of traditional musics in various cultures of all continents, and examines the impact and significance of traditional musics in the modern world. A diverse group of experts of musicology and music education collaborate to expose the current practices and challenges of transmission and evolution of traditional musics in order to seek sustainable development, so that traditional musics can take the place they deserve in the modern world and continue to contribute to human civilization. This volume contains three main sections that include transmission of traditional musics, authenticity and evolution, as well as challenges in future. Based on the chapters, the editor proposes four major trends of transmission of traditional musics, namely, formalization, politicization, Westernization and modernization in transforming contexts.

This open access book highlights the importance of visions of alternative futures in music teacher education in a time of increasing societal complexity due to increased diversity. There are policies at every level to counter prejudice, increase opportunities, reduce inequalities, stimulate change in educational systems, and prevent and counter polarization. Foregrounding the intimate connections between music, society and education, this book suggests ways that music teacher education might be an arena for the reflexive contestation of traditions, hierarchies, practices and structures. The visions for intercultural music teacher education offered in this book arise from a variety of practical projects, intercultural collaborations, and cross-national work conducted in music teacher education. The chapters open up new horizons for understanding the tension-fields and possible discomfort that music teacher educators face when becoming change agents. They highlight the importance of collaborations, resilience and perseverance when enacting visions on the program level of higher education institutions, and the need for change in re-imagining music teacher education programs.

This book advocates for a radical change in music teaching and learning methods, allowing for a break from the traditional conservatory model still in use in many classrooms. The product of twenty years of interdisciplinary work by musicians, music teachers, and psychologists, the book proposes to place the focus of music education on the students themselves and on their mental and physical activity, with the aim of helping them to manage their own goals and emotions. This alternative is based on a new theoretical framework, as well as numerous real, concrete examples of how to put it into practice with students of different ages and in different environments. This book focuses primarily on teaching instrumental music, but its content will be useful for any teacher, student, musician, or researcher interested in improving music education in any environment, whether formal or informal, in which it takes place Chapters 3, 4, 6 and 18 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

This book is based on the topics, questions and results of the international conference "Aesthetics of Transformation - Arts Education Research and the Challenge of Cultural Sustainability". It aims to foster and sharpen the understanding of the potential role of arts education and arts education research for cultural sustainability. In an ever more complex and interconnected world, culture is a valuable resource for sustainable development. Based on the thesis that the change towards sustainability has to be a change that starts with cultural practices of perception and knowledge, this book makes an important contribution to the broad discourse on cultural sustainability, which has begun to emerge in recent years. In this context, the volume first deals with Intangible Cultural Heritage and how aesthetic practices and certain forms of art are changing through cultural transformation processes. Subsequently, it focuses on issues such as arts and cultural education in times of neoliberalism, (post-)migration and post-coloniality as well as on arts and cultural education under conditions of digital transformation. These theoretical and empirical contributions are complemented by insights into field trips to institutions and exemplary places of practice, showing different representations of educational art practices, cultural heritage, and cultural sustainability. Against this background the book finally offers responses and commentaries that can form the starting point for a far reaching interactive dialogical process on the utmost importance of cultural, aesthetic and arts education as part of a global endeavor for sustainable development.

This handbook provides broad coverage of the languages indigenous to North America, with special focus on typologically interesting features and areal characteristics, surveys of current work, and topics of particular importance to communities. The volume is divided into two major parts: subfields of linguistics and family sketches. The subfields include those that are customarily addressed in discussions of North American languages (sounds and sound structure, words, sentences), as well as many that have received somewhat less attention until recently (tone, prosody, sociolinguistic variation, directives, information structure, discourse, meaning, language over space and time, conversation structure, evidentiality, pragmatics, verbal art, first and second language acquisition, archives, evolving notions of fieldwork). Family sketches cover major language families and isolates and highlight topics of special value to communities engaged in work on language maintenance, documentation, and revitalization.

Even in the Rain: Uyghur Music in Modern China explores music as constitutive of Uyghur cultural and social life where subaltern experiences of ethnicity, race, and nationhood are indexed. A Central Asian Turkic-speaking, predominantly Muslim people, the Uyghur are identified in China as one of the fifty-five officially designated “minority nationalities.” Drawing on extensive fieldwork in the Uyghur homeland in the far Chinese northwest, Chuen-Fung Wong focuses on aspects of Uyghur music making as it faces the state’s management of minority art expressions. Music serves as a metaphor of the Uyghur nation—as heritage (miras), culture (medeniyet), and tradition (en’ene)—while it struggles to survive, respond, and adapt to the Chinese state’s aggressive maneuvering and the broader intercultural influences that have shaped Uyghur performing arts in modern times. As the Uyghur and other non-Han peoples in China continue to be minoritized under the pretexts of multiculturalism and cultural enlightenment, local musicians and audiences react with a vast range of performing and listening approaches to engage assimilation, racism, and other grim realities of everyday life. Even in the Rain provides the political, historical, and theoretical context to address overlapping genres and soundscapes, which are bound by creative processes that have negotiated the state’s minority policy and the collective pursuit of identity. With a focus on the minoritized musical consciousness in Uyghur performance, especially on the ways in which Uyghur musicians encounter modernity under a colonial context, this book examines the cultivation of a unique musical deftness that has allowed musicians to move across the various localizing strategies and intercultural practices. Uyghur musical modernity should not be understood as the passive acceptance of outside influences—and certainly not the erasure of indigenous elements and national heritage. Local traditions and hegemonic influences sometimes appear to be more collaborating than conflicting, in that subaltern expressions actively opt to manifest in forms that are dominant and deemed universal. This timely and comprehensive analysis spans approximately seven decades of modern Uyghur musical life, during which musicians and audiences adopted an array of methods, experimenting with new identity formations to navigate life as often reluctant Chinese citizens.

Guerrilla Music: Musicking as Resistance, Defiance, and Subversion explores human initiations and responses to music as a process and product intrinsically part of our culture, history, place, time and ecological musical worlds. The contributors challenge scholarly approaches wherein music is detached from the social relationships in which it is produced, transmitted, used and judged. ‘Guerrilla’ is a trope long applied to socio-political machinations, human conflict and confrontation. Guerrilla Music provocatively explores research involving music practices, stories, communities and musickers worldwide that resist, defy and subvert by silence and non-compliance, reluctant subordination, subversive depowering, resistive counterpoint, or destructive, violent dismantling. Contexts spanning the subcultural local, glocal and universal highlight the potency, passions, actions and life worlds of music, musicians and those that become engulfed in musical maelstroms that incite change. Guerrilla Music both invigorates and advances scholarly debates about social power, colonisation and difference by exploring the social semiotics of music making and communities, identifying powerful new ways of understanding human communication, and what musicking means in the twenty-first century.

Trying to understand the complex interplay between effective learning and personal experience is one of the main challenges for instrumental music education. Much of the research that focuses on effective learning outcomes often adopts experimental methodologies that do not allow for a thorough examination of the subjective and social processes that accompany each student's musical journey; on the contrary, contributions dedicated to the detailed analysis of the learners' lived experience often do not offer generalizable outcomes to different types of learning and teaching.

"[This book] is a contribution of considerable substance because it takes a holistic view of the field of folk music and the scholarship that has dealt with it." -- Bruno Nettl "... a praiseworthy combination of solid scholarship, penetrating discussion, and global relevance." -- Asian Folklore Studies "... successfully ties the history and development of folk music scholarship with contemporary concepts, issues, and shifts, and which treats varied folk musics of the world cultures within the rubric of folklore and ethnomusicology with subtle generalizations making sense to serious minds... " -- Folklore Forum "... [this book] challenges many carefully-nurtured sacred cows. Bohlman has executed an intellectual challenge of major significance by successfully organizing a welter of unruly data and ideas into a single, appropriately complex but coherent, system." -- Folk Music Journal Bohlman examines folk music as a genre of folklore from a broadly cross-cultural perspective and espouses a more expansive view of folk music, stressing its vitality in non-Western cultures as well as Western, in the present as well as the past.