Congratulations to musicologists Donna Buchanan and Gayle Sherwood Magee on their promotions to full professor! Notably, they are the first female full professors in the division’s history.
Members of musicology faculty and alumni will give an American Musicological Society Public Lecture, titled “Johnnies, Tommies, and Sammies: Music and the WWI alliance,” at the Library of Congress on May 18th, 2017 at 7 p.m. in the Madison Bldg., Montpelier Room. (See abstract below.)
Participants will include Christina Bashford (Associate Professor of Musicology, UIUC), William Brooks (Professor Emeritus of Music, UIUC; Professor of Music, University of York, UK), and Gayle Sherwood Magee (Associate Professor of Musicology, UIUC). They will be joined by two graduates of the SoM’s Doctor of Musical Arts program: Laurie Matheson (currently Director of the U of I Press) and Justin Vickers (Assistant Professor of Voice, Illinois State University), and also the pianist Geoffrey Duce, who is Assistant Professor of Piano at Illinois State University.
Johnnies, Tommies, and Sammies: Music and the WWI alliance
Throughout World War I, musical cultures in Britain, Canada, and The United States were deeply entangled in the formation of “The Allies.” As the war evolved, popular music exchanged and performed in all three cultures —filtered increasingly through US publishers—provided remarkable insights into their changing views of each other, themselves, and the conflict. In 1914, Britain was directly involved and directly threatened; Canada, still a British colony, owed allegiance to the Crown but was three thousand miles removed; and the United States was officially neutral but in practice supported the allies and (after the Lusitania incident) was increasingly inclined towards engagement. By 1917 all three countries had become part of “The Allies”; music, as this presentation demonstrates, played a central role in binding the three countries together.
Drawing primarily on the Library of Congress’s recently digitized copyright deposits from the period, and contextualized by a study of the newspapers in Chronicling America, recordings from National Jukebox, and other materials from American Memory, six participants—musicologists Christina Bashford, William Brooks, and Gayle Magee, and performers Justin Vickers, Laurie Matheson, and Geoff Duce—offer an integrated lecture-performance that manifests in its design the process of alliance that occurred a century ago. Bashford, Brooks, and Magee are from Britain, the United States, and Canada, respectively; and they will each speak about and through their respective country’s musics. The presentation is not a series of papers but rather a single, collaboratively authored text, partitioned among the speakers in a series of scripted encounters, and illustrated with slides, films, period recordings, and live performances of sheet music.
Congratulations to Illinois musicology doctoral candidate Thornton Miller, who has been awarded a Fulbright IIE Fellowship to conduct research in St. Petersburg and Moscow for the 2017-18 academic year.
See Miller’s abstract below.
My research is on Anglo-Soviet cultural exchange during the early Cold War. The work focuses on the relationship between the state institutions and the music professionals–such as composers (including Benjamin Britten and Dmitri Shostakovich), impresarios, performers, and publishers–who were involved in these exchanges. My preliminary archival research in the United Kingdom and Russia has indicated that the British and Soviet governments depended on these professionals to carry out Anglo-Soviet exchange, that these professionals were able to circumvent the economic and legal differences between the two countries, and that they were able to shape their own participation in these exchanges to suit their own creative, financial, and political interests. My current research strives to answer the question: why did the British and Soviet governments entrust these music professionals with this much agency?
On Christmas Eve at 11:30pm ET/10:30 CT and 10:30MT/11:30PT, CBS Television will present “Listen: A Celebration of Christmas at Berea College.” This event will spotlight the Willis D. Weatherford Campus Christian Center and the Berea College Music Department. Among other Berea ensembles, the concert will feature the Black Music Ensemble, for which Emmanuel Joshua Stokes is Assistant Director and soloist.
Stokes, a current doctoral candidate in Musicology at The University of Illinois at Urbana-Champaign, is Visiting Professor of Music History and Literature and the Assistant Director of the Black Music Ensemble at Berea College.
Photo credit: Jessica Greene
Photo credit: Steve Greene
Congratulations to UIUC Musicology doctoral student Jessica Hajek, who received Honorable Mention from the 2015 LACSEM Student Paper Prize (sponsored by the Latin American and Caribbean Music Section) for her paper “‘¡Y Ahora! ¿Y Ahora?’: Alibabá in Santo Domingo Carnival and the Emergence of a Performance Genre,” presented at the 60th Annual Meeting of the Society for Ethnomusicology at the University of Austin, TX.
Congratulations to musicology students Tara Hatfield and Thornton Miller, winners of recent Graduate College research travel competitions!
Tara, who is working on the intersections between hip-hop, environmentalism, and social identity in Tanzania, has been awarded a Graduate College Masters Project Travel Grant to pursue thesis research in Arusha, Tanzania.
Thornton is working on a PhD dissertation on cultural exchange between the USSR and the UK during the Cold War, with special attention to the work and agency of Benjamin Britten. He has been awarded a Graduate College Dissertation Travel Grant to pursue doctoral research in Moscow and St. Petersburg.
The School of Music was one of only two units on campus to receive two research travel awards from the Graduate College this fall.
▪The Bruno and Wanda Nettl Distinguished Lecture in Ethnomusicology▪
Performing Blackness: Black Gospel Music in the Netherlands
Portia K. Maultsby, Laura Boulton Professor Emerita of Ethnomusicology
Department of Folklore and Ethnomusicology
Since the 1990s, African American gospel music has become a global phenomenon. Its popularity across national, cultural, racial, ethnic, and religious boundaries has resulted in the proliferation of gospel choirs throughout the world. In this new context, Black gospel music is used in diverse ways and serves multiple functions, giving rise to localized meanings and performance expectations. Although African American expatriates occasionally serve as choir directors, many choirs are led by non-African American musicians. With varying success, some directors strive to preserve “original” performance aesthetics and, often, the rituals associated with African American worship settings. Yet others reference black gospel music as inspiration to create localized religious expressions.
As a case study, my presentation will focus on Edith Casteleyn, the Euro-Dutch director of four choirs in the Netherlands performing what she describes as “authentic” Black American gospel music. Specifically, I will examine the processes for translating and negotiating differences in the musical values, cultural practices, religious orientations, and social conventions distinguishing African American and Dutch societies, and the way these differences impact the teaching, performance, and reception of gospel music in this new context.
Friday, September 16, 2016
Music Building Auditorium
1114 W. Nevada St., Urbana, IL 61801
Free and open to the public
Thursday, September 15 (4 PM, Lucy Ellis Lounge – FLB 1080)
Mike Silvers (Assistant Professor of Ethnomusicology, UIUC)
Congratulations to musicology doctoral student Putu Hiranmayena for being awarded the best student paper at the 4th Symposium of the ICTM Study Group on the Performing Arts of Southeast Asia! See the abstract below.
“Putting the “game” in Gamelan: Improvising Gamelan as Praxis in Public Charter Schools
For the past seventeen years, the Museum School of San Diego has incorporated Balinese gamelan into their core curriculum. In 1999, Dr. Alex Khalil and the late Robert E. Brown of the Center for World Music, designed courses for students in America to experience music as children do in Bali: within their daily lives. The school has housed gamelan angklung, gender wayang, gong kebyar, and occasionally “tarian” or dance. Guest artists such as I Nyoman Wenten (CalArts) and I Made Lasmawan (Colorado College) have participated in residencies at the museum school among other established artists. While students learn gamelan by the traditional “maguru panggul” or teaching through the mallet, teachers have utilized other methods to accommodate the diverse learning styles. I began as instructor in fall of 2013 and have employed improvisatory methods (Conduction) in search of a way to engage kindergarteners through game, not as a critique to traditional methods but as augmentation of such practices. This paper discusses the utilization of shared experiences across established cultural processes as the conduit for artistic praxis and preservation of creative agency. I argue that improvisatory “games” in the context of American kids gamelan not only stimulate creativity, but offer students a multi-sensorial experience that equips them with tools for which the pedagogical methods of gamelan are based upon. In doing so, I hope to highlight problems with my own positionality and advocate for improvisation in classrooms, as byproducts of cross-cultural contact.
The School of Music is happy to welcome the ensemble Pradhanica for their residency 31 January-2 February. Experts in Kathak dance and Hindustani music, the members of the group have each taken a unique path to finding their voice in Indian music. We look forward to attending their concerts and workshops, and to working with them in our classes!
Pradhanica residency schedule
Sunday, 31 January
|4-5.30 pm||“Introduction to Kathak and Pradhanica.” Demonstration/Workshop open to the public.||McKinley Presbyterian Church (809 South 5th St, Champaign 61820)|
Monday, 1 February
Kathak masterclass for dance students. Limited spaces for non-dance majors available. Contact Dr. Macklin (firstname.lastname@example.org) if interested.
Krannert Dance Studio (DRK), 2nd floor of Krannert Center for Performing Arts
|10-10.50 am||Members join MUS 167, Improvisation II. Other students and faculty welcome to join- contact Dr. Macklin if interested.||Smith Memorial Room (Smith 220)|
Tuesday, 2 February
|7.30-9.30 pm||Concert. Open to the public.||Smith Recital Hall (Smith 114)|
This residency is made possible by support from the following units
Frances P. Rohlen Visiting Artists Fund/ College of Fine and Applied Arts
College of Fine and Applied Arts, Center for World Music
College of Fine and Applied Arts, Department of Dance
School of Music, Divisions of Musicology, Music Education, Wind, Brass & Percussion, and Jazz Studies
School of Music, University of Illinois Annual Fund
College of Liberal Arts, Center for South Asian & Middle Eastern Studies (CSAMES)
University of Illinois SPICMACAY