Scholarlink

This chapter traces my long and profound interactions with Patricia Campbell in a field we have both been very passionate about: the way music from other cultures is transmitted in formal and non-formal learning. I do so with reference to seven meetings with Patricia over three decades in various parts of the world: at ISME in Florida in 1994; at the Teaching World Music (later CDIME) Conference in Dartington, UK in 1996; as part of the ISME Focus on Africa Group in 1997; at the Community Music Activities group in Rotterdam in 2000; at the CDIME conferences in Brisbane, Australia in 2005; in Singapore in 2011; and in Kathmandu in 2017; and finally at board meetings of the iconic record label Smithsonian Folkways while I was director/curator in Washington DC from 2016. Each of these meetings represents a deepening of our discussions on world music pedagogy: the way aural traditions find their ways into classrooms; the role of the culture bearer; theoretical models for music transmission across cultures; the relationship between community music and formal education; the changes in political climate for cultural diversity since 9/11 (2001); and the need for lifelong learning for music teachers. The former have led to the joint development of influential ideas on cultural diversity in music education; the latter to practical initiatives, the most notable of which are Campbell’s World Music Pedagogy courses in the US, which have seen twelve editions to date, and the recently launched Music Pathways of Smithsonian Folkways Recordings. The chapter ends with a Brief Response by Leung Bo-Wah.

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

Seven Meetings, Five Continents, and Dozens of Ideas, or: How Patricia Campbell Quietly Transforms Lives and Practices

  • 章节

  • 发表日期：

    2025年

查看全文
  • Huib Schippers

摘要

This chapter traces my long and profound interactions with Patricia Campbell in a field we have both been very passionate about: the way music from other cultures is transmitted in formal and non-formal learning. I do so with reference to seven meetings with Patricia over three decades in various parts of the world: at ISME in Florida in 1994; at the Teaching World Music (later CDIME) Conference in Dartington, UK in 1996; as part of the ISME Focus on Africa Group in 1997; at the Community Music Activities group in Rotterdam in 2000; at the CDIME conferences in Brisbane, Australia in 2005; in Singapore in 2011; and in Kathmandu in 2017; and finally at board meetings of the iconic record label Smithsonian Folkways while I was director/curator in Washington DC from 2016. Each of these meetings represents a deepening of our discussions on world music pedagogy: the way aural traditions find their ways into classrooms; the role of the culture bearer; theoretical models for music transmission across cultures; the relationship between community music and formal education; the changes in political climate for cultural diversity since 9/11 (2001); and the need for lifelong learning for music teachers. The former have led to the joint development of influential ideas on cultural diversity in music education; the latter to practical initiatives, the most notable of which are Campbell’s World Music Pedagogy courses in the US, which have seen twelve editions to date, and the recently launched Music Pathways of Smithsonian Folkways Recordings. The chapter ends with a Brief Response by Leung Bo-Wah.