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About David G. Hebert
David G. Hebert, PhD is a tenured Professor of Music at Western Norway University of Applied Sciences, Bergen. He leads the Grieg Academy Music Education (GAME) research group and manages the Nordic Network for Music Education, a multinational state-funded organization that coordinates Master classes and exchange of teachers and students across eight Northern European nations. He is also a Visiting Professor in Sweden with the Malmo Academy of Music at Lund University, a Visiting Scholar with the Central Conservatory of Music, Beijing, China, and an Honorary Professor with the Education University of Hong Kong. He teaches courses in music education and cultural policy for universities in Europe and East Asia, and performs as a singer and trumpeter. A widely cited international-comparative scholar, he has taught for universities and conducted research on each inhabited continent. Prof. Hebert is co-Editor of a new book series in global musicology for Rowman & Littlefield press, The Lexington Series in Historical Ethnomusicology: Deep Soundings.
As a specialist in comparative arts research, sociomusicology and historical ethnomusicology, Dr. Hebert has published chapters in more than 10 books and encyclopedias, as well as 35 different professional journals, and his work is cited in 1000 publications [h-index:17]. Prof. Hebert serves in editorial roles for various professional journals: Arts Education Policy Review, Music Education Research, Eurasian Music Science Journal, Journal of Popular Music Education, Action, Criticism, and Theory for Music Education, and other journals. He has professionally reviewed book proposals for 10 academic presses, and recently authored entries for the SAGE Encyclopedia of Music and Culture, and Cambridge Encyclopedia of Brass Instruments.
Prof. Hebert's books include Wind Bands and Cultural Identity in Japanese Schools (2012, Springer), Patriotism and Nationalism in Music Education (co-edited with Alexandra Kertz-Welzel, 2012, Ashgate/Routledge), Theory and Method in Historical Ethnomusicology (co-edited with Jonathan McCollum, 2014, Lexington Books), International Perspectives on Translation, Education, and Innovation in Japanese and Korean Societies (2018, Springer), Music Glocalization: Heritage and Innovation in a Digital Age (co-edited with Mikolaj Rykowski, 2018, Cambridge Scholars), Advancing Music Education in Northern Europe (co-edited with Torunn Bakken Hauge, Routledge, 2019), World Music Pedagogy VII: Teaching World Music in Higher Education (co-authored with William Coppola and Patricia Shehan Campbell, Routledge, 2020), Ethnomusicology and Cultural Diplomacy (Lexington Books, in press), and he has contracts for books on global music education philosophy and intercultural music collaboration.
He has been a Keynote Lecturer for conferences in Europe (Norway, Poland, Estonia, and Sweden), Asia (Uzbekistan, China), and Africa (Tanzania), and Chair of arts sessions at the XVIII World Congress of Sociology (Japan). Prof. Hebert has mentored several doctoral students (serving as main supervisor, committee member or external examiner on doctoral committees for universities in 10 countries), and has received grants from several state governments for research projects. In addition to academic research, he also works as a trumpeter, conductor, and songwriter.
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Music has long served as an emblem of national identity in educational systems throughout the world. Patriotic songs are commonly considered healthy and essential ingredients of the school curriculum, nurturing the respect, loyalty and 'good citizenship' of students. But to what extent have music educators critically examined the potential benefits and costs of nationalism? Globalization in the contemporary world has revolutionized the nature of international relationships, such that patriotism may merit rethinking as an objective for music education. The fields of 'peace studies' and 'education for international understanding' may better reflect current values shared by the profession, values that often conflict with the nationalistic impulse. This is the first book to introduce an international dialogue on this important theme; nations covered include Germany, the USA, South Africa, Australia, Finland, Taiwan, Singapore and Canada.
World Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches.
These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.
In five sections of newly commissioned chapters, a refreshing mix of junior and senior scholars tackle questions concerning the potential for formal and informal musical learning in a networked society. Beginning with an overview of community identity and the new musical self through social media, scholars explore intersections between digital, musical, and social constructs including the vernacular of born-digital performance, musical identity and projection, and the expanding definition of musical empowerment. The fifth section brings this handbook to full practical fruition, featuring firsthand accounts of digital musicians, students, and teachers in the field. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a musical community member in an age of technologically mediated relationships that break down the limits of geographical, cultural, political, and economic place.
Andrew R. Brown, Pamela Burnard, Bernadette Colley, Ian Cross, Rokus de Groot, Steven C. Dillon, Randi Margrethe Eidsaa, David G. Hebert, Evangelos Himonides, Neryl Jeanneret, Ailbhe Kenny, Andrew King, Eleni Lapidaki, Felicity Laurence, Samuel Leong, Bo Wah Leung, Alagi Mbye, Gary E. McPherson, Ross Purves, Tal-Chen Rabinowitch, S. Alex Ruthmann, Eva Sæther, Jonathan Savage, Reza Shayesteh, Petros Stagkos, Matthew D. Thibeault, Evan S. Tobias, Carole Waugh, Graham F. Welch
Based on topics that frame the debate about the future of professional music education, this book explores the issues that music teachers must confront in a rapidly shifting educational landscape.
The book aims to challenge thought and change minds. It presents a star cast of internationally prominent thinkers in and beyond music education. These thinkers deliberately challenge many time-worn traditions in music education with regard to musicianship, culture and society, leadership, institutions, interdisciplinarity, research and theory, and curriculum. This is the first book to confront these issues in this way.
This unique book has emerged from fifteen years of international dialog by The MayDay Group, an organization of more than 250 music educators from over 20 countries who meet yearly to confront issues in music teaching and learning.
Advancing Music Education in Northern Europe tells the story of a unique organization that has contributed in profound ways to the professional development of music teachers in the Nordic and Baltic nations. At the same time, the book offers reflections on how music education and approaches to the training of music teachers have changed across recent decades, a period of significant innovations. In a time where international partnerships appear to be threatened by a recent resurgence in protectionism and nationalism, this book also more generally demonstrates the value of formalized international cooperation in the sphere of higher education. The setting for the discussion, Northern Europe, is a region arguably of great importance to music education for a number of reasons, seen, for instance, in Norway’s ranking as the “happiest nation on earth”, the well-known success of Finland’s schools in international-comparative measures of student achievement, how Sweden has grappled with its recent experience as “Europe’s top recipient of asylum seekers per capita”, and Estonia’s national identity as a country born from a “Singing Revolution”, to name but a few examples. The contributors chronicle how the Nordic Network for Music Education (NNME) was founded and developed, document its impact, and demonstrate how the eight nations involved in this network – Norway, Iceland, Denmark, Sweden, Finland, Estonia, Latvia, and Lithuania – are making unique contributions of global significance to the field of music education.
In Theory and Method in Historical Ethnomusicology, editors Jonathan McCollum and David Hebert, along with contributors Judah Cohen, Chris Goertzen, Keith Howard, Ann Lucas, Daniel Neuman, and Diane Thram systematically demonstrate various ways that new approaches to historiography––and the related application of new technologies––impact the work of ethnomusicologists who seek to meaningfully represent music traditions across barriers of both time and space. Contributors specializing in historical musics of Armenia, Iran, India, Japan, southern Africa, American Jews, and southern fiddling traditions of the United States describe the opening of new theoretical approaches and methodologies for research on global music history. In the Foreword, Keith Howard offers his perspective on historical ethnomusicology and the importance of reconsidering theories and methods applicable to this field for the enhancement of musical understandings in the present and future.