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About David G. Hebert
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 850 publications [h-index:15]. 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 reviews book proposals for Oxford, Springer, Rowman and Littlefield, Peter Lang, and Routledge (Ashgate) presses, and has 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), and On Music Education: East-West Dialogues (co-authored with Jiaxing Xie, forthcoming, Shanghai Education Press).
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 music doctoral students (serving as main supervisor, committee member or external examiner on 15 doctoral committees for universities in Norway, Sweden, Finland, Spain, Luxembourg, India, Canada and the USA), 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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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.
This well researched volume tells the story of music education in Japan and of the wind band contest organized by the All-Japan Band Association. Identified here for the first time as the world’s largest musical competition, it attracts 14,000 bands and well over 500,000 competitors. The book’s insightful contribution to our understanding of both music and education chronicles music learning in Japanese schools and communities. It examines the contest from a range of perspectives, including those of policy makers, adjudicators, conductors and young musicians. The book is an illuminating window on the world of Japanese wind bands, a unique hybrid tradition that comingles contemporary western idioms with traditional Japanese influences. In addition to its social history of Japanese school music programs, it shows how participation in Japanese school bands contributes to students’ sense of identity, and sheds new light on the process of learning to play European orchestral instruments.
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
The SAGE Encyclopedia of Music and Culture presents key concepts in the study of music in its cultural context and provides an introduction to the discipline of ethnomusicology, its methods, concerns, and its contributions to knowledge and understanding of the world′s musical cultures, styles, and practices. The diverse voices of contributors to this encyclopedia confirm ethnomusicology′s fundamental ethos of inclusion and respect for diversity. Combined, the multiplicity of topics and approaches are presented in an easy-to-search A-Z format and offer a fresh perspective on the field and the subject of music in culture.
Key features include:
- Approximately 730 signed articles, authored by prominent scholars, are arranged A-to-Z and published in a choice of print or electronic editions
- Pedagogical elements include Further Readings and Cross References to conclude each article and a Reader’s Guide in the front matter organizing entries by broad topical or thematic areas
- Back matter includes an annotated Resource Guide to further research (journals, books, and associations), an appendix listing notable archives, libraries, and museums, and a detailed Index
- The Index, Reader’s Guide themes, and Cross References combine for thorough search-and-browse capabilities in the electronic edition
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.