By Catherine Grant

ISBN-10: 0199352178

ISBN-13: 9780199352173

According to elevated specialize in the safety of intangible cultural historical past internationally, Music Endangerment offers a brand new useful method of assessing, advocating, and supporting the sustainability of musical genres. Drawing upon correct ethnomusicological study on globalization and musical variety, musical swap, tune revivals, and ecological types for sustainability, writer Catherine furnish systematically opinions suggestions which are at the moment hired to help endangered musics. She then constructs a comparative framework among language and track, adapting and making use of the measures of language endangerment as constructed through UNESCO, with a view to determine ways that language upkeep could (and would possibly not) remove darkness from new pathways to retaining those musics powerful. Grant's paintings offers the 1st in-depth, standardized, replicable software for gauging the extent of energy of tune genres, supplying a useful source for the construction and upkeep of overseas cultural coverage. it is going to permit these operating within the box to successfully exhibit the measure to which outdoor intervention may be of actual profit to groups whose musical practices are lower than danger. major for either its perception and its application, Music Endangerment is a crucial contribution to the becoming box of utilized ethnomusicology, and may support safe the ongoing variety of our international musical traditions.

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Some of the young adults involved in these programs became interested in a career in folk performance, and eventually toured nationally. FolkWorks implemented a series of training workshops for schoolteachers, and in due course every school in Northumberland had a trained teacher able to offer basic instruction in the tradition. Graves generalizes the whole process in this way: The basic components form an elegant circle: exposure of students to traditional artistry in the classroom results in community performance opportunities; these inspire the most interested and talented students to pursue extracurricular W h at W e K n o w a n d W h at W e ’ v e D o n e [33] training; the best of these are given professional performance opportunities and are brought back for teacher training institutes; the teachers bring their new knowledge into their classrooms; and the cycle begins anew.

As yet, there exists no widely-used, standardized, replicable tool that helps W h at W e K n o w a n d W h at W e ’ v e D o n e [27] communities or researchers identify situations and degrees of musical endangerment (though Coulter, 2011, provides a useful example of how such a tool might look and work). Support mechanisms are therefore typically developed on a single-solution or reactive basis. Although the endangered status of some genres is obvious (as, arguably, in the case of many indigenous genres in Australia, Canada, the United States, and elsewhere), the endangerment of other seriously threatened genres may not be as apparent or may simply fail to attract research interest, increasing the risk that their communities will be deprived of access to support.

The risk is of reaching deadlock: no term, perhaps, is perfect. Precedent from the sociolinguistic literature is not fully helpful: meanings of terms are often more clearly defined than in the ethnomusicological discourse, but the lack of consistency across the discipline is bewildering. Definitions of revival, revitalization, maintenance, renewal, reclamation, and restoration, while often well-articulated, fluctuate according to researcher, country, and context. Even the most common umbrella term for efforts supporting language vitality and viability—language maintenance—is sometimes used more narrowly, to refer only to efforts directed toward a language still spoken by all or most members of a community (in that case contrasting with language revitalization, which is used in relation to “weaker” languages).

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Music Endangerment: How Language Maintenance Can Help by Catherine Grant

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