Music Traditions, Cultures, and Contexts

Contents

• Table of Contents for Music Traditions: Cultures & Contexts , edited by Robin Elliot and Gordon E. Smith List of Illustrations List of Music Illustrations
• Acknowledgments
• Preface
• 1. Beverley Diamond: Life Stories, Academic Directions and Teaching, Research, and Scholarly Activity | Robin Elliot and Gordon E. Smith
• 2. Conservations with Clifford Crawley | Beverley Diamond
• 3. Ethnomusicology Critiques Itself: Comments on the History of a Tradition | Bruno Nettl
• 4. Is Fieldwork Still Necessary? | Ellen Koskoff
• 5. Toward a History of Ethnomusicologyas North Americanist Agenda | Kay Kaufman Shelemay
• 6. Encountering Oral Performance as Total Musical Fact | Regula Burckhardt Qureshi
• 7. You Also Work as a Church Organist? Whatever For? | Charlotte J. Frisbie
• 8. The Politics of Organology and the Nova Scotia Banjo: An Essay in Honour of Beverley Diamond | Neil V. Rosenberg
• 9. Strategies of Survival: Traditional Music, Politics, and Music Education among Two Minorities of Finland | Pirkko Moisala
• 10. Father of Romance, Vagabond of Glory: Two Canadian Composers as Stage Heroes | John Beckwith
• 11. Funk and James Brown, Re-Africanization, the Interlocked Groove, and the Articulation of Community | Rob Bowman
• 12. On the One: Parliament/Funkadelic, the Mothership, and Transformation | Rob Bowman
• 13. Politics through Pleasure: Party Music in Trinidad | Jocelyne Guilbault
• 14. A Festschrift for the Twenty-First Century: Student Voices | Kip Pegley and Virginia Caputo
• Appendix Beverley DiamondaPublications and Lectures
• Contributors
• Index Contributorsa Bios John Beckwith, composer, writer, and professor emeritus, Faculty of Music, University of Toronto, was one of Beverley Diamondas teachers at the University of Toronto. His Arctic Dances for oboe and piano (1984) are based on her tr
• Chapter 1 of this book. Robin Elliott studied Canadian music with Beverley Diamond as an undergraduate student at Queenas University. He is professor of musicology in the Faculty of Music, University of Toronto, where he holds the Jean A. Chalmers Chair