In my list of courses, found on the left side of the blog under “Pages” and below, you will find more course outlines and key readings that are extensions of my core courses\u00a0devoted to\u00a0introductory examinations of ethnomusicology and popular music.<\/p>\n
Study of Dance Canada’s First Nations Music and Dance<\/span><\/a> The Study of Music in Canada<\/span><\/a><\/strong><\/span> England’s Vernacular Music and Dance<\/span><\/a><\/strong><\/span> England’s Seasonal Music and Dance The Shakuhachi and Its Buddhist Roots Applied Sociomusicology Folk Music Ethnomusicology at Home: Ensembles
\n<\/span><\/a><\/span><\/strong>The dance syllabus is particularly interesting, considering that dance is a surprisingly blind spot in the Arts Faculty and School of Music, despite its enormous importance to the student body as a form of socializing and recreation.<\/p>\n
\n<\/span><\/a><\/strong><\/span>The First Nations music syllabus is a pioneering effort designed for the needs of First Nations people, and the student body in general, separately and conceivably in the future, together. An appreciation of First Nations music and dance could propel Canadian students to a whole new level of discovery and respect. Naturally, the course would be conducted in partnership with the First Nations Studies department, and constantly reference its information with First Nations elders.<\/p>\n
\nIn the 21st century, it is no longer possible to describe the transplanted musics of\u00a0Canada’s two founding nations, Britain and France, as “Canadian Music”,\u00a0leave alone\u00a0the obvious argument that Canada’s First Nations are the\u00a0true source of music born and bred exclusively in Canada. This\u00a0purview of this course is much broader as it\u00a0reviews the music of the First Nations, “Second Nations” in the form of the pioneer sounds of ex-pat Brits and Francophones, and then\u00a0case studies of the musics of early and later minorities. Finally, the effects of popular music will be examined, given its global reach and\u00a0multinational commercialization.\u00a0\u00a0Issues of musical hybridity, homogenization and relativism will be illuminated in the light of Canada’s multicultural imperatives.<\/p>\n
\nMy ongoing interest in\u00a0English vernacular music and dance is the source of two interesting programs of learning. One course is an overview of English folk music and dance, soon to be an equal partner with the other members of our multicultural society.<\/p>\n
\n<\/span><\/a><\/strong><\/span>The syllabi describing seasonal music and dance from England is especially fascinating because it allows the students to explore the roots and evolution of many of the seasonal celebrations conducted here in Canada. Everybody loves to complain how Christmas for example, has become so commercialized. My course shows how that happened, and what can be done about it.<\/p>\n
\n<\/span><\/a><\/strong><\/span>Japan, and especially its magnificent flute, the shakuhachi<\/em>, is\u00a0presented in\u00a0a course that investigates the Buddhist motivations that have propelled the\u00a0shakuhachi<\/em> into the imagination of modern-day listeners and players. One unique feature of the course is the triangulation I bring to the shakuhachi<\/em> by introducing the South Asian bansuri<\/em>, the\u00a0Middle Eastern nay<\/em> and even the Baroque flute of the West.<\/p>\n
\n<\/span><\/a><\/span><\/strong>Applied sociomusicology is a bold attempt to utilize the lessons learned in the world of ethnomusicology and to legitimize and strengthen the place of amateur music-making in our country. Essentially, the goal of the course is to scourge the word “mediocrity” from the lexicon of our crucially important music-hobbyists, and put them in the centre of the picture, perhaps even displacing professional Western Art Music ensembles until a proper balance can be re-attained.<\/p>\n
\n<\/span><\/a><\/span><\/strong>The study of folk music is seen as an antique subject by some, and yet it was the centre of research for decades in Canada and elsewhere. Now we can benefit from comparisons with the study of folk music in different music cultures around the world. Canada has three, if not more, centres for folk culture studies in Newfoundland, Quebec and Cape Breton, Nova Scotia. My course is unique in British Columbia academe, despite the thriving folk music scene here on the Coast.<\/p>\n
\n<\/span><\/a><\/strong><\/span>Finally, you will see a list of ensembles that might add a new dimension to the already existing excellent programs. Given that we are familiar with the Chinese-music ensemble, Balinese ensemble, Korean ensemble, Brazilian ensemble, and African ensemble, is it time for a Canadian music ensemble?<\/p>\n