tag:blogger.com,1999:blog-34091471523170140972024-02-06T20:43:57.039-08:00Boston Hybrid MusicsBoston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-3409147152317014097.post-65067293617001336642008-09-21T23:00:00.000-07:002009-07-25T23:30:51.608-07:00Introduction: The Project and its Authors<span style="font-weight: bold; font-style: italic;"><br /><span style="font-size:180%;"><span style="color: rgb(51, 51, 255);">Welcome to Boston Hybrid Musics!</span> </span></span><br /><br /><br />This website was developed as part of the following course:<br /><p class="MsoNormal"><span style="font-weight: bold;">CFA MU827: Special Topics in Musicology “Hybridity and Transculturation”</span> </p> <p class="MsoNormal"><o:p><a href="http://www.linkedin.com/in/davidhebertphd">Prof. David G. Hebert</a>, PhD - Boston University,</o:p><o:p> Spring 2008</o:p></p> <p class="MsoNormal"><o:p></o:p><span style="font-style: italic;">Course Description: </span>This course examines how new musical fusions arise from cross-cultural contact. Sociological and aesthetic perspectives are used to explore the changing artistry and identity of musicians in <st1:place st="on">Asia</st1:place> and the southern hemisphere, as well as how the music industry, governmental, and educational institutions respond to globalization and the emergence of new musical practices.</p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKPDpRym4BaYv5tWrEcjuRZuyZ6tJWlKPCrcjc5fWsnK1KJ3fOGRU6I4aJvVuX_N8rnF51HfCt0E-dTrBGWpCBa8DG0FGz_017fFrAThTb7pwEROEdA2OeK_tqGe6OngmflWfqqgvgCw/s1600-h/bu-logo.gif"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKPDpRym4BaYv5tWrEcjuRZuyZ6tJWlKPCrcjc5fWsnK1KJ3fOGRU6I4aJvVuX_N8rnF51HfCt0E-dTrBGWpCBa8DG0FGz_017fFrAThTb7pwEROEdA2OeK_tqGe6OngmflWfqqgvgCw/s320/bu-logo.gif" alt="" id="BLOGGER_PHOTO_ID_5194640269940283458" border="0" /></a><br /><br /><span style="font-weight: bold;"><br /><br /></span> <p class="MsoNormal"><a href="http://bu.edu/">http://bu.edu</a></p><br /><span style="font-weight: bold;">Our Final Project</span><br />The final project for this course is to document examples of urban hybrid musical traditions in the greater Boston area. Rather than formal research, these brief studies for the purpose of this course are best regarded as a fusion of narrative inquiry and cultural critique, akin to scholarly journalism. Projects will be posted on this website, using text, image and sound files, and links, enabling visitors to learn about some unique and interesting musical practices that may be found in the Boston area in 2008.<br /><br /><br /><span style="font-weight: bold;">Click <a href="http://bostonhybridmusics.blogspot.com/2008/09/table-of-contents.html">HERE</a> for the Table of Contents. </span><br /><br /><br /><p class="MsoNormal"><span style="font-weight: bold;">The following Boston University graduate students have participated in this course: </span><br /></p><p class="MsoNormal">...........................................................................................................<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHmfFfeJYzey8gTZOCm4lYitFUwtzmBG3xSNPQORnzi6AsLxjfOeSeQ7PmwO-HS7CfTbVVjo9jWjq7b3T3stLYd61nsxSJs8K5j3JePxDdKpUkAY2yMQR0f_VnfFJoMcCiGUtDAGoE9A/s1600-h/EricaYennior.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHmfFfeJYzey8gTZOCm4lYitFUwtzmBG3xSNPQORnzi6AsLxjfOeSeQ7PmwO-HS7CfTbVVjo9jWjq7b3T3stLYd61nsxSJs8K5j3JePxDdKpUkAY2yMQR0f_VnfFJoMcCiGUtDAGoE9A/s320/EricaYennior.JPG" alt="" id="BLOGGER_PHOTO_ID_5174326175424768242" border="0" /></a>.................</p><p style="font-weight: bold;" class="MsoNormal">Erica Yennior</p><p style="font-weight: bold;" class="MsoNormal"> </p><p class="MsoNormal" style="line-height: 150%;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoBodyTextIndent">Erica Yennior began her musical career as a self-taught pianist and accompanist in her hometown of <st1:place st="on"><st1:city st="on">Harrisburg</st1:city>, <st1:state st="on">Pennsylvania</st1:state></st1:place>. She moved to <st1:city st="on"><st1:place st="on">Boston</st1:place></st1:city> after high school to attend the <a href="http://www.berklee.edu/">Berklee College of Music</a>. While at Berklee, she majored in Music Synthesis, focusing her studies on digital audio editing, sound design, and <st1:place st="on">MIDI</st1:place> sequencing. After graduating from Berklee <i style="">summa cum laude</i>, Erica spent several years as studio manager of Cybersound Recording Studio in <st1:city st="on"><st1:place st="on">Boston</st1:place></st1:city>. Her experience at Cybersound included administrative duties, client relations, audio transfer, and voice-over recording. </p> <p class="MsoBodyTextIndent">In 2002 Erica made the decision to change careers and returned to Berklee to complete coursework for her <st1:state st="on"><st1:place st="on">Massachusetts</st1:place></st1:state> teacher license in music education. Erica is now an Elementary Music Specialist in the <a href="http://www.westwood.k12.ma.us/">Westwood Public Schools</a>, teaching kindergarten through Grade 5 general music, as well as Grade 5 chorus and drama. She holds Levels 1, 2, and 3 Orff Schulwerk certification, and has a deep interest in African American musical traditions. She is currently completing her graduate studies in Music Education at the Boston University College of Fine Arts.</p> <p class="MsoBodyTextIndent">Outside of her elementary music classroom, Erica teaches private piano lessons to children of varying ability levels. A former competitive figure skater, she has also worked as an ice skating instructor. She currently lives with her husband Joel in <st1:place st="on"><st1:city st="on">Natick</st1:city>, <st1:state st="on">Massachusetts</st1:state></st1:place>. Joel, a trombonist with <st1:city st="on">Boston</st1:city>’s Either/Orchestra, has inspired Erica’s recent interest in the music of <st1:country-region st="on"><st1:place st="on">Ethiopia</st1:place></st1:country-region>. </p> <p class="MsoNormal">...........................................................................................<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglPh1AVslM0yv_3v7vIP7Zxib53XGZY4ra9CBBqE9XnqJTlUuk6G5NQo9RA8wiFFmJzkUFKcjsymIXCOB63wh4KjuD0JKepRvdf_gbZbOSD8qU_14LY4Y6BL5SWVxv01egPiVjisM2JQ/s1600-h/Liu+Yi.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglPh1AVslM0yv_3v7vIP7Zxib53XGZY4ra9CBBqE9XnqJTlUuk6G5NQo9RA8wiFFmJzkUFKcjsymIXCOB63wh4KjuD0JKepRvdf_gbZbOSD8qU_14LY4Y6BL5SWVxv01egPiVjisM2JQ/s320/Liu+Yi.jpg" alt="" id="BLOGGER_PHOTO_ID_5174326235554310402" border="0" /></a>.................................</p><p style="font-weight: bold;" class="MsoNormal">Yi Liu</p><p class="MsoNormal"><span style=";font-family:Arial;font-size:12;" ><span style="font-size:100%;">Beginning at a young age with piano lessons from her mother in <st1:city st="on">Shanghai</st1:city>, mainland <st1:place st="on"><st1:country-region st="on">China</st1:country-region></st1:place>, Yi L</span></span><span style=";font-family:Arial;font-size:12;" ><span style="font-size:100%;">iu continued her musical studies with pianist Chen Meng Xian who graduated from <a href="http://en.wikipedia.org/wiki/Shanghai_Conservatory_of_Music">Shanghai</a></span></span><span style=";font-family:Arial;font-size:12;" ><span style="font-size:100%;"><a href="http://en.wikipedia.org/wiki/Shanghai_Conservatory_of_Music"> Conservatory</a>. Later, Liu was accepted to the <a href="http://en.wikipedia.org/wiki/Central_Conservatory_of_Music">Beijing Central Conservatory</a> as a harp major under the tutorledge of harp teacher Zou Yin. After graduation Liu served as a professional harpist in <st1:city st="on"><st1:place st="on">Beijing</st1:place></st1:city><br /><br />Yi Liu then traveled to the <st1:country-region st="on"><st1:place st="on">United States</st1:place></st1:country-region> to further her education. She continued harp studies with</span></span><span style=";font-family:Arial;font-size:12;" ><span style="font-size:100%;"> Lucile Lawrence and earned a Master degree in Music Education from <st1:placename st="on">Boston</st1:placename><st1:placetype st="on"> University</st1:placetype>, <st1:state st="on"><st1:place st="on">Massachusetts</st1:place></st1:state> state certified to teach music in the public schools grades pre-K through 12. At this</span></span><span style=";font-family:Arial;font-size:12;" ><span style="font-size:100%;"> time, Ms. Liu is in her 14th year of teaching in the Greater Boston area and is taking further graduate level courses in Music Education at Boston University.</span></span></p><p class="MsoNormal"><span style=";font-family:Arial;font-size:12;" ><span style="font-size:100%;"> </span> <!--[if !supportLineBreakNewLine]--> <!--[endif]--></span></p>............................................................................................................................<p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdlpzANEFufkuft2nbdm-K4Sk8Szx9ZZ1MvFloFNTTUDLGrK6_uM5zeXDiGvAGv1PmWkNhORAcqCcQINAI4RVOl12WeFKVUaYOQVuIrzNPEshekSgX8BPmrkUmcj8ORLvV99yyummXBQ/s1600-h/IMG_0694.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdlpzANEFufkuft2nbdm-K4Sk8Szx9ZZ1MvFloFNTTUDLGrK6_uM5zeXDiGvAGv1PmWkNhORAcqCcQINAI4RVOl12WeFKVUaYOQVuIrzNPEshekSgX8BPmrkUmcj8ORLvV99yyummXBQ/s320/IMG_0694.JPG" alt="" id="BLOGGER_PHOTO_ID_5177328928982074930" border="0" /></a><br /><br /></p><p class="MsoNormal"><span style="font-weight: bold;">Katherine Baltrush</span><span style="font-weight: bold;"> </span></p><p class="MsoNormal"> </p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal">Katherine Baltrush, soprano, received her Bachelor of Arts degree in Voice Performance from the <st1:placetype st="on">College</st1:placetype> of <st1:placename st="on">Fine Arts</st1:placename> at <st1:place st="on"><st1:placename st="on">Boston</st1:placename> <st1:placetype st="on">University</st1:placetype></st1:place> in May of 2007. A student of <a href="http://www.bu.edu/cfa/music/faculty/hoffman/">Phyllis Hoffman</a>, Ms. Baltrush performed in opera scenes and sang regularly under conductors <a href="http://www.bu.edu/cfa/music/faculty/ajones/">Ann Howard Jones</a> and <a href="http://www.bu.edu/cfa/music/faculty/hoose/">David Hoose</a> as part of her undergraduate work. Ms. Baltrush consistently appeared on the Dean's List throughout her undergraduate career, is a member of the Golden Key International Honors Society, and was recently admitted as a member to the <a href="http://www.magnacumlaude.org/">National Scholars Honor Society</a>, all in recognition of her high level academic performance. </p> <p class="MsoNormal">Ms. Baltrush has also been active as a music administrator. During her undergraduate studies, she served as the Music Program Administrator of the Marsh Chapel Choir at <st1:place st="on"><st1:placename st="on">Boston</st1:placename> <st1:placetype st="on">University</st1:placetype></st1:place></p><p class="MsoNormal"> under Music Director, Scott Allan Jarrett. In this capacity she organized several concerts a year, including a performance of Handel's oratorio Saul in 2006 and a performance of Bach's St. John Passion in the same year. This was all in addition to weekly rehearsals and Sunday morning services. In the summer of 2006, Ms. Baltrush was the Librarian and Assistant Manager at the Boston University <a href="http://www.bu.edu/cfa/music/tanglewood/">Tanglewood Institute</a> (of which she is an alumnus) for the Young Artist Orchestra where she had the pleasure of working with conductors James Gaffigan and Federico Cortese. </p> <p class="MsoNormal">She is currently pursuing a Masters Degree in Musicology from <st1:place st="on"><st1:placename st="on">Boston</st1:placename> <st1:placetype st="on">University</st1:placetype></st1:place>. She has written on a wide variety of topics ranging from such diverse topics as Ravel's Shéhérazade to David Bowie. For Dr. Hebert's course and this website, she is currently working on Arabic music in <st1:city st="on"><st1:place st="on">Boston</st1:place></st1:city>, particularly the work of <a href="http://www.newenglandfilm.com/news/archives/98may/composer.htm">Kareem Roustom</a>. </p> <p class="MsoNormal">............................................................................................................................</p><p class="MsoNormal"> </p><p class="MsoNormal"><span style="font-weight: bold;">Jane Leggiero </span><br /></p><p class="MsoNormal">Jane Leggiero is pursuing a combined Master degree in musicology and historical performance. She did her undergraduate work at <a href="http://www.oberlin.edu/">Oberlin College</a>, where she studied musicology, including a</p> <p class="MsoNormal"> directed study in music of the English Chapel Royal under the auspices of <a href="http://www.oberlin.edu/con/faculty/plank_steven.html">Dr. Steven Plank</a>. Jane enjoys learning about music in ways that do not conform to the status quo, and took a Music and Embodied Cognition class at Oberlin which dealt with the ways in which humans physically and mentally interact with the music they hear. This class introduced Jane to one of her areas of particular interest, namely modern electronic dance music. Jane studied baroque cello with <a href="http://www.oberlin.edu/con/faculty/meints_catharina.html">Catherina Meints</a> at Oberlin, and continues her studies in <st1:city st="on"><st1:place st="on">Boston</st1:place></st1:city> with Sarah Freiberg Ellison. Jane is an active performer in early music circles, and enjoys collaborative music making of all kinds. She is currently preparing a recital of music written for the <a href="http://www.ithacastring.com/images/P1010006.jpg">five string cello</a>.</p> <p class="MsoNormal">............................................................................................................................</p><p class="MsoNormal"> </p><p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXps3QE8EJ1xyMvPxnaaxmAYbZuqggQgTaMdGkCOjkx27UGYfbt-Yv83xAzgGc3R-5whCuguvEA-MianeTFw8DfsT_vFbhy51ieDXbDWj8HKw6DlJ2F8kXzr9ssOrf1fC40EHijKVHpQ/s1600-h/IMG_0308.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXps3QE8EJ1xyMvPxnaaxmAYbZuqggQgTaMdGkCOjkx27UGYfbt-Yv83xAzgGc3R-5whCuguvEA-MianeTFw8DfsT_vFbhy51ieDXbDWj8HKw6DlJ2F8kXzr9ssOrf1fC40EHijKVHpQ/s320/IMG_0308.JPG" alt="" id="BLOGGER_PHOTO_ID_5192643423680256002" border="0" /></a></p> <p class="MsoNormal"><span style="font-weight: bold;"><br /></span></p><p class="MsoNormal"><span style="font-weight: bold;"><br /></span></p><p class="MsoNormal"><span style="font-weight: bold;">Dave Adams </span><br /></p><p class="MsoNormal">Dave Adams graduated from the <a href="http://www.usm.maine.edu/music/">University of Southern Maine</a> School of Music in 2002 with a degree in Jazz Performance where he studied jazz and classical saxophone.<span style=""> </span>He is an original member of the nationally touring, Boston-based funk band <a href="http://www.addisongroove.com/">Addison Groove Project</a> (AGP), winner of the 2004 and 2005 Boston Music Award for Best Funk Band.<span style=""> </span>Dave toured extensively with AGP for four years.<span style=""> </span>He has studied with <st1:street st="on"><st1:address st="on">Bill Street</st1:address></st1:street>, Christopher Oberholtzer, and Ryan Parker.<span style=""> </span>Dave currently works at the Career Development Office at the Boston University School of Law and teaches the <a href="http://www.bu.edu/bands/jazz/workshop/index.shtml">Jazz Workshop</a> at The Boston University College of Fine Arts, while he pursues a Masters in Music Education at BU. </p> <p class="MsoNormal">............................................................................................................................</p><p class="MsoNormal"> </p><br /><p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjoT_3rKVgq3lXjKomHzzTuKjxovxDdMivi8ANEniYVbfycXYSRpNRrb_yD_RPjZliTQEa2E-lb2XALDju8ZaqvR79wSD4uYUtcHE77-NnoxFr_ALSXiP3tXrcTNFT4RbyX7rwRQ4vCQ/s1600-h/Sheerin.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjoT_3rKVgq3lXjKomHzzTuKjxovxDdMivi8ANEniYVbfycXYSRpNRrb_yD_RPjZliTQEa2E-lb2XALDju8ZaqvR79wSD4uYUtcHE77-NnoxFr_ALSXiP3tXrcTNFT4RbyX7rwRQ4vCQ/s320/Sheerin.JPG" alt="" id="BLOGGER_PHOTO_ID_5192458632712345586" border="0" /></a></p><p class="MsoNormal"><span style="font-weight: bold;"><br /></span></p><p class="MsoNormal"><span style="font-weight: bold;">Sheerin Hosseini </span><br /></p><p class="MsoNormal">Sheerin Hosseini is a graduate student at Boston University pursing a Master’s Degree in Music Education.<span style=""> </span>In 2007 she received a Bachelor of Arts degree in music with a concentration in music education and a minor in sociology from "<a href="http://www.umb.edu/academics/cla/dept/performing_arts/faculty.html">UMass Boston</a>".<span style=""> </span>At the University of Massachusetts, she studied piano with Timothy McFarland, horn with Anne Howarth, and played French horn in the UMass Boston Chamber Orchestra.<span style=""> </span>Sheerin is a member of the Alpha Lamda Delta National Honor Society, and the Golden Key International Honor Society, and a past member of the <a href="http://www.umb.edu/student_affairs/beacon/index.html">Beacon</a><a href="http://www.umb.edu/student_affairs/beacon/index.html"> Leadership Project</a> at UMass Boston.<span style=""> </span>Sheerin was nominated for the JFK award by the College of Liberal Arts and was one of two students nominated for the Jack Kent Cooke scholarship by UMass Boston in 2007.<span style=""> </span></p> <p class="MsoNormal" style="text-indent: 36pt;">Sheerin currently teaches private music lessons in piano, flute, and French horn in Malden, Cambridge, and at the Timeline Music School in Wakefield, Massachusetts.<span style=""> </span>In addition, she volunteers as a French horn instructor for the <a href="http://www.malden.mec.edu/mps/">Malden Public Schools</a>.<span style=""> </span>Sheerin has been passionate about music from a young age, deciding in elementary school that she wanted to go on to study music in college.<span style=""> </span>She decided that she wanted to become a public school music teacher as high school student, and became particularly interested in teaching instrumental music.<span style=""> </span>Since then, Sheerin has consistently pursued this path and holds initial licensure to teach K-12 music in Massachusetts; she would like to teach either middle school instrumental or general music.<span style=""> </span>In particular, Sheerin is interested in using music as a tool to help at risk youth and would like to one day open a non-profit music school.<span style=""> </span></p> <p class="MsoNormal">............................................................................................................................</p><p class="MsoNormal"> </p><p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuO8l5C7rC0uuNwSdzvI-xegM7TMW0nF1hssMeUKDwqiavIBKhIm6CcMj5xztbCNLNYAGHK76uL181vpSCrA5NZ3m0ovjnHSafjJsNAAP10jCPOYBCeuGSBZ7hgfH2vHqbcaUyol2m5Q/s1600-h/Graduation+042_2.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 220px; height: 233px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuO8l5C7rC0uuNwSdzvI-xegM7TMW0nF1hssMeUKDwqiavIBKhIm6CcMj5xztbCNLNYAGHK76uL181vpSCrA5NZ3m0ovjnHSafjJsNAAP10jCPOYBCeuGSBZ7hgfH2vHqbcaUyol2m5Q/s320/Graduation+042_2.JPG" alt="" id="BLOGGER_PHOTO_ID_5176955464395818530" border="0" /></a><span style=""><span style="font-weight: bold;">Megan Felts</span><br /></span></p><p class="MsoNormal"><span style="">Megan Felts began her love of music at a very early age, enjoying 'playing' on her great aunt and uncle's player piano in her hometown of <a href="http://www.traveljuneau.com/">Juneau</a>, <st1:state st="on">Alaska</st1:state>. At age four she began taking piano lessons, which ultimately revealed her passion for singing. Megan attended <a href="http://www.berklee.edu/">Berklee College of Music</a> as a voice principle, where she graduated magna cum laude with a degree in Music Education in May 2007. She is currently attending <st1:placename st="on">Boston</st1:placename> <st1:placetype st="on">University</st1:placetype>'s <st1:placetype st="on">College</st1:placetype> of <st1:placename st="on">Fine Arts</st1:placename> for a graduate degree in Music Education, and lives in <st1:place st="on"><st1:city st="on">Norwood</st1:city>, <st1:state st="on">Massachusetts</st1:state></st1:place> with her husband Brandon and their dog.<o:p></o:p></span></p> <p class="MsoNormal">............................................................................................................................</p><p class="MsoNormal">//////////////////////////////////////////////////////////////</p><p class="MsoNormal"><br /></p><p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrapCZ9yB-5AC80jsOLzfW74uSyutKtTyZ_4rmVK023DWxJZf8HAejMV3lX01x4u2VvO1CNGuYV7zOFN5Ym0jyBuXEOqb6vWV0x9kh-UVjs_szlBPCY-0VQS1hZTxMk-RAgBv5LFbVTg/s1600-h/David+Hebert.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrapCZ9yB-5AC80jsOLzfW74uSyutKtTyZ_4rmVK023DWxJZf8HAejMV3lX01x4u2VvO1CNGuYV7zOFN5Ym0jyBuXEOqb6vWV0x9kh-UVjs_szlBPCY-0VQS1hZTxMk-RAgBv5LFbVTg/s320/David+Hebert.jpg" alt="" id="BLOGGER_PHOTO_ID_5174328151109724434" border="0" /></a></p> <p style="font-weight: bold;" class="MsoNormal">Professor David G. Hebert</p><p class="MsoNormal"> </p>David G. Hebert (PhD, University of Washington) is a music teacher educator and ethnomusicologist who has taught for Seattle Public Schools and universities in Russia, Japan, New Zealand, Finland, and the USA. Born in the 1970s, he is among the most widely published and cited music researchers of his generation. With cross-cultural interests that include musical creativity, transculturation / hybridity, online learning, popular music, competition, and musical identity, he serves in editorial roles for <span style="font-style: italic;">International Journal of Education and the Arts, Research and Issues in Music Education, </span>and<span style="font-style: italic;"> Research in New Zealand Performing Arts</span>. Dr. Hebert is author of <span style="font-style: italic;">Wind Bands and Cultural Identity in Japanese Schools</span> (forthcoming, Springer), the first scholarly book to identify and describe the world’s largest music competition. Other recent projects include the first research studies of Maori brass bands, New Zealand Tongan bands, patriotism in music education of various nations, and management of online music education programs. He has received grants from Simpson Humanities Center, National Band Association, Japan Ministry of Education, Arts Council of New Zealand, and United States Department of Education. In addition to being an instrumental conductor, he is active as a jazz trumpeter, vocalist, and songwriter, and recently recorded a jazz CD at Tokyo JVC Studios with vocalist Midori Takamura and jazz pianist Johnny Todd. He has recently accepted a new position as Professor of Music at the Sibelius Academy in Helsinki, Finland, and as Visiting Research Scholar with Nichibunken, a division of Japan's National Institutes for the Humanities, in Kyoto. Please visit <a href="http://sociomusicology.blogspot.com/">sociomusicology.blogspot.com</a> for more information about Dr. Hebert.<br /><br />............................................................................................................................<br /><br />The class also invited Prof. <span style="font-weight: bold;">Sarah Weiss</span> from Yale University as a guest lecturer: <p class="MsoNormal"><a href="http://www.yale.edu/yalemus/people/faculty.html">http://www.yale.edu/yalemus/people/faculty.html</a></p> <p class="MsoNormal">............................................................................................................................</p><p class="MsoNormal"> </p><p class="MsoNormal"><br /></p><p class="MsoNormal"><span style="font-weight: bold;">Here are some other recommended links:</span> </p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><a href="http://bandinbostonpodcast.com/"> </a></p><p class="MsoNormal"><a href="http://www.unesco.org/courier/2000_04/uk/edito.htm">http://www.unesco.org/courier/2000_04/uk/edito.htm</a></p> <p class="MsoNormal"><a href="http://www.qub.ac.uk/schools/SchoolofEnglish/imperial/key-concepts/Hybridity.htm">http://www.qub.ac.uk/schools/SchoolofEnglish/imperial/key-concepts/Hybridity.htm</a></p> <p class="MsoNormal"><a href="http://www.mca.org.au/web/content/view/55/6"> </a></p> <p class="MsoNormal"><a href="http://www.mca.org.au/web/content/view/55/6">http://www.mca.org.au/web/content/view/55/6</a><a href="http://www.creativecommunities.org.uk/pdf/2.3GlobMusicIden.pdf"><br /></a></p><p class="MsoNormal"><a href="http://www.creativecommunities.org.uk/pdf/2.3GlobMusicIden.pdf">http://www.creativecommunities.org.uk/pdf/2.3GlobMusicIden.pdf</a><a href="http://bandinbostonpodcast.com/"><br /></a></p><p class="MsoNormal"><a href="http://bandinbostonpodcast.com/">http://bandinbostonpodcast.com/</a></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><a href="http://wayneandwax.blogspot.com/2005/07/mashpolitik.html">http://wayneandwax.blogspot.com/2005/07/mashpolitik.html</a></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><a href="http://wayneandwax.blogspot.com/2005/07/mashpolitik.html"> </a></p><p class="MsoNormal"><a href="http://www.bprlive.org/">http://www.bprlive.org/</a></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"> </p><p class="MsoNormal"><a href="http://www.yorku.ca/topia/docs/conference/Morris.pdf">http://www.yorku.ca/topia/docs/conference/Morris.pdf</a></p><p class="MsoNormal"><a href="http://www.yorku.ca/topia/docs/conference/Morris.pdf"> </a></p><p class="MsoNormal"><a href="http://www.people.iup.edu/rahkonen/Ethno/Readings/WorldMusic.htm">http://www.people.iup.edu/rahkonen/Ethno/Readings/WorldMusic.htm</a></p><p class="MsoNormal"><a href="http://www.people.iup.edu/rahkonen/Ethno/Readings/WorldMusic.htm"> </a></p><p class="MsoNormal"><a href="http://www.isme.org/en/community-music-activity/community-music-activity-cma.html">http://www.isme.org/en/community-music-activity/community-music-activity-cma.html</a></p>Boston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.com0tag:blogger.com,1999:blog-3409147152317014097.post-88100511331901525712008-09-21T10:11:00.001-07:002008-09-21T23:08:45.969-07:00Table of Contents<p style="font-weight: bold;" class="MsoNormal">A) <a href="http://bostonhybridmusics.blogspot.com/2008/09/introduction-project-and-its-authors.html">Introduction: This Project and its Authors<br /></a></p><p style="font-weight: bold;" class="MsoNormal"><br /></p><p style="font-weight: bold;" class="MsoNormal">B) Table of Contents <span style="font-weight: normal;">(this page)</span><br /></p><p style="font-weight: bold;" class="MsoNormal"><br /></p><p style="font-weight: bold;" class="MsoNormal"> C) <a href="http://bostonhybridmusics.blogspot.com/2008/04/c-project-titles-and-abstracts.html">Project Titles and Abstracts</a></p><p style="font-weight: bold;" class="MsoNormal"><br /></p><p style="font-weight: bold;" class="MsoNormal"> D) <a href="http://bostonhybridmusics.blogspot.com/2008/08/overview-from-professor.html">Overview from the Professor</a></p><p class="MsoNormal"><span style="font-weight: bold;"><span style="font-size:130%;"><br /></span></span></p><p class="MsoNormal"><span style="font-weight: bold; color: rgb(51, 51, 255);"><span style="font-size:130%;">List of Projects </span></span><span style="color: rgb(51, 51, 255);"><span style="font-size:130%;">(alphabetized by author surname):</span></span><span style="font-weight: bold; color: rgb(51, 51, 255);"><span style="font-size:130%;"> </span> </span><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"> E) <span style="font-weight: bold;">Adams</span>, David: <span style="font-style: italic;"><a href="http://bostonhybridmusics.blogspot.com/2008/04/e-examining-malian-musicians-and-their.html">Examining Malian Musicians and their Performances in Boston</a></span></p><p class="MsoNormal"><br /></p><p class="MsoNormal"> F) <span style="font-weight: bold;">Baltrush</span>, Katherine: <span style="font-style: italic;"><a href="http://bostonhybridmusics.blogspot.com/2008/04/f-case-study-of-bostons-arab-american.html">Arab-America in Boston: Profile and Music of Composer Kareem Roustom</a></span></p><p class="MsoNormal"><br /></p><p class="MsoNormal">G) <span style="font-weight: bold;">Felts</span>, Megan: <span style="font-style: italic;"><a href="http://bostonhybridmusics.blogspot.com/2008/04/g-gospel-singing-in-bostonian-music.html">The Berklee Reverence Gospel Choir: An American Musical Hybrid</a></span></p><p class="MsoNormal"><br /></p><p class="MsoNormal">H) <span style="font-weight: bold;">Hosseini</span>, Sheerin: <span style="font-style: italic;"><a href="http://bostonhybridmusics.blogspot.com/2008/04/h-in-search-of-meaning-indo-jazz-music.html">In Search of Meaning: Indo-Jazz Music in Boston</a></span></p><p class="MsoNormal"><span style="font-style: italic;"><a href="http://bostonhybridmusics.blogspot.com/2008/04/h-in-search-of-meaning-indo-jazz-music.html"><br /></a></span></p><p class="MsoNormal">I) <span style="font-weight: bold;">Leggiero</span>, Jane: <span style="font-style: italic;"><a href="http://bostonhybridmusics.blogspot.com/2008/04/i-superpowers-afrobeat-in-boston-jane.html">Afrobeat for the 21st Century: The Superpowers</a><br /><br /><p class="MsoNormal">J) <span style="font-weight: bold;">Liu</span>, Yi: <span style="font-style: italic;"><a href="http://bostonhybridmusics.blogspot.com/2008/04/j-qualitative-study-of-chinese-dulcimer.html">The Boston Chinese Dulcimer Ensemble: Music Hybridity </a></span></p><p class="MsoNormal"><br />K) <span style="font-weight: bold;">Yennior</span>, Erica: <span style="font-style: italic;"><a href="http://bostonhybridmusics.blogspot.com/2008/04/k-mingling-of-musical-hybrids-ethio.html">A Mingling of Musical Hybrids: Ethio-Jazz and Boston’s Either/Orchestra</a></span></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /><br /></p></span></p>Boston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.com0tag:blogger.com,1999:blog-3409147152317014097.post-62890949975584405772008-08-04T13:28:00.000-07:002009-07-25T23:42:23.667-07:00Overview from the Professor<p style="text-align: center;" class="MsoNormal"><o:p></o:p><b style="color: rgb(0, 0, 153);"><span style="font-size:14;"><span style="font-size:180%;">Why <st1:place st="on"><st1:city st="on">Boston</st1:city></st1:place> Hybrid Musics?</span><o:p></o:p></span></b></p><div style="text-align: center; color: rgb(0, 0, 153);"> </div><p style="text-align: center;" class="MsoNormal"><span style="color: rgb(0, 0, 153);font-size:130%;" >David G. Hebert</span><br /></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><br /></p><p class="MsoNormal">This section introduces the theoretical background of our class project <i style="">Boston Hybrid Musics</i>.<br /></p><p class="MsoNormal"><br /></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><b style="">Course Description</b></p><ul style="margin-top: 0pt; color: rgb(51, 102, 255);" type="disc"><li class="MsoNormal"><span style="font-size:100%;"><b>MU 827: Special Topics in Musicology: <i>Hybridity and Transculturation </i>(Spring, 2008)<i> </i><o:p></o:p></b></span></li></ul><p style="color: rgb(51, 102, 255);" class="MsoNormal"><span style="font-size:100%;">This graduate seminar at Boston University examines how new musical fusions arise from cross-cultural contact. Sociological and aesthetic perspectives are used to explore the changing artistry and identity of musicians in <st1:place st="on">Asia</st1:place> and the southern hemisphere, as well as how the music industry, governmental, and educational institutions respond to globalization and the emergence of new musical practices. The course has interdisciplinary interest, and advanced students from anthropology, sociology, and Asian studies may participate along with students from musicology and music education.<br /></span></p><ul style="color: rgb(51, 102, 255);"><li><span style="font-size:100%;">Textbooks: </span></li></ul><p class="MsoNormal" style="text-indent: 36pt; color: rgb(51, 102, 255);"><span style="font-size:100%;">(1) Timothy Taylor, <i>Beyond Exoticism: Western Music and the World</i>. <st1:place st="on"><st1:city st="on">Durham</st1:city></st1:place>: Duke University Press, 2007. <o:p></o:p></span></p><p class="MsoNormal" style="text-indent: 36pt; color: rgb(51, 102, 255);"><span style="font-size:100%;">(2) Martin Clayton, Trevor Herbert, and Richard Middleton, eds., <i>The Cultural Study of Music: A Critical Introduction</i>. <st1:place st="on"><st1:state st="on">New York</st1:state></st1:place>: Routledge, 2003. <o:p></o:p></span></p><p class="MsoNormal" style="text-indent: 36pt; color: rgb(51, 102, 255);"><span style="font-size:100%;">(3) Yayoi Uno Everett and Frederick Lau, eds., <i>Locating <st1:place st="on">East Asia</st1:place> in Western Art Music</i>. <st1:place st="on"><st1:placename st="on">Wesleyan</st1:placename> <st1:placetype st="on">University</st1:placetype></st1:place> Press, 2004.</span><br /></p><p class="MsoNormal" style="text-indent: 36pt; color: rgb(51, 102, 255);">(4) Frances R. Aparicio and Candida F. Jaquez, eds., <i>Musical Migrations: Transnationalism and Cultural Identity in Latin/o America, Vol. I</i>. <st1:place st="on"><st1:placename st="on">Palgrave Macmillan</st1:placename><st1:placetype st="on"></st1:placetype></st1:place>, 2002.</p><span style="font-size:100%;"></span><p class="MsoNormal"><b style=""><br /></b></p><p class="MsoNormal"><b style="">Community Music Activity in <st1:place st="on"><st1:city st="on">Boston</st1:city></st1:place> <o:p></o:p></b></p> <p class="MsoNormal">The purpose of the final projects for this <a href="http://www.bu.edu/cfa/music/about/history/">Boston University graduate seminar</a> was to document examples of community music activity in the <st1:city st="on"><st1:place st="on">Boston</st1:place></st1:city> area, with particular attention to hybrid music genres. Much of the inspiration for this project came from a little-known book called <i style="">Community of Music</i>, the outcome of a seminar taught by ethnomusicologist Bruno Nettl about 15 years ago (Livingston, et al., 1993). <i style="">Community of Music</i> consists of brief reports from graduate students on various examples of community music activity from the vicinity of the university in which Nettl taught. Another important source of inspiration was Patricia Shehan Campbell’s qualitative research methods seminar, taught biennially at the <st1:place st="on"><st1:placetype st="on">University</st1:placetype> of <st1:placename st="on">Washington</st1:placename></st1:place>, in which her students are required to write “micro-ethnographies” of music teaching and learning. </p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">The study of community music in postmodern industrial societies is of increasing interest to scholars in a diversity of fields that include ethnomusicology, sociology of music, and music education.<a style="" href="http://www.blogger.com/post-edit.g?blogID=3409147152317014097&postID=6289094997558440577#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><span style=""><!--[if !supportFootnotes]--></span></span></a><span style="color: rgb(51, 102, 255);">[1]</span> Community Music, whether recognized as a distinct academic field or merely an interdisciplinary subject area, inherently bridges the gap between theory and practice in musical studies. We are hopeful that others might enjoy and take inspiration from our efforts, perhaps even implementing similar projects in other urban areas in the coming years. It would also be interesting to see the development of a more robust survey in Boston (through a year-long seminar) based partly upon the model developed here, or to see the results of a similar project conducted after a decade or more has passed, providing some sense of how the Bostonian music scene is changing.<span style=""> </span></p> <p class="MsoNormal" style=""><b><br /></b></p><p class="MsoNormal" style=""><b>Hybrid Musics in Musicology</b><b style=""><o:p></o:p></b></p> <p class="MsoNormal" style=""><span style="">Margaret Kartomi observed the following regarding the traditional musicological view of hybrid music genres: <o:p></o:p></span></p> <p class="MsoNormal" style="margin-right: 1in; margin-left: 1in; text-align: justify;"><span style="">Although the exact reasons for the disapproval of musics of mixed Western and non-Western descent were not normally explained, the vocabulary used by writers to describe them has generally implied that they lacked authenticity or were degenerate and oversentimental, having been influenced only by the ‘lowest’ forms of Western music (Kartomi, 1981, p.227). <o:p></o:p></span></p> <p class="MsoNormal">With this point in mind, our seminar began with discussion of cultural traditions: how they emerge and become institutionalized. Later, we considered the role of creative artists in proposing new innovations that subvert established traditions, and we also interrogated the very notion of “hybrid”. We found that hybrid music genres are particularly notable in terms of musical creativity and innovation, yet they have tended until recently to receive little attention from musicologists. We found that the field of <i style="">ethno</i>musicology, however, provides many relevant insights. According to Kay Shelemay (2001), “music historians would do well to draw upon ethnomusicologists’ experience in studying complex urban musical traditions, transnational musical movements, and the manner in which music and musicians actively construct their own social, political, and economic worlds” (p.24). Indeed, we found that an inquiry based on the ethnomusicological practice of empathetic interaction with living musicians - in addition to interpretation of their creative work - is a particularly effective way of examining the topic of hybrid music genres in urban settings. </p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">We also actively sought lessons learned from recent studies of related topics. One key theme that emerged was that of music technology, which is appropriate considering that we decided at the beginning of the class to post our writings on an internet website for free public access. On this topic, Leslie Gay (1998) observed that “Ethnomusicology has mostly ignored cultural practices tied to technological adaptations or simply rejected newly adapted technologies as threats to canonized older ones” (p.92). Recognizing this concern, the class made a point of discussing music technology in some detail, including effects of the recent worldwide digital revolution in the recording and distribution of both audio and visual recordings. It certainly helped that some of the students were experienced as professional musicians and sound engineers, and most were professional educators, for whom such issues are already of daily concern.</p> <p class="MsoNormal"><span style=""> </span></p> <p class="MsoNormal">Another important issue was how to address the role of individual musicians as active agents within the newly emerging traditions (or social structure) of hybrid music genres. Tina Ramnarine has recently suggested that the political context and aesthetic choices of individual musicians requires greater attention in studies of musical hybridity: </p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal" style="margin: 0in 1in 0.0001pt; text-align: justify;">Diasporic music-making should not be understood as merely the result of population movements, the settlements of diasporic groups and cultural contact in the multicultural society. Rather, diasporic music-making can be understood in the ordinariness of creative production, as musicians working as individual agents in their everyday environments, making musical choices that suit them and their audiences. In moving beyond simple understandings of hybridity as musical cultures in contact that result in ‘new’ musical expressions we move towards politically articulated readings of social relations and creative processes (Ramnarine, 2007, p.7).</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Therefore, the students were encouraged to consider aesthetic and sociological aspects of the cases they examined, both of which are theoretical areas of great interest to the instructor.<span style="color: rgb(51, 102, 255);">[2]</span> <a style="" href="http://www.blogger.com/post-edit.g?blogID=3409147152317014097&postID=6289094997558440577#_edn2" name="_ednref2" title=""></a> Ruth Stone (2008) has acknowledged that theoretical discussions are “typically brief and cursory in most ethnomusicological accounts,” but this seminar aimed to bring theory to the fore of all discussions regarding musical hybridity. We also benefited from the teaching of two excellent guest lecturers: (1) musical theatre composer Nancy Rosenberg and (2) <st1:place st="on"><st1:placename st="on">Yale</st1:placename> <st1:placetype st="on">University</st1:placetype></st1:place> ethnomusicologist Sarah Weiss<a style="" href="http://www.blogger.com/post-edit.g?blogID=3409147152317014097&postID=6289094997558440577#_edn3" name="_ednref3" title=""></a>,<span style="color: rgb(51, 102, 255);">[3]</span> a specialist in musical hybridity. While much of the course entailed explicit critique of theories, in writing up their articles the students aimed to use language that is as approachable and “reader friendly” as possible, appropriate for an open-access internet website. </p> <p class="MsoNormal"><b style=""><o:p> </o:p></b></p> <p class="MsoNormal"><b style=""><br /></b></p><p class="MsoNormal"><b style="">A Broad Sampling of Hybrid Genres<o:p></o:p></b><br /><o:p> </o:p></p> <p class="MsoNormal">The graduate students chose to individually examine a fascinating cross-section of topics associated with hybrid music genres in <st1:city st="on"><st1:place st="on">Boston</st1:place></st1:city>, including the following: </p> <ul style="margin-top: 0in;" type="disc"><li class="MsoNormal" style="">Indo-Jazz Music</li><li class="MsoNormal" style="">Ethio-Jazz Music</li><li class="MsoNormal" style="">Malian-American Dance Music</li><li class="MsoNormal" style="">Chinese-American Dulcimer Ensemble </li><li class="MsoNormal" style="">Afro-American Gospel Ensemble</li><li class="MsoNormal" style="">American Afrobeat</li><li class="MsoNormal" style="">An Arab-American Composer</li></ul> <p class="MsoNormal"><o:p><br /></o:p></p> <p class="MsoNormal"><b style="">About the Individual Studies <o:p></o:p></b><br /><o:p> </o:p></p> <p class="MsoNormal"><b style="">David Adams</b>, in his “Examining Malian Musicians and their Performances in <st1:city st="on">Boston</st1:city>” introduces readers to the Malian music scene in <st1:place st="on"><st1:city st="on">Boston</st1:city></st1:place>, as well as the approach to hybridity associated with its various musicians. An accomplished saxophonist, David played with some of the Malian musicians in order to develop stronger rapport with them. </p> <p class="MsoNormal"><b style="">Katherine Baltrush</b> focuses on one particularly successful musician in her “Arab-America in <st1:place st="on"><st1:city st="on">Boston</st1:city></st1:place>: Profile and Music of Composer Kareem Roustom”. Her interviewee is quite successful as a film composer, and clearly combines elements of both Arabic and European music traditions in his work. </p> <p class="MsoNormal"><b style="">Megan Felts</b> examines the Afro-American gospel voice ensemble at a renowned local music school in her “Gospel Singing in a <st1:place st="on"><st1:placename st="on">Bostonian</st1:placename> <st1:placename st="on">Music</st1:placename> <st1:placetype st="on">College</st1:placetype></st1:place>”. She describes both the history and rehearsal techniques associated with this influential ensemble. </p> <p class="MsoNormal"><b style="">Sheerin Hosseini</b>’s “In Search of Meaning: Indo-Jazz Music in <st1:place st="on"><st1:city st="on">Boston</st1:city></st1:place>” provides a glimpse into the exciting world of Indo-jazz. She compares characteristic traits of traditional Indian music with jazz, and examines how these elements were combined in the development of this unique fusion genre. </p> <p class="MsoNormal"><b style="">Jane Leggiero</b>’s “Afrobeat for the 21<sup>st</sup> Century: The Superpowers” describes the work of an instrumental dance ensemble that is inspired by African popular music. She examines what performance of instrumental music based on African forms means to people who are not African. </p> <p class="MsoNormal"><b style="">Yi Liu</b>’s “A Qualitative Study of a Chinese Dulcimer Ensemble in <st1:city st="on">Boston</st1:city>” examines the work of a specific teacher and his students in <st1:city st="on">Boston</st1:city>’s <st1:place st="on">Chinatown</st1:place>. Yi combines biographical, observational, and analytical approaches in her writing, giving an interesting perspective on musical practices among <st1:city st="on"><st1:place st="on">Boston</st1:place></st1:city>’s Chinese-Americans. </p> <p class="MsoNormal">Finally, <b style="">Erica Yennior</b> provides a detailed analysis of the Ethio-Jazz scene in her “A Mingling of Musical Hybrids: Ethio-Jazz and <st1:place st="on"><st1:city st="on">Boston</st1:city></st1:place>’s Either/Orchestra”. The musical examples discussed in Yennior’s work are especially interesting, and she demonstrates how Ethio-Jazz developed and gained a strong footing in the musical landscape of <st1:place st="on"><st1:city st="on">Boston</st1:city></st1:place>. </p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><span style="color: rgb(51, 51, 255);font-size:130%;" ><br /></span></p><p class="MsoNormal"><span style="color: rgb(51, 51, 255);font-size:100%;" >Disclaimer: It is important to recall that these writings are student projects completed for a class, and </span><span style="font-size:100%;"><b style="color: rgb(51, 51, 255);">should not be regarded as formal research</b></span><span style="color: rgb(51, 51, 255);font-size:100%;" >. Nevertheless, much was learned in the process, and we hope these articles will be informative and useful for readers interested in </span><span style="font-size:100%;"><st1:city style="color: rgb(51, 51, 255);" st="on"><st1:place st="on">Boston</st1:place></st1:city></span><span style="color: rgb(51, 51, 255);font-size:100%;" >’s diverse music scene, as of mid-2008.</span> </p> <p class="MsoNormal"><o:p> </o:p></p><br /><br /><span style="font-weight: bold;">Click <a href="http://bostonhybridmusics.blogspot.com/2008/09/introduction-project-and-its-authors.html">HERE</a> for Introduction: the Project and its Authors.<br /></span><br /><span style="font-weight: bold;">Click <a href="http://bostonhybridmusics.blogspot.com/2008/09/table-of-contents.html">HERE</a> for the Table of Contents. </span><br /><br /><p class="MsoNormal"><span style="font-size:10;"><o:p> </o:p></span></p> <div style=""><!--[if !supportEndnotes]--><br /><br /><br /><hr align="left" size="1" width="33%"> <!--[endif]--> <div style="" id="edn1"> <p class="MsoEndnoteText"><a style="" href="http://www.blogger.com/post-edit.g?blogID=3409147152317014097&postID=6289094997558440577#_ednref1" name="_edn1" title=""></a><o:p> </o:p></p> <p class="MsoEndnoteText"><b style=""><span style="font-size:12;">ENDNOTES<o:p></o:p></span></b></p> <p class="MsoEndnoteText"><span style="font-size:11;"><o:p> </o:p></span></p> <p class="MsoEndnoteText"><span class="MsoEndnoteReference"><span style="font-size:11;"><span style=""><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="">[1]</span></span><!--[endif]--></span></span></span><span style="font-size:11;"> Due to burgeoning interest in this subject area, Master degree programs in Community Music have been launched at some universities in the <st1:country-region st="on"><st1:place st="on">United Kingdom</st1:place></st1:country-region>, and the field is also being further defined by a new publication entitled <i style="">International Journal of Community Music</i>. <o:p></o:p></span></p> </div> <div style="" id="edn2"> <p class="MsoEndnoteText"><a style="" href="http://www.blogger.com/post-edit.g?blogID=3409147152317014097&postID=6289094997558440577#_ednref2" name="_edn2" title=""></a><span style="font-size:11;"><o:p> </o:p></span></p> <p class="MsoEndnoteText"><span class="MsoEndnoteReference"><span style="font-size:11;"><span style=""><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="">[2]</span></span><!--[endif]--></span></span></span><span style="font-size:11;"> Much of my own research has been on related topics, such as the teaching of graduate courses in music aesthetics and sociology of music (Hebert, 2008a), the transmission of hybrid genres in Japan (2008b), and in Polynesia among both Maori and Tongan musicians (Hebert, 2008c, Hebert, 2008d), as well as the emergence and integration of fully developed hybrid genres – such as rock and jazz – into American schools (Hebert, in press; Hebert & Campbell, 2000).<span style=""> </span><o:p></o:p></span></p> <p class="MsoEndnoteText"><span style="font-size:11;"><o:p> </o:p></span></p> </div> <div style="" id="edn3"> <p class="MsoEndnoteText"><a style="" href="http://www.blogger.com/post-edit.g?blogID=3409147152317014097&postID=6289094997558440577#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><span style="font-size:11;"><span style=""><!--[if !supportFootnotes]--></span></span></span></a><span style="font-size:11;">[3] As part of the class, we discussed an insightful article on musical hybridity that Weiss has since published in the journal <i style="">Ethnomusicology</i> (Weiss, 2008).<span style=""> </span><o:p></o:p></span></p> <p class="MsoEndnoteText"><span style="font-size:11;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:11;"><o:p> </o:p></span><br /><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><b style="">REFERENCES<o:p></o:p></b></p> <p class="MsoNormal"><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Gay, L. C. (1998). Acting up, talking tech: <st1:state st="on"><st1:place st="on">New York</st1:place></st1:state> rock musicians and their metaphors of technology. <i style="">Ethnomusicology, 42</i>(1), 81-97. <o:p></o:p></span></p> <p class="MsoNormal"><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Hebert, D. G. (in press). Jazz and rock music. In W. M. Anderson & P. S. Campbell (Eds.), <i style="">Multicultural Perspectives in Music Education</i> (third edition). <st1:place st="on"><st1:city st="on">Lanham</st1:city>, <st1:state st="on">MD</st1:state></st1:place>: Rowman-Littlefield Publishers.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Hebert, D. G. (2008a). Reflections on teaching the aesthetics and sociology of music online. <i style="">International Review of the Aesthetics and Sociology of Music, 39</i>(1), 93-103.<o:p></o:p></span></p> <p class="MsoNormal" style="text-indent: 0.5in;"><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Hebert, D. G. (2008b). Alchemy of brass: Spirituality and wind music in <st1:country-region st="on"><st1:place st="on">Japan</st1:place></st1:country-region>. In E. M. Richards & K. Tanosaki (Eds.), <i style="">Music of <st1:place st="on"><st1:country-region st="on">Japan</st1:country-region></st1:place> Today</i>. Newcastle upon Tyne: <st1:city st="on"><st1:place st="on">Cambridge</st1:place></st1:city> Scholars Publishing.<span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Hebert, D. G. (2008c). Music transculturation and identity in a Maori brass band tradition. In R. Camus & B. Habla, (Eds.), <i style="">Alta Musica</i>, 26 (pp. 173-200). Tutzing: Schneider.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Hebert, D. G. (2008d). Music transmission in an Auckland Tongan community youth band. <i style="">International Journal of Community Music, 1</i>(2), 169-188. [</span><a href="http://www.atypon-link.com/INT/doi/abs/10.1386/ijcm.1.2.169_1" id="xbzj0"><span style="" lang="EN-GB">http://www.atypon-link.com/INT/doi/abs/10.1386/ijcm.1.2.169_1</span></a><span style="" lang="EN-GB">]. [Click on "View PDF with links" for free access.]<p class="MsoNormal"><span style="font-size:10;">Hebert, D. G. & Campbell, P. S., (2000). Rock music in American schools: Positions and practices since the 1960s. <i style="">International Journal of Music Education, 36</i>(1), 14-22.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Kartomi, M. J. (1981). The processes and results of musical culture contact: A discussion of terminology and concepts. <i style="">Ethnomusicology, 25</i>(2), 227-249. <o:p></o:p></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Livingston, T. E. et al. (1993). <i style="">Community of Music: An Ethnographic Seminar in Champaign-Urbana</i>. <st1:place st="on"><st1:city st="on">Champaign</st1:city>, <st1:state st="on">IL</st1:state></st1:place>: Elephant and Cat. <i style=""><o:p></o:p></i></span></p> <p class="MsoNormal"><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Ramnarine, T. K. (2007). Musical performance in the diaspora: Introduction. <i style="">Ethnomusicology Forum, 16</i>(1), 1-17. <o:p></o:p></span></p> <p class="MsoNormal"><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Shelemay, K. K. (2001). Toward an ethnomusicology of the early music movement: Thoughts on bridging disciplines and musical worlds. <i style="">Ethnomusicology, 45</i>(1), 1-29. <o:p></o:p></span></p> <p class="MsoNormal"><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Stone, R. M. (2008). <i style="">Theory for Ethnomusicology</i>. <st1:place st="on"><st1:city st="on">Upper Saddle River</st1:city>, <st1:state st="on">NJ</st1:state></st1:place>: Pearson Prentice Hall. <o:p></o:p></span></p> <p class="MsoNormal"><span style="font-size:10;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size:10;">Weiss, S. (2008). Permeable boundaries: Hybridity, music, and the reception of Robert Wilson’s <em>I La Galigo. </em><i style="">Ethnomusicology, 52</i>(2), 203-238. <o:p></o:p></span></p> <p class="MsoNormal" style="text-indent: 0.5in;"><span style="font-size:10;"> <o:p></o:p></span></p> <p class="MsoNormal" style="text-indent: 0.5in;"><span style="font-size:85%;"><span style="font-size:11;"> <o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-size:85%;"><span style="font-size:11;"><o:p> </o:p></span></span></p> <p class="MsoEndnoteText"><span style="font-size:85%;"><o:p> </o:p></span></p> </span></p></div> </div>Boston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.com0tag:blogger.com,1999:blog-3409147152317014097.post-5237129139804123972008-04-22T14:25:00.000-07:002008-09-21T10:15:19.666-07:00K) A Mingling of Musical Hybrids: Ethio-Jazz and Boston’s Either/Orchestra (Erica Yennior)<p class="MsoNormal"><o:p></o:p><span style="" lang="EN-GB">Click here to access a PDF file of the report produced by <span style="font-weight: bold;">Erica Yennior</span>:<br /></span></p><p class="MsoNormal"> </p><p class="MsoNormal"><span style="" lang="EN-GB"><a href="http://www.box.net/shared/g7v656zyg9">http://www.box.net/shared/g7v656zyg9</a></span></p><br /><p class="MsoNormal"><br /></p><br /><p class="MsoNormal"> </p><p class="MsoNormal"><span style="" lang="EN-GB">NOTE: More media files will be posted shortly. <o:p></o:p></span></p> <p class="MsoNormal"><br /><span style="" lang="EN-GB"><o:p></o:p></span></p>Boston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.com0tag:blogger.com,1999:blog-3409147152317014097.post-4860163198487874402008-04-22T14:24:00.000-07:002008-09-21T10:33:15.418-07:00J) A Qualitative Study of a Chinese Dulcimer Ensemble in Boston (Yi Liu)<span style="" lang="EN-GB">Click here to access a PDF file of the report produced by <span style="font-weight: bold;">Yi Liu</span>:</span><span style="" lang="EN-GB"><br /></span> <p class="MsoNormal"><a href="http://www.box.net/shared/pzsup63zeb">http://www.box.net/shared/pzsup63zeb</a></p>Boston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.com0tag:blogger.com,1999:blog-3409147152317014097.post-3993432038135178012008-04-22T14:23:00.000-07:002008-05-17T15:00:29.304-07:00I) Afrobeat for the 21st Century: "The Superpowers" (Jane Leggiero)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://media.collegepublisher.com/media/paper472/stills/igcvp90b.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px;" src="http://media.collegepublisher.com/media/paper472/stills/igcvp90b.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Click here to access a PDF file of the report produced by <span style="font-weight: bold;">Jane Leggiero</span>:<br /><p class="MsoNormal"><a href="http://www.box.net/shared/cmlp02t0gc"> </a></p><p class="MsoNormal"><a href="http://www.box.net/shared/a5uqjjp4wk">http://www.box.net/shared/a5uqjjp4wk</a></p><br /><br /><p class="MsoNormal" style="line-height: 200%;"><span style="">The Superpowers can be found on </span><a href="http://www.myspace.com/thesuperpowers"><span style="">MySpace </span></a><a href="http://www.myspace.com/thesuperpowers"><span style="">where one can see photos of the band in performance, as well as tracks from their CDs.</span></a><span style=""><o:p></o:p></span></p><br /><br />Here are links to the sounds of these musicians:<br /><p class="MsoNormal"><a href="http://www.box.net/shared/z04lerdskk">http://www.box.net/shared/z04lerdskk</a></p> <p class="MsoNormal"><a href="http://www.box.net/shared/sfnn2ptogs">http://www.box.net/shared/sfnn2ptogs</a></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p><br /><span style="font-weight: bold;">Additional multimedia files will be uploaded soon.</span>Boston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.com0tag:blogger.com,1999:blog-3409147152317014097.post-22485588461172104422008-04-22T14:22:00.000-07:002008-09-21T09:39:56.734-07:00H) In Search of Meaning: Indo-Jazz Music in Boston (Sheerin Hosseini)<p class="MsoNormal"><span style="" lang="EN-GB">Click here to access a PDF file of the report produced by <b>Sheerin Hosseini</b>:<o:p></o:p></span> </p><p class="MsoNormal"><a href="http://www.box.net/shared/60g1erj4fk">http://www.box.net/shared/60g1erj4fk</a></p> <p class="MsoNormal"><span style="" lang="EN-GB"><br /></span></p><p class="MsoNormal"><span style="" lang="EN-GB">For an example of this genre, readers may visit the following website to hear a clip of the song Dhani Medley, available under the Audio heading: </span><a href="http://www.sonicbids.com/bangalore" target="_blank"><span style="" lang="EN-GB">http://www.sonicbids.com/bangalore</span></a><span style="" lang="EN-GB"><br /> <!--[if !supportLineBreakNewLine]--><br /> <!--[endif]--><o:p></o:p></span></p>Boston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.com0tag:blogger.com,1999:blog-3409147152317014097.post-69321387700061329232008-04-22T14:21:00.000-07:002008-09-21T10:14:35.938-07:00G) Gospel Singing in a Bostonian Music College (Megan Felts)<p class="MsoNormal"><span style="" lang="EN-GB">Click here to access a PDF file of the report produced by <span style="font-weight: bold;">Megan Felts</span>:</span></p><p class="MsoNormal"> </p><p class="MsoNormal"><span style="" lang="EN-GB"><a href="http://www.box.net/shared/0hkhfp3rim">http://www.box.net/shared/0hkhfp3rim</a><o:p></o:p></span></p> <p class="MsoNormal"><br /></p><br /><p class="MsoNormal"><br /></p><p class="MsoNormal"> </p><p class="MsoNormal"><span style="" lang="EN-GB">NOTE: More media files will be posted shortly. <o:p></o:p></span></p> <p class="MsoNormal"><br /><span style="" lang="EN-GB"><o:p></o:p></span></p>Boston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.com0tag:blogger.com,1999:blog-3409147152317014097.post-3768582022673131812008-04-22T14:18:00.000-07:002008-09-21T09:41:37.288-07:00F) Arab-America in Boston: Profile and Music of Composer Kareem Roustom (Katherine Baltrush)<p class="MsoNormal"><span style="" lang="EN-GB">Click here to access a PDF file of the report produced by <span style="font-weight: bold;">Katherine Baltrush</span>:</span></p><p class="MsoNormal"> </p><p class="MsoNormal"><span style="" lang="EN-GB"><a href="http://www.box.net/shared/f8iqfrb2ra">http://www.box.net/shared/f8iqfrb2ra</a><o:p></o:p></span></p> <p class="MsoNormal"><br /><span style="" lang="EN-GB"><o:p></o:p></span></p>Boston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.com0tag:blogger.com,1999:blog-3409147152317014097.post-44904102739881659802008-04-22T14:12:00.000-07:002008-05-12T12:12:56.971-07:00Project Titles and AbstractsE) Adams, David: <span style="font-weight: bold;">Examining Malian Musicians and their Performances in Boston</span><br /><br />The purpose of this research article is to document my experiences observing and participating in performances by Mande musicians in the Boston Massachusetts area, analyze musical elements and behavioral aspects of these performances, discuss the personal reflections shared during my interviews with Mande musicians, and provide detail about the traditions, culture, and musical influences of those interviewed. I will also refer to research studies, musical recordings, and historical research related to the Mande culture to contextualize my findings.<br /><br /><br />F) Baltrush, Katherine: <span style="font-weight: bold;">Arab-America in Boston: Profile and Music of Composer Kareem Roustom</span><br /><br />Based largely on an April 11, 2008 interview, this article provides a biographical profile of composer, Kareem Roustom, and discusses his cultural hybridity as an Arab American.<span style=""> </span>Musical examples of his film scores, his chamber works, and his jazz/Middle Eastern album <i style="">Almitra's Question</i> are also discussed.<span style=""> </span>This leads to considerations of how world music discourse and western perspectives affect how listeners conceptualize world music and its purveyors.<span style=""><br /><br /></span><o:p></o:p><br />G) Felts, Megan: <span style="font-weight: bold;">Gospel Singing in a Bostonian Music College</span><br /><br />When discussing the current music scene in America, the body of musical genres is large, with many genres linking to one another through acts of musical hybridity. Gospel music is known to be the parent of most of our popular secular music, however, gospel music itself is a musical hybrid of African slave songs and European church music. Today, the Berklee Reverence Gospel Choir from Berklee College of Music in Boston, Massachusetts exemplifies the hybrid musical culture that is gospel music today. With a varying student population from all over the world, this group is able to reach across racial, religious, and political lines to spread the word of "good news" through their music. By examining the history of gospel music, the ways gospel music has influenced popular American music, and the Berklee Reverence Gospel Choir, one will be able to trace this form of musical hybridity from it's infancy to the musical and cultural hybrid that it is today.<br /><br /><br />H) Hosseini, Sheerin: <span style="font-weight: bold;">In Search of Meaning: Indo-Jazz Music in Boston</span><br /><br />This paper is divided into two parts. In the first part, I attempt to provide general background regarding the interactions between Western jazz musicians and Indian musicians that eventually led to the fusion of the two traditions to what now is known as Indo-Jazz. I discuss similarities and differences between the two musical traditions that may have enabled such a fusion to occur. I also discuss several collaborations that have taken place between Indian and Western jazz musicians. In the second part, I turn my attention to Indo-Jazz fusions occurring in the Boston area with the hopes of discovering more about what Indo-jazz means to those who are performing and listening to this music. Research done by Warren R. Pinckney in 1988/1990 regarding the assimilation and significance of jazz and Indo-jazz in India found that jazz and Indo-jazz musics were generally reserved for the upper and middle classes. Consequently this music earned the reputation of existing primarily for the elite and educated rather than the common people. I would like to investigate if this also holds true in Boston. If so, I hope to propose ways through my discussions with Indo-Jazz musicians in the Boston area to bring Indo-jazz music to a wider audience.<br /><br /><br />I) Leggiero, Jane: <span style=""></span><span style="font-weight: bold;">Afrobeat for the 21st Century: "The Superpowers" in Boston</span><br /><p style="margin-bottom: 0.0001pt;">Afrobeat is infused with political and social ramifications. The genre came into being as <st1:place st="on"><st1:country-region st="on">Nigeria</st1:country-region></st1:place> struggled to assert a new identity after gaining independence from colonial status. The music was pioneered by Fela Kuti, and is generally described as a fusion of traditional African styles, American and European jazz, funk, and the Nigerian genre of highlife. Often associated with issues of African identity, diaspora, and social protest, the music has also been embraced around the world by musicians of non-African descent. One such group is The Superpowers, a <st1:place st="on"><st1:city st="on">Boston</st1:city>, <st1:state st="on">Massachusetts</st1:state></st1:place> based band that describes their sound as "21<sup>st</sup> Century Afrobeat." While acknowledging that Fela's music is their primary influence, the band seeks to create something new out of the diverse musical styles confronting them on a daily basis. Given that social activism is a traditional feature of Afrobeat, a unique challenge facing the group is their lack of a vocalist. With no singer to relay a text, the group has found other ways of spreading their message of optimism and social change. In this paper, I will first present a history of the genre of Afrobeat in order to provide a backdrop to show how the music of The Superpowers fits (and does not fit) within that tradition. Next, I have looked at the band itself and their music, by observing performances and discussions with the band's leader, Adam Clark. <o:p></o:p></p><br /><br />J) Liu, Yi: <span style="font-weight: bold;">A Qualitative Study of a Chinese Dulcimer Ensemble in Boston</span><br /><br />A qualitative study was conducted examining the interplay between traditional cultural authenticity and, hybridity, cultural identity, and diaspora as experienced by the director and students of the Boston Chinese Dulcimer Ensemble. Through interviewing the director, Professor Zheng Zhentian, and his students who are all 1st generation American-born Chinese it was found that there is a general sense that cultural identity is strengthened when aspects of ancestral musical tradition is combined with traditions of music they currently experience; resulting in yet new genre of music.<br /><br /><br />K) Yennior, Erica: <span style="font-weight: bold;">A Mingling of Musical Hybrids: Ethio-Jazz and Boston’s Either/Orchestra</span><br /><br />Over the last ten years, the ten-piece Boston-based jazz ensemble Either/Orchestra has embarked on an interesting musical journey, playing a style of music known as “Ethio-Jazz”. This term was coined by renowned Ethiopian musician Mulatu Astatke to describe his fusion of traditional Ethiopian melodies with American jazz. The Either/Orchestra has performed and recorded its own interpretations of Ethio-Jazz pieces, and collaborated with many well-known Ethiopian musicians. This study explores this unique musical collaboration by first outlining the characteristics of Ethio-Jazz, then presenting a brief description of the Either/Orchestra and the circumstances that led to the inclusion of Ethio-Jazz selections in the group’s repertoire. Finally, the study will, through song analysis, investigate the ways in which the Either/Orchestra has adapted Ethiopian musical traditions to fit their repertoire. Three specific models emerge, the performance of the pre-existing Ethio-Jazz arrangements of Mulatu Astatke, the creation of new arrangements of traditional and popular Ethiopian songs in the Ethio-Jazz style, and original compositions by band members that have been influenced by the Ethiopian musical styles.Boston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.com0tag:blogger.com,1999:blog-3409147152317014097.post-86223309883303972812008-04-22T14:09:00.000-07:002008-12-10T21:04:10.814-08:00E) Examining Malian Musicians and their Performances in Boston (David Adams)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi76LUu8j1ZV1aN4VpIzPonJpMzu_svKh6jWGXqCJAeYYZo8xk9O18ptiu7GMzwOytrsPp2DOkkZ5q_fZfnPPB6hlaecE7OR_7QoH5hawgnvbDfk1O_RHfcdaAaofiXgRS2mpTvB52Tg/s1600-h/IMG_0449.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi76LUu8j1ZV1aN4VpIzPonJpMzu_svKh6jWGXqCJAeYYZo8xk9O18ptiu7GMzwOytrsPp2DOkkZ5q_fZfnPPB6hlaecE7OR_7QoH5hawgnvbDfk1O_RHfcdaAaofiXgRS2mpTvB52Tg/s320/IMG_0449.JPG" alt="" id="BLOGGER_PHOTO_ID_5201461130268572050" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmPV3Aj4QGcgLnpQQ-zxbXiBUoEvfFQYiMWEdowCwaJHrDWqmPkubKuayltMESlNenC5c0q21ebSbxORBI-N7wuP8aSwi1SuNgi0nYBWrpsogyvvDzMU1ieSH6waimae1YJA9XtpBSeQ/s1600-h/IMG_0436.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmPV3Aj4QGcgLnpQQ-zxbXiBUoEvfFQYiMWEdowCwaJHrDWqmPkubKuayltMESlNenC5c0q21ebSbxORBI-N7wuP8aSwi1SuNgi0nYBWrpsogyvvDzMU1ieSH6waimae1YJA9XtpBSeQ/s320/IMG_0436.JPG" alt="" id="BLOGGER_PHOTO_ID_5201460992829618562" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Click here to access a PDF file of the report produced by <span style="font-weight: bold;">David Adams</span>:<br /><p class="MsoNormal"><a href="http://www.box.net/shared/cmlp02t0gc">http://www.box.net/shared/cmlp02t0gc</a></p><br /><br />Here are links to the sounds of these musicians:<br /><p class="MsoNormal"><a href="http://www.box.net/shared/7f4sjvs848">http://www.box.net/shared/7f4sjvs848</a></p> <p class="MsoNormal"><a href="http://www.box.net/shared/zy5z23e8sk">http://www.box.net/shared/zy5z23e8sk</a></p> <p class="MsoNormal"><a href="http://www.box.net/shared/a3ad0gd0c4">http://www.box.net/shared/a3ad0gd0c4</a></p> <p class="MsoNormal"><o:p> </o:p></p><br /><span style="font-weight: bold;">Additional multimedia files will be uploaded soon.</span>Boston Hybrid Musicshttp://www.blogger.com/profile/00465637240834127360noreply@blogger.com0