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Ph.D. fellowships in Musicology are available at the Centre for Grieg Research.
The Centre for Grieg Research was established by the University of Bergen in collaboration with the Bergen Public Library (representing the Municipality of Bergen) and Edvard Grieg Museum Troldhaugen (representing the Art Museums of Bergen). The purpose of the Centre is to undertake research and contribute to the education of researchers focusing on Edvard Grieg’s works, as well as the music and musical life of Western Norway. The Centre also collaborates with the national Music Heritage Project.
Qualification requirements
Applicants must meet the formal requirements for admission to the Ph.D. programme at the University of Bergen. The University requires a minimum 5-years degree (300 ects) including the master degree (two years). Applicants must have completed their master?s degree at the time of application.
The Fellowship?s main goal is to lead to a Ph.D. degree, which qualifies for independent research activities, and for other work that requires particular competence.
Additional information
The fellowships are awarded for a period of four years, provided progress is satisfactory. The research and educational part of the fellowship is 75%, while the last 25% is dedicated to teaching and/or other obligations. An agreement concerning the actual work load must be made with the Centre at the time of employment.
The successful applicant will be expected to have main residence in Bergen, and conform to the regulations that apply to the position.
Deadline for applications: 1 November 2011.
For further information, including application procedures:
http://www.jobbnorge.no/job.aspx?jobid=78167
Note: The default language for the page linked to above is Norwegian. To see the English version of the job announcement, click on “English” near the top of the page.
Tags: Center for Grieg Research, Ethnomusicology, fellowships, scholarships, University of Bergen
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The Department of Music at the University of Pittsburgh invites applications for its graduate program in Music for 2012-2013. The program comprises four sub-disciplines of music scholarship: ethnomusicology, musicology, composition and theory, and jazz studies. Assistantships and fellowships are awarded on a merit basis. Students in good standing receive full financial support through at least four years of study and up to two summer research fellowships. The Department offers the following financial assistance for graduate students:
Teaching Assistantships are available to students who have not completed the master’s degree. They provide a full tuition scholarship, health insurance, and a stipend of about $15,830 (subject to change) in exchange for teaching and related duties.
Teaching Fellowships are available to students who hold the master’s degree. They provide a full tuition scholarship, health insurance, and a stipend of about $16,460 (subject to change) in exchange for duties similar to those assigned to teaching assistants.
Graduate Student Assistantships provide payment of tuition and a stipend of $12,920 (subject to change) in exchange for assisting a faculty member in library research, editorial duties, or similar academic tasks.
Andrew W. Mellon Fellowships are awarded by the School of Arts and Sciences each year to approximately 45 outstanding graduate students in the arts and sciences. Each fellowship carries a stipend of $19,165 (subject to change) plus a tuition scholarship for two terms. Awards are made annually on a competitive basis, and they may occasionally be renewed one time. No teaching is required.
A&S/Provost’s Humanities Fellowships are awarded by the School of Arts and Sciences to a few outstanding entering students in the school. The award is for one year, and provides a stipend $19,165 (subject to change) plus a full tuition scholarship. There are no teaching duties or other duties. Students usually move on to a regular teaching assistantship or fellowship after their first year.
FAS/Provost’s Development/K. Leroy Irvis Fellowships are for groups underrepresented in the national pool of earned doctoral degrees as well as within the professorate at Pitt. Most of these nonteaching fellowships are for one year, but enhanced fellowships for two years also are available. They provide a full-tuition scholarship and a stipend equivalent to that of a teaching assistant or fellow. Students move on to regular teaching assistantships after their Irvis Fellowship year.
The A&S/UPBC Fellowship is awarded to an outstanding entering graduate student in music. The award is for one year and carries a stipend comparable to that of a teaching assistant plus a tuition scholarship. There are no teaching or other duties. Students usually move on to a regular teaching assistantship or fellowship after their first year.
The A&S Fellowsip is awarded to an outstanding entering graduate student in music. The award is for one year and carries a stipend comparable to that of a teaching assistant plus a full-tuition scholarship. There are no teaching or other duties. Students usually move on to a regular teaching assistantship or fellowship after their first year.
AMS Alliance Fellowships are awarded by Pitt as an Alliance School with the American Musicological Society. These fellowships are for three years, and are for applicants from groups underrepresented in the fields of music scholarship. They carry a full-tuition scholarship and a stipend equivalent to that of a teaching assistant or fellow. There are no teaching or other duties. Students usually move on to a regular teaching fellowship in their fourth year.
Foreign Language Area Studies Fellowships are federally funded fellowships for students whose course loads include study of the language and culture of a foreign area. At Pitt these include East Asia, Latin America, Western Europe, and Eastern Europe (including Russia). This award provides a full-tuition scholarship and a stipend of about $18,000 for one year, with the possibility of renewal. There are no teaching or other duties. Students usually move on to a regular teaching assistantship or fellowship after their FLAS year.
The Chancellor’s Fellowship in Chinese Studies is awarded annually to an outstanding PhD candidate specializing in Chinese studies. Renewable up to three years, this award provides a full-tuition scholarship and a stipend of $18,000 (subject to change). No teaching is required.
Japan Iron and Steel Federation/Mitsubishi Graduate Fellowships in Japanese Studies are funded through the Japan Iron and Steel Federation and Mitsubishi Endowment Funds and graduate and professional schools of Pitt. These awards provide a full-tuition scholarship and a stipend of $16,000 (subject to change) for the academic year to support the study of Japan by graduate students in the social sciences or humanities. Applicants must have completed at least two years of Japanese language study or the equivalent by the inception of the award period.
A&S Summer Fellowships for graduate students in music are awarded to no fewer than six students each year who are in their second or third year in the music doctoral program. They provide a stipend of up to $3,000 for language study, conducting pre-dissertation research, travel, and other purposes.
More information about financial assistance is available at the School of Arts And Sciences Graduate Studies website (http://www.as.pitt.edu/graduate). For information on music department admissions, contact the department’s Director of Graduate Admissions, Professor Amy Williams (amywill@pitt.edu). Departmental information is on our website :
http://www.music.pitt.edu/graduate/admissions
More general information can be found on the University Graduate Admissions website (http://www.pitt.edu/~graduate/admissions.html).
Tags: assistantships in ethnomusicology, Ethnomusicology, fellowship, Pittsburgh, Scholarship
Wesleyan Chinese Music Ensemble’s biannual concert was held on April 30, 2011, at World Music Hall, Wesleyan University. 11 pieces were presented, including five ensemble pieces, one dizi and ensemble piece, a percussion piece, a dizi trio, a quintet for plucked instrument, and an erhu solo.
Founded in 2002, The Wesleyan Chinese Music Ensemble is an active, fast-growing world music group at Wesleyan. The members of the ensemble (34 in this semester’s concert) include undergraduate and graduate students, faculty, and friends from the local and neighboring communities. As one of the most popular East Asian performance courses, students from diverse backgrounds participate in the ensemble and their concerts attract an audience from both Wesleyan and the larger communities. In the past few years, the ensemble has presented a wide range of Chinese music styles and genres, offering an opportunity for students and audience alike to experience Chinese culture through the music.
Below are selected titles and youtube clips of the repertoire. Comments on any aspects of the performance are welcome.
1. Jin She Kuang Wu (The Frantic Dance of the Golden Snake)
2. Cai Cha Ge (Tea Picking Song)
3. Cai Yun Zhui Yue (Colored Clouds Chasing the Moon)
4. Hong Lou Meng Xu Qu; (Overture of the Dream of the Red Chamber)
5. Radetzsky March
The members of the ensemble (fall 2011)
Dizi: Yumengxi Fu, Lingyuan Ke, Xiao You, and Bryton Ying-Cheh VanGundy*
Sheng: Alec McLane
Gaohu (erhu): Alan Rodi
Erhu: Kamonwan Arttachariya, Joanna Florento, Gavin Swee, Yanru Wang, and Michael Yee
Zhonghu (erhu): Janet Cushey
Liuqin: Naixi Wang
Pipa: Yun Fan, Yueyin Peng, Angela Lo, and Emily Hui-Lin VanGundy*
Zhongruan: Cameron Couch and Muhan Gao
Daruan: Sihui Zhu
Sanxian: Shu Zhang
Yangqin: Ashlin Aronin, Sarah Lerman-Sinkoff, Baomie Fang* and Samuel Li*
Guzheng: Yuki Ohmori
Cello: Su Zheng*
Bass: Thomas Kuntz*
Percussion: Eoin Callery,* Stephanie Choi,* Tim Gaylord,* Joseph Getter* and Min Yang*
Vocal Solo: Min Yang*
* Guest Musician
Two PhD Studentships, King’s College London: Musical Transitions to European Colonialism in the Eastern Indian Ocean
Deadline for applications: 1 February 2011
Contact: katherine.schofield@kcl.ac.uk
The Department of Music at King’s College London is pleased to announce two PhD studentships, one in the ethnomusicology/cultural history of North India, the other in that of the Malay Peninsula, to start no later than 1 September 2011. These form part of a new European Research Council project “Musical Transitions to European Colonialism in the Eastern Indian Ocean” under the direction of the Principal Investigator, Dr Katherine Butler Schofield. Brief details of the project can be found at: http://www.kcl.ac.uk/schools/humanities/depts/music/news/index.html – mustecio
Each studentship has a total value of £19,590 per annum (inclusive of London weighting), from which tuition fees (currently £3,600 for Home/EU students and £12,300 for Overseas) must be paid. The Department will support international students in any applications for additional funding, including King’s internal awards.
The deadline for applications is 1 February 2011, although late applications may be considered. Applications must be made via King’s online application form for postgraduate study: https://myapplication.kcl.ac.uk. In all cases, candidates should first express their interest in one or other studentship to Dr Katherine Schofield katherine.schofield@kcl.ac.uk who will provide guidance on suitability and specific instructions on the materials required with the formal application.
1) PhD Studentship: Awadh Case Study (North India).
The Awadh case study will examine music and dance in the court of Awadh c.1750-1887: initially in the context of cultural competition between the Nawabi court in Lucknow, the Mughal capital Delhi and the British Residency in Lucknow; then, after 1856, in the context of the exile of the Awadh court to colonial Calcutta until the death of the last Nawab, Wajid Ali Shah, in 1887. In particular, this study will examine the mechanisms by which systems of musical and cultural knowledge changed in the transition from late Mughal to late colonial times, using contemporary archival records, treatises and other sources in several languages. Our first contention is that the period of indirect rule in Awadh, 1775-1856, incubated mutually permeable Mughal and colonial discourses that transformed the musical field, with the court at Awadh occupying a liminal space between the old Mughal culture of Delhi and the colonial culture of its true rival for power in Lucknow, the British Residency. Our second working hypothesis is that Wajid Ali Shah’s exile to Calcutta in 1856 – and the space for “mutual encounters” this opened up between members of his court and of the Bengal Renaissance who initiated music reform in 19th-century Calcutta – was the major pivot in the final transition from Mughal to late colonial musical fields.
We are looking for a suitable candidate to write a PhD thesis under the supervision of Katherine Butler Schofield on the relationship between Bengali and Awadhi cultures of Hindustani music patronage in British Calcutta, c.1800-1887, with especial focus on the musical life of Wajid Ali Shah’s court-in-exile 1856-1887. Candidates will have an excellent first degree, and preferably also a Masters degree, in ethnomusicology, history, South Asian studies or one or more North Indian languages. They should have fluency in Bengali and/or Urdu/Hindi (a good reading ability in the other language will need to be acquired in the course of the PhD) and demonstrate active interest in and knowledge of Hindustani music.
2) PhD Studentship: Malay Case Study (Malay Peninsula).
The Malay case study will explore how musical practices in the pre-colonial polities of Melaka, Johor, Kedah and Perak were challenged and redefined in successive transitions to Portuguese (1511), Dutch (1641-1824) and especially British colonialism (1786-1895). Through a detailed comparison of Malay and European materials, this case study will look closely at the transition between pre-British and British colonial systems of musical knowledge in the Malay courts of Melaka, Johor, Kedah and Perak, and the colonial port cities Penang, Melaka and Singapore. The project constitutes a pioneering study of music history in the pre-colonial and colonial Malay Peninsula before the 20th century. Using court annals, Malay histories and literature, official records of the Residents at Malay courts, travel writing, newspapers, magazines, advertisements and sheet music in Malay, English, Dutch and Portuguese, it will consider the interplay of Malay and European musical fields in the courts and port cities to assess the interpenetration of indigenous and colonial forms of knowledge.
We are looking for a suitable candidate to write a PhD thesis under the supervision of Katherine Butler Schofield, with the advice of the Malay Case Study Research Associate, on the transition c.1786-1895 between Malay and British colonial systems of musical knowledge in the Malay courts of Perak and Johor, and in Penang, Melaka and Singapore. Given the current state of knowledge about the source material, a more detailed hypothesis will be developed during the first year of the PhD. Candidates will have an excellent first degree, and preferably also a Masters degree, in ethnomusicology, history, South-East Asian studies or Malay language. They must have fluency in Malay (either Bahasa Malaysia or Bahasa Indonesia); preference will be given to candidates who also have good reading ability in Jawi script and/or Dutch. Candidates will also need to demonstrate active interest in and knowledge of Malay musical traditions in and around the Straits of Melaka.
Tags: Ethnomusicology, PhD program, PhD Studentship, Scholarship, UK
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Proposals for this conference will be accepted until 15th January 2011.
Brief details of the conference focus below, further details on the
conference website at: www.bfeconference.org.uk .
Mediation, Writing and Performance
Processes and critical analysis of the role of the ethnographer/
ethnomusicologist as mediator, are an accepted part of academic
practice and writing and of the creative practices of music and media-based
outcomes. Although recordings have been used to make sonic and visual
statements ever since they were technically possible, the majority of
information about other people, places and music is now accessed via (the)
media, particularly video/film. Whilst video may be used in many different
ways, from a scholarly ethnographic study through the openly
partisan/partial ‘edutainment’ to commercial pop video and advertising, it
is increasingly social networking sites that provide a platform to display a
vast range of video material to friends and strangers as people share images
of their lives, including their musical choices and encounters. There are
few places in the world where people do not have some access to video media
and the internet and perceptions of lives in other places are most often
accessed through brief home videos that might be the complete antithesis of
the academic approach to the medium. Video as a medium also displays the
theatre and movement/dance that makes these sounds or is linked to them.
• What is current thinking about mediation through film, writing (including
auto-ethnography), film-making, composing?
• How is increased access to the media changing the lives of those we study?
• Are the changes to the way we access media and pay for it, significant
culturally?
• How is access to the musical/cultural lives and choices of others changing
what is created in different locations around the world?
• How much has the situation changed in the 15 years since an SEM meeting in
1995 came up with the ‘Ethno-Techno-person’ – fully plugged in (Lysloff &
Gay: 2003:2)?
• Would we still agree with the statement, “Common sense tells us that
technology, rather than being part of our lived experience, only mediates
it.” (Lysoff & Gay 2003:3)?
• How has Auslander’s opinion that, “the general response of live
performance to the oppression and economic superiority of mediatised forms
has been to become as much like them as possible” been played out in music
globally (Auslander 1999: 7)?
• What do we now feel about Myers’ observation that the use of recording
equipment designed for ‘amateur enthusiasts to make home movies’ indicated
falling standards linked to ‘pedestrian standards of writing’ (Myers 1992:
84)?
• Are there changes in our conception of mediation and our roles and
responsibilities as researchers? How do notions of copyright and permissions
play out in the digital age where there is a high expectation of ‘free’
downloads?
The questions posed above are not exhaustive and might be considered in many
different locations and functions, for example, within academic study,
pedagogic practices and structures, communities and relationships between
them (including notions of charity/fundraising), rituals, recreation.
References:
Auslander, P (1999). Liveness: performance in a mediatized culture. New
York, Routledge
Lysloff, René T. A. and Leslie C. Gay Jr (eds.) (2003). Music and
Technoculture. Middletown, Wesleyan University Press.
Myers, Helen (ed.) (1992). Ethnomusicology: An Introduction. New York, W. W.
Norton
Tags: British Forum for Ethnomusicology, Call for paper, Conference, Ethnomusicology, music and mediation, music and technology
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