阿巴拉契亚课后音乐节目作为文化干预

Esther M. Morgan-Ellis, Abigail Marvel, Andrew Malphurs
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引用次数: 0

摘要

在南阿巴拉契亚地区,有五个不同规模的课后项目——少年阿巴拉契亚音乐家、青年阿巴拉契亚音乐家、乔治亚拨与弓、辛德曼拨与弓和Appalshop的“传递拨与弓”——为学龄儿童提供地区音乐传统教育。这些节目履行了一项宝贵的使命,因为它们经常为那些没有其他机会接受音乐教育的学生提供服务。正如许多项目的名字所暗示的那样,这些项目提供与旧时代和蓝草音乐有关的乐器、练习和保留曲目的培训,它们通常宣传一种保护使命。本文考虑了阿巴拉契亚课外音乐项目的文化干预工作,将它们定位为一系列干预项目中的最新项目,这些项目塑造了阿巴拉契亚音乐,努力保护它。通过对所教授的风格、乐器和曲目的仔细考虑,我们探讨了课后项目为新一代参与者“编辑”阿巴拉契亚音乐遗产的方式,并考虑了项目教学实践的影响。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Appalachian after-school music programmes as cultural intervention
In the Southern Appalachians, five after-school programmes of varying sizes – Junior Appalachian Musicians, Young Appalachian Musicians, Georgia Pick and Bow, Hindman Pick and Bow and Appalshop’s Passing the Pick and Bow – offer education in regional music traditions to school-aged children. These programmes fulfil a valuable mission, for they often serve students who have no other opportunities to pursue a music education. As many of the names suggest, these programmes provide training in the instruments, practices and repertoire associated with old-time and bluegrass music, and they typically advertise a preservationist mission. This article considers the cultural intervention work of Appalachian after-school music programmes, positioning them as the latest in a series of interventionist projects that have shaped Appalachian music in an effort to preserve it. Through careful consideration of the styles, instruments and repertoire being taught, we address the ways in which after-school programmes ‘edit’ Appalachian musical heritage for a new generation of participants, and we consider the implications of the programmes’ pedagogical practices.
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