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[[Category:Music educators]]
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Revision as of 16:25, 26 January 2015

David G. Hebert
Born
Seattle, Washington
NationalityUnited States
Alma materUniversity of Washington
Known forsociomusicology, wind bands in Japan, music competitions, pluralism in music education, nationalism in music, historical ethnomusicology, popular music pedagogy, online music education.
Scientific career
FieldsMusic education, ethnomusicology, comparative education, east asian studies
InstitutionsGrieg Academy
Thesis Music Competition, Cooperation, and Community: An Ethnography of a Japanese School Band  (2005)
Doctoral advisorPatricia Shehan Campbell
Doctoral studentsAri Poutiainen, Nancy Rosenberg, Robert Allen, Tapani Heikinheimo
Other notable studentsJoe Pignato

David G. Hebert /deɪvɪdɛˈbɛər/ (born 1972, Seattle) is a musicologist and comparative educationist and a professor of music at the Grieg Academy-Faculty of Education (Bergen University College, Norway). He has contributed to the fields of music education, ethnomusicology, comparative education, and East Asian Studies.

Education and career

Prior to his current position in Norway, Hebert worked for universities on four continents: Sibelius Academy, Boston University, Lomonosov Moscow State University, Te Wananga o Aotearoa, University of Southern Mississippi, Tokyo Gakugei University and the International Research Center for Japanese Studies. From 2012, he has also frequently lectured in Beijing for postgraduate seminars at China Conservatory. In recent years Hebert has given keynote speeches for music conferences worldwide: China (2015); Poland, Sweden, Estonia, Norway, and China (2014); Norway, Tanzania, and Uzbekistan (2013).[1] Hebert also serves on editorial boards of several scholarly journals, and in 2009-2011 led the Historical Ethnomusicology group of the Society for Ethnomusicology, of which he is a Life member. He holds the PhD and MA degrees from University of Washington, and a BA degree from Pacific University.[2] His views on music were influenced by such scholars as Patricia Shehan Campbell, Gary McPherson, Liora Bresler, Bruno Nettl, David Hargreaves, Stephen Davies, Charles Keil, and Steven Brown.

Research interests

Music Competition in Japan. In 2012 Hebert published his book Wind Bands and Cultural Identity in Japanese Schools,[3] the first study to identify the world's largest music competition and document the experiences of its participants. With more than 14,000 competing wind bands and widely admired performances, Japan is especially important in this field, yet prior to this book few details were known outside of Japan. Hebert’s ethnographic and historical monograph has been described in the journal Music Education Research as “the most comprehensive information about concert (wind) band participation in any country.”[4] According to a review in the British Journal of Music Education, “David Hebert delved deep under the surface of the seemingly everyday where he discovered anomalies and cultural specifics that are unlike anything found in the West ... His book performs the remarkable: a call to explore new ways of doing high school band programmes differently.”[5] A sociologist with Tokyo Metropolitan University has suggested that this book “can serve as an important reference and inform the decisions of those attempting to advance changes to the educational system.”[6] The book also describes Japanese composers, and has been used for concert program notes by prominent conductors, such as Eugene Corporon, and Tim Reynish (who describes it as “compulsory reading for anyone interested in Japanese music”)[7] This book helps to explain why music competitions are a global phenomenon.

Music Transculturation and Hybridity. Much of Hebert's research has examined how musical practices, technologies, and genres are adopted into new contexts, including educational and religious traditions within institutions.[8] He has examined this topic from a global and comparative perspective. In addition to research on Japanese composers,[9] he has studied brass bands among Tongans[10] and New Zealand Maori,[11] as well as American jazz and popular music,[12] Christmas caroling in Europe,[13] and some intensive musical exchange projects in New Zealand[14] and Ghana.[15] Hebert has written of the inherent tensions between originality and institutionalization, and contends that musical hybrid projects should be “recognized as the potential wellsprings of new musical traditions.”[16] In 2008 at Boston University, he taught one of the first courses on the topic of "Music Transculturation and Hybridity."[17] Hebert’s research on this topic builds on the pioneering scholarship of Bruno Nettl, Margaret Kartomi, Mark Slobin, and Tina Ramnarine.

Pluralism and Music Institutions. Hebert’s work has also addressed the challenges of representing cultural diversity and embracing pluralism in music education, acknowledging music's unique role in intercultural communication.[18] He has long advocated for popular music pedagogy and world music pedagogy as innovative approaches for reaching a wider population of students. Teacher educators have noted that Hebert “guides the reader toward a sociological understanding” of these issues,[19] and offers “suggestions for ‘empowering music teachers to respond appropriately to the complexity of ethnic differences’.”[20] Extending in directions pioneered by his PhD mentor Patricia Shehan Campbell, Hebert has also written of “the challenges of multicultural teaching in music” and “the central role that ethnic identity plays in musical meaning and engagement.” [21] His research in this area has often been in collaboration with Nordic scholars, including Eva Saether[22] and Marja Heimonen.[23]

Nationalism in Music Education. In collaboration with Alexandra Kertz-Welzel[24] (Professor and Chair, University of Munich), Hebert produced a co-edited book in 2012 entitled Patriotism and Nationalism in Music Education.[25] This book includes contributions by music education researchers from several continents. Luminary music psychologist John Sloboda described this book as “a ‘must read’ resource for anyone interested in this topic.”[26] According to a review in Fontes Artis Musicae, Hebert and Kertz-Welzel pose “challenging questions about the role of music teachers in propagating and inculcating patriotic sentiments,” and the book is relevant beyond music studies, to any “scholars engaged in researching comparative and political educational issues.”[27] Elsewhere, Hebert has argued that “intercultural music transmission” enables national boundaries to be positively transcended via music participation.[28]

Historical Ethnomusicology. Hebert's interests in global music historiography developed as he explored such topics as how European music was adopted in Japan,[29] and how the American genres of jazz and rock ironically struggled to gain acceptance in American schools.[30] In 2014 he produced a book with Jonathan McCollum (Washington College) entitled Theory and Method in Historical Ethnomusicology.[31] Prominent ethnomusicologists contributed chapters to this book, including Keith Howard, Daniel M. Neuman and Judah Cohen. It helps to update this field, for 20 years had passed since the last book of this kind, Ethnomusicology and Modern Music History (1993).[32]

Online Music Education. Hebert has also been active in researching the application of new technologies in music education. Prior to becoming interested in “big data”, he authored the first article to examine the challenges of educating music teachers in a fully online doctoral program (at Boston University).[33] This sparked some debate – with Kenneth H. Phillips, among others – that led to further publications on projects in Europe and Africa that made use of the Internet to support intercultural music exchange.[34] Hebert's interests in music technology brought him to fruitful collaborations with Alex Ruthmann,[35] and Danish computer scientist and computational musicologist Kristoffer Jensen.[36]

Philosophical orientation

Hebert claims that postmodernist discourse no longer offers a compelling explanation for contemporary musical practices. Rather, he emphasizes a global-historical perspective: that humanity has recently exited a period of “digital prehistory” to enter a phase of “data saturation” through ubiquitous mass surveillance,[37] causing conditions he describes as “glocalimbodied,”[38] meaning that local and global forces converge to “stamp” the identities of individual actors suspended within a social structure shaped by participatory media. In his view, this context results in music creation and consumption increasingly transcending earlier connections to space and time, engendering both a blurring and reactionary institutionalization of local genres and historical styles. Consequently, Hebert contends that music education policies and practices should be re-envisioned to emphasize individual originality and empowerment via a musicianship of “flexibility”,[39] with inclusion of marginalized traditions and rejection of any ties to "aesthetic fundamentalism", techno-utopianism, militarism and nationalism. Other scholars have noted that Hebert “believes music education will become more relevant and effective when it attends more completely to 'creative agency via technology and musical hybridity',” and that “Music learned in school should have some connection to the music the student engages with outside of school and that musicianship should be understood as an ‘embodied practice situated in sociocultural contexts’.”[40] An advocate for increased contemporary music, music technology, and popular music in schools, Hebert nevertheless warns that these should not be seen as panacea for poor teaching or inadequate funding and facilities, and that historical traditions – including the heritage of “classical” art music – still legitimately require ample space in school education.[41] Hebert's work especially promotes the value of internationalization in teacher education,[42] and emphasizes the importance of an international-comparative perspective for envisioning improvements to educational policies and practices.[43]

Criticism. While largely accepted, some of Hebert’s conclusions have faced opposition from other scholars. His research in Japan controversially suggests that some important aspects of music history are inaccurately “remembered”, and he has argued that similar issues may be found in common music history textbooks in the US and elsewhere.[44] Hebert asserts that music contests can have not only positive, but also negative consequences for participants and the musical traditions they display, and require careful design for desirable outcomes. Some music educators defend traditional pedagogies that Hebert and others claim need to be redeveloped or supplemented with new approaches.[45] Robert Walker and Roger Scruton would disagree with Hebert’s position regarding the relevance of popular music studies.[46] Vincent Bates has argued that a “cosmopolitan” perspective may already receive excessive emphasis in the field of music education,[47] while Thomas Regelski has suggested that “culture” – a concept emphasized in much of Hebert’s writings – is a nebulous construct with questionable utility for the field.[48]

Musical activities

Primarily employed as a professor, Hebert continues to perform as a professional musician in various genres, and teaches a course in songwriting.[49] A jazz trumpeter and lyric bass singer, in 2013-2015 he had occasional work as a professional chorus member with the Bergen Philharmonic Orchestra, Bergen National Opera, and Berlin Philharmonic.[50]

References

  1. ^ "Hebert in CRISTIN". CRISTIN: Current Research Information System in Norway. Retrieved January 2015. {{cite web}}: Check date values in: |accessdate= (help)
  2. ^ "David Hebert-Academia.edu". Academia.edu. Retrieved January 2015. {{cite web}}: Check date values in: |accessdate= (help)
  3. ^ Hebert, David (2012). "Wind Bands and Cultural Identity in Japanese Schools". Dordrecht: Springer Press ISBN 9400721773
  4. ^ Peter Gouzouasis and Alan Henderson (2012). Secondary Student Perspectives on Musical and Educational Outcomes from Participation in Band Festivals. "Music Education Research", 14(4), pp.479-498.
  5. ^ Norman Stanfield (2014). Wind Bands and Cultural Identity in Japanese Schools. "British Journal of Music Education", 31(1), pp.103-105.
  6. ^ Nishijima, Hiroshi (2013). Wind Bands and Cultural Identity in Japanese Schools. "Social Science Japan Journal", 16(2), pp.337-340.
  7. ^ "Repertoire By Country - Repertoire - Tim Reynish". timreynish.com.
  8. ^ Hebert, David (2011) "Cultural Translation and Music: A Theoretical Model and Examples from Japan" In Noriko Takei-Thunman and Nanyan Guo (Eds.), Cultural Translations: Proceedings of the Workshop/Symposium in Varberg and Kyoto, University of Gothenburg, pp.20-39
  9. ^ Hebert, David (2012) "Japanese Composers and Wind Band Repertoire". In Wind Bands and Cultural Identity in Japanese Schools. Dordrecht: Springer Press, pp.155-170. ISBN 9400721773; Hebert, David (2008). "Alchemy of Brass: Spirituality and Wind Music in Japan" in E. Michael Richards and Kazuko Tanosaki, Eds., Music of Japan Today. Newcastle: Cambridge Scholars Publishing, 2008, pp.236-244. ISBN 1847185622; Hebert, D. G. (2001). Hoshina and Ito: Japanese Wind Band Composers. Journal of Band Research, 37(1), pp. 61-77
  10. ^ David G. Hebert (2008). "Music Transmission in an Auckland Tongan Community Youth Band". International Journal of Community Music, 1(2), pp.169-188.
  11. ^ Hebert, David (2008). "Music Transculturation and Identity in a Maori Brass Band Tradition". In R. Camus & B. Habla, (Eds.), Kongressbericht Northfield /Minnesota, USA 2006 (Alta Musica, 26) Tutzing: Schneider, pp.173-200. ISBN 379521257X
  12. ^ David G. Hebert (2011). "Originality and Institutionalization: Factors Engendering Resistance to Popular Music Pedagogy in the USA". Music Education Research International, 5, pp.12-21.
  13. ^ David G. Hebert, Alexis Kallio and Albi Odendaal (2012). "Not So Silent Night: Tradition, Transformation, and Cultural Understandings of Christmas Music Events in Helsinki, Finland". Ethnomusicology Forum, 21(3), pp.402-423.
  14. ^ Pornprapit Phoasavadi and David G. Hebert (2006). "Celebrating Maori and Thai Music Magic: Implications of World Music Collaboration". Research in New Zealand Performing Arts, 1.
  15. ^ David G. Hebert and Eva Saether (2014). "Please Give Me Space: Findings and Implications from an Evaluation of the Glomus Intercultural Music Camp, Ghana 2011". Music Education Research, 16(4), pp.418-435.
  16. ^ Hebert, David (2009). "Rethinking the Historiography of Hybrid Genres in Music Education". In V. Kurkela & L. Vakeva (Eds.), De-Canonizing Music History. Newcastle: Cambridge Scholars Press, p.178. ISBN 1443813915
  17. ^ Boston Hybrid Musics. "Boston Hybrid Musics". bostonhybridmusics.blogspot.com.
  18. ^ Hebert, David (2010). "Ethnicity and Music Education: Sociological Dimensions". In Ruth Wright (Ed.), Sociology and Music Education. Aldershot: Ashgate Press, pp.93-114. ISBN 0754668010; David G. Hebert, Tuovi Martinsen, and Keld Hosbond (2010). "Launching the Nordic Master of Global Music Program". Finnish Journal of Music Education, 13(1), pp.88-91.
  19. ^ Patrick Schmidt (2012). Book Review – Sociology and Music Education "Visions of Research in Music Education", 22.
  20. ^ Tami J. Draves (2011). Sociology and Music Education. "Journal of Historical Research in Music Education", 33(1), pp.109.
  21. ^ Sharon G. Davis (2013). Sociology in Music Education "Music Education Research", 15(2), pp.249-251.
  22. ^ "Eva Sæther". evasaether.com.
  23. ^ Marja Heimonen and David G. Hebert (2010). "Pluralism and Minority Rights in Music Education: Implications of the Legal and Social Philosophical Dimensions". Visions of Research in Music Education, 15; David G. Hebert and Marja Heimonen (2013). "Public Policy and Music Education in Norway and Finland". Arts Education Policy Review, 114(3), special issue on “Cosmopolitanism and Policy”, pp.135-148.
  24. ^ "Alexandra Kertz-Welzel". alexandrakertzwelzel.com.
  25. ^ Hebert, David and Kertz-Welzel, Alexandra (2012). "Patriotism and Nationalism in Music Education". Aldershot, UK: Ashgate Press ISBN 1409430804
  26. ^ John Sloboda (2012). Patriotism and nationalism in music education: A review essay "International Journal of Education & the Arts", 13.
  27. ^ Veronica Jamset. (2013). Patriotism and Nationalism in Music Education. "Fontes Artis Musicae", 60(2), pp.123-125.
  28. ^ David G. Hebert (2001). "The Tokyo Kosei Wind Orchestra: A Case Study of Intercultural Music Transmission". Journal of Research in Music Education, 49(3), pp.212-226; David G. Hebert and Sidsel Karlsen (2010). "Editorial Introduction: Multiculturalism and Music Education". Finnish Journal of Music Education, 13(1), pp.6-11.
  29. ^ Hebert, David (2012) "Where are These Bands From? – An Historical Overview" in Wind Bands and Cultural Identity in Japanese Schools. Dordrecht: Springer Press, pp.11-82. ISBN 9400721773
  30. ^ David G. Hebert (2011). "Originality and Institutionalization: Factors Engendering Resistance to Popular Music Pedagogy in the USA". Music Education Research International, 5, pp.12-21; David G. Hebert and Patricia Shehan Campbell (2000). " Rock Music in American Schools: Positions and Practices Since the 1960s". International Journal of Music Education, 36(1), pp. 14-22.
  31. ^ McCollum, Jonathan and Hebert, David (2014) "Theory and Method in Historical Ethnomusicology" Lanham, MD: Lexington Books / Rowman & Littlefield ISBN 0739168266
  32. ^ Stephen Blum, Philip V Bohlman, and Daniel M Neuman, (Eds.), (1993). Ethnomusicology and Modern Music History. Urbana: University of Illinois Press.
  33. ^ David G. Hebert (2007). "Five Challenges and Solutions in Online Music Teacher Education". Research and Issues in Music Education, 5; David G. Hebert (2008). "Reflections on Teaching the Aesthetics and Sociology of Music Online". International Review of the Aesthetics and Sociology of Music, 39(1), pp.93-103.
  34. ^ David G. Hebert (2008). "Forms of Graduate Music Education: A Response to Kenneth Phillips". Research and Issues in Music Education, 6; Ruthmann, Alex and Hebert, David (2012) "Music Learning and New Media in Virtual and Online Environments". In Gary McPherson and Graham Welch, (Eds.), Oxford Handbook of Music Education, Vol.2. Oxford University Press, pp.567-584. ISBN 0199928010
  35. ^ "S. Alex Ruthmann - Faculty Bio". nyu.edu.
  36. ^ "Kristoffer Jensen - Research - Aalborg University". aau.dk.
  37. ^ Hebert, David and McCollum, Jonathan (2014). "Philosophy of History and Theory in Historical Ethnomusicology". In J. McCollum and D. G. Hebert, Eds., Theory and Method in Historical Ethnomusicology. Lanham, MD: Lexington Books / Rowman & Littlefield, pp.85-148 ISBN 0739168266
  38. ^ David G. Hebert (2009). "On Virtuality and Music Education in Online Environments". Parlando, 48(4) [in Hungarian translation, by Mariann Abraham].
  39. ^ Hebert, David (2009) "Musicianship, Musical Identity and Meaning as Embodied Practice" In T. Regelski & J. T. Gates (Eds.), Music Education for Changing Times: Guiding Visions for Practice. Dordrecht: Springer Press, pp.39-55. ISBN 9048126991
  40. ^ Jeananne Nichols (2011). Music education for changing times: A review essay "International Journal of Education & the Arts", 12.
  41. ^ David G. Hebert and Marja Heimonen (2013). "Public Policy and Music Education in Norway and Finland". Arts Education Policy Review, 114(3), special issue on “Cosmopolitanism and Policy”, pp.135-148.
  42. ^ David G. Hebert, Tuovi Martinsen, and Keld Hosbond (2010). "Launching the Nordic Master of Global Music Program". Finnish Journal of Music Education, 13(1), pp.88-91; David G. Hebert and Eva Saether (2014). "Please Give Me Space: Findings and Implications from an Evaluation of the Glomus Intercultural Music Camp, Ghana 2011". Music Education Research, 16(4), pp.418-435.
  43. ^ David G. Hebert (2012). "International Comparisons in the Improvement of Education". Signum Temporis: Journal of Pedagogy and Psychology, 5(2), pp.17-27.
  44. ^ Hebert, David and McCollum, Jonathan (2014). "Philosophy of History and Theory in Historical Ethnomusicology". In J. McCollum and D. G. Hebert, Eds., Theory and Method in Historical Ethnomusicology. Lanham, MD: Lexington Books / Rowman & Littlefield, pp.85-148 ISBN 0739168266
  45. ^ Mark Fonder "No Default or Reset Necessary – Large Ensembles Enrich Many."; See debate between Hebert and Kenneth Phillips in 2008, "Research and Issues in Music Education", 6.
  46. ^ Robert Walker (2007). Music Education: Cultural Values, Social Change and Innovation. Springfield, IL: Charles C. Thomas.
  47. ^ Vincent C. Bates (2014). "Rethinking cosmopolitanism in music education.". Action, Criticism, and Theory for Music Education 13(1): 310–27.
  48. ^ Thomas Regelski (2010). "Culturalism, Multi-Culturalism, and Multi-Musical Prosperity.". Finnish Journal of Music Education, 13(1), pp.95-98.
  49. ^ "HiB Faculty Profile David Gabriel Hebert (Norwegian language)". hib.no. Retrieved January 2015. {{cite web}}: Check date values in: |accessdate= (help)
  50. ^ (McCollum and Hebert, 2014, p.409)

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