Okay, music may not be a language, but when we learn to speak through its various tongues we can experience new ways of being in the world. My qualitative research, based upon five years of participant observation, advances our understanding of the significance of ethnomusicology pioneer Mantle Hood’s theory of bi-musicality and the role of performance ensembles in current world music pedagogy, while also prompting a renewed appreciation for the presence of African and “African descended” music and dance instruction in higher education. Hood’s article reminds us that music performance in any tradition makes huge cognitive and physical demands and to be bi-musical is analogous to being bilingual or fluent in more than one musical language. with a cover bell, which stays in the last position in each row to add. I have arrived at this definition by considering the definition of. But I perceive bi-musicality as the result of technical training and aesthetic understanding of music from a different ethnic group while maintaining one's first learnt music. Drawing upon philosopher Arnold Van Gennep’s theory of rites of passage and anthropologist Victor Turner’s ensuing conceptualization of liminality, I conclude that the courses explored in this dissertation create the circumstance for a transitioning into adulthood that empowers students to healthfully matriculate through the university while they heal mentally and physically from challenges faced before and during college. being studied, he gave the approach a name in his 1960 article on bi-musicality. Defining bi-musicality Mantle Hood described bi-musicality as the learning of a foreign music.

however, defined ethnomusicology not in terms of subject matter but as the. My definition of soul healing is inspired by historian Bernice Johnson Reagon’s conviction that many African American music traditions were conceived and carried out for the purpose of treating the wounds left by “soul murder,” a phenomenon that historian Nell Irvin Painter characterizes as the collective trauma that resulted from the trans-Atlantic slave trade and its aftermath. Hood emphasised the importance of bi-musicality, or being able to play. This dissertation illuminates students’ experiences of “soul healing” through the cultivation of spirituality, self-love/ self-knowledge, mentorship, and community in the context of two UCLA courses: the Music and Dance of Ghana World Music Performance Ensemble, taught by master drummer Kobla Ladzekpo of the Anlo-Ewe ethnic group in Ghana, West Africa, and “Advanced Hip Hop,” taught by “street dance” pioneer and choreographer Rennie Harris, of Philadelphia, PA.

Bi musicality definition