David G. Hebert

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David G. Hebert
Born1972 (age 51–52)
Seattle, Washington
NationalityAmerican
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, sociomusicology, cultural policy
InstitutionsGrieg Academy, Western Norway University of Applied Sciences
Thesis Music Competition, Cooperation, and Community: An Ethnography of a Japanese School Band  (2005)
Doctoral advisorPatricia Shehan Campbell
Other academic advisorsDavid Boersema, Charles Keil
Doctoral studentsAri Poutiainen
WebsiteSociomusicology

David G. Hebert (

Nichibunken in Kyoto, Japan, and the Central Conservatory of Music, in Beijing, China.[2]

Education and career

Hebert has worked for universities on five continents:

China Conservatory, and in 2015 was a visiting professor in Brazil with the music PhD program at Federal University of Rio Grande do Sul.[3] Across recent years Hebert has given keynote speeches for music conferences worldwide: Poland, Estonia, Sweden, Norway, China, Tanzania, and Uzbekistan.[4] Hebert also serves on editorial boards of several scholarly journals, led the Historical Ethnomusicology group of the Society for Ethnomusicology (of which he is a Life member) in 2009–2011, and was editor of the 25th anniversary proceedings of the Nordic Association for Japanese and Korean Studies.[5] He has also been active in development of innovative postgraduate programs: In northern Europe, he collaborated in development of the Master of Global Music program,[6] in China he has contributed to development of the Open Global Music Academy,[7] and from 2021 he is in a project funded by Norwegian Agency for Development Cooperation to develop PhD programs in Uganda.[8][9] Hebert teaches intensive courses in the fields of arts policy and international higher education for an international PhD summer school in Norway[10] and arts policy in Beijing for law students at China University of Political Science and Law.[11] He also teaches a PhD course in Non-Western Educational Philosophy.[12][13] He holds the PhD and MA degrees from University of Washington, and a BA degree from Pacific University.[14]

Research interests

Hebert's research is published in several scholarly books[15] and 35 different professional journals.[16]

Music competition in Japan

In 2012, Hebert published Wind Bands and Cultural Identity in Japanese Schools,

music competitions are a global phenomenon.[23]

Music globalization, transculturation and hybridity

According to Roberta Pike, Hebert asserts that "research is needed to explore the role of culture in music education."

Indian music outside of Asia,[32] and some cross-cultural music exchange projects in New Zealand[33] and Ghana.[34] Hebert has written of inherent tensions between originality and institutionalization, and contends that musical hybrid projects should be "recognized as the potential wellsprings of new musical traditions."[35] In 2008 at Boston University, he taught a course on the topic of "Music Transculturation and Hybridity".[36] Hebert's research on this topic builds on the scholarship of Bruno Nettl, Margaret Kartomi, Mark Slobin, Timothy Taylor, and Tina Ramnarine. He twice served as keynote speaker for conferences on Music and Globalization in Poland, and the resulting book Music Glocalization[37] has been described as "highly original"[38] and "the first comprehensive account of how the notion of ‘glocalization’ may be useful in rethinking nationality in music and the use of local musical traditions that serve as a means for global strategies."[39] In the book, Hebert collaborated with Polish musicologist Mikolaj Rykowski to introduce theoretical models and the term ‘glocklization’, which combines the glocal concept with a Glock pistol, to indicate unbalanced forms of glocalization perceived as destructive to cultural heritage.[40]

Pluralism and music institutions

Hebert's work has also addressed the challenges of representing cultural diversity and embracing pluralism in music education, claiming for music a unique role in intercultural communication.[41] He has advocated for popular music pedagogy and world music pedagogy as innovative approaches for reaching a wider population of students.[42] Teacher educators have noted that Hebert "guides the reader toward a sociological understanding" of diversity,[43] and offers "suggestions for 'empowering music teachers to respond appropriately to the complexity of ethnic differences'."[44] 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."[45] His research in this area has often been in collaboration with Nordic scholars, including Eva Saether[46] and Marja Heimonen.[47] Along with William Coppola and Patricia Shehan Campbell, he co-authored Teaching World Music in Higher Education as vol.7 of the Routledge World Music Pedagogy series.[48]

Nationalism in music education

Hebert co-edited with

sociology of music, to any "scholars engaged in researching comparative and political educational issues."[53] Elsewhere, Hebert has argued that "intercultural music transmission" enables national boundaries to be positively transcended via music participation.[54]

Historical ethnomusicology

Hebert's interests in global music

Rowman and Littlefield press,[59] The Lexington Series in Historical Ethnomusicology: Deep Soundings.[60]

Music technology, virtuality, and online music education

Hebert has also been active in researching the application of new technologies in

virtuality[65] as well as digital humanities and "big data" approaches with Danish computer scientist and computational musicologist Kristoffer Jensen.[66]

East Asian studies

Hebert has researched music in Japan, where he lived for about 5 years[citation needed], and he often lectures for leading universities and conservatories in China. He has published several articles and book chapters on western music in Japan (and Korea), and developed International Perspectives on Translation, Education, and Innovation in Japanese and Korean Societies (Springer), the 25th anniversary proceedings of the Nordic Association for Japanese and Korean Studies.[5] The journal Korean Studies notes that this book's "chapters echo the broader theme that language and translation are a font of innovation in East Asian society. This is a provocative idea, and the book does identify some tantalizing evidence."[67] Hebert has also drawn attention to East Asian arts through the International Sociological Association.[68]

Philosophical orientation

Hebert claims that

techno-utopianism,[61] militarism and nationalism.[72] Music 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’."[73] 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.[74] He also developed an Ensemble Ethos Model to explain how conductors and ensemble directors can nurture a culture of musical achievement.[75] Overall, Hebert's work especially promotes the value of internationalism in teacher education,[76] and emphasizes the importance of an international-comparative perspective[77] for developing globally responsible[78] and sustainable[79] educational policies and practices. As Yongjin Wang explains, Hebert claims that "the integrated application of non-Western philosophies of education can enhance the understanding of the nature and value of education."[80]

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.

Thomas Adam Regelski has suggested that "culture" – a concept emphasized in much of Hebert's writings – is too imprecise to be useful to music teachers.[84]

Musical activities

Primarily employed as a professor, Hebert continues to perform as a professional musician in various genres,

Kenji Williams.[91] In New Zealand, he performed as a trumpeter with Auckland Symphony Orchestra and Manukau Symphony Orchestra, and in Russia he recorded with the experimental free improvisation group Moscow Conservatory Pan-Asian Ensemble.[92]

Books

References

  1. ^ "Nordic Network for Music Education". Høgskolen på Vestlandet. 11 May 2018. Retrieved August 30, 2018.
  2. ^ "Professor David Gabriel Hebert, Institutt for Kunstfag". Høgskolen på Vestlandet. Retrieved August 30, 2018.
  3. ^ "Class with Professor David Hebert". FAPROM research group, Federal University of Rio Grande do Sul. Retrieved December 15, 2015.
  4. ^ "Hebert in CRISTIN". CRISTIN: Current Research Information System in Norway. Retrieved January 15, 2015.
  5. ^
    ISBN 9783319684321
  6. ^ Hebert, David. "Educating Professional Musicians for a Multicultural Society, Proceedings of MORE Project". Cite de la Musique, Paris. Retrieved July 15, 2015. {{cite journal}}: Cite journal requires |journal= (help)
  7. ^ "Music Education via MOOCs: A Status Report on the Open Global Music Academy Project" (PDF). Tenth Asia-Pacific Symposium for Music Education Research (p.79.), Hong Kong Institute of Education, China. Retrieved July 15, 2015.
  8. ^ "CABUTE: Capacity Building for Research-Based Teacher Education". University of Bergen. Retrieved August 22, 2022.
  9. ^ "Utviklar det første doktorgradsprogrammet innan musikkpedagogikk i det austlege Afrika". Høgskolen på Vestlandet. 2 June 2021. Retrieved June 16, 2021.
  10. ^ "Six PhD Courses on Global Challenges". Bergen Summer Research School, Bergen Global Initiative. Retrieved March 17, 2018.
  11. ^ Marit Fosse "Music is a powerful tool to create international harmony and peace: An interview with Professor David Hebert". The Norwegian American. 2019-12-25. Retrieved December 31, 2019.
  12. ^ Nadarajah Sethurupan "Benefits of shifting to online learning during pandemic". Norway News. 2020-06-27. Retrieved August 27, 2020.
  13. doi:10.7577/njcie.4158
    . Retrieved June 16, 2021.
  14. ^ "David Hebert-Academia.edu". Academia.edu. Retrieved January 15, 2015.
  15. ^ "David G. Hebert on Amazon". Amazon. Retrieved July 15, 2015.
  16. ^ "Google Scholar: David G. Hebert". Google Scholar. Retrieved February 15, 2016.
  17. ISBN 9400721773
  18. S2CID 144531596
    .
  19. ^ Norman Stanfield (2014). Wind Bands and Cultural Identity in Japanese Schools. "British Journal of Music Education", 31(1), pp.103-105.
  20. ^ Nishijima, Hiroshi (2013). Wind Bands and Cultural Identity in Japanese Schools. "Social Science Japan Journal", 16(2), pp.337-340.
  21. ^ "Lonestar Wind Orchestra: Notes from Japan". Lonestar Wind Orchestra, Dallas, Texas, USA. Retrieved February 15, 2016.
  22. ^ "Repertoire By Country – Repertoire – Tim Reynish". timreynish.com.
  23. ^ Hebert, David G. (2019). Competition in Music. SAGE International Encyclopedia of Music and Culture (Janet Sturman, Ed.), Thousand Oaks, CA: Sage Publications, vol.2, p.610-613.
  24. ^ Roberta E. Pike, Japanese Education: Selective Bibliography of Psychosocial Aspects (Fremont, CA: Jain, 2007), p.83.
  25. ^ Hebert, D. G., Abramo, J. & Smith, G. D. (2016). Epistemological and Sociological Issues in Popular Music Education. In G. D. Smith, et al (Eds.), "The Routledge Research Companion to Popular Music Education". New York: Routledge; Hebert, David (2011) "Cultural Translation and Music: A Theoretical Model and Examples from Japan" Archived 2015-01-28 at the Wayback Machine 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
  26. ISBN 978-94-007-2177-7
    .
  27. ^ David G. Hebert (2008). "Music Transmission in an Auckland Tongan Community Youth Band". International Journal of Community Music, 1(2), pp.169-188.
  28. ISBN 379521257X
  29. ^ 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.
  30. S2CID 143629912
    .
  31. ^ Rohan Sagar and David G. Hebert, "Research-Based Curriculum Design for Multicultural School Music: Reflections on a National Project in Guyana," Action, Criticism, and Theory for Music Education.
  32. ^ Hebert, David (2003). "Lessons from India: Globalization's Implications for Music Education," Journal of the Indian Musicological Society, Vol. 34 (pp. 38-46).
  33. ^ Pornprapit Phoasavadi and David G. Hebert (2006). "Celebrating Maori and Thai Music Magic: Implications of World Music Collaboration" Archived 2015-09-23 at the Wayback Machine. Research in New Zealand Performing Arts, 1.
  34. S2CID 145237896
    .
  35. ISBN 1443813915
  36. ^ Boston Hybrid Musics. "Boston Hybrid Musics". bostonhybridmusics.blogspot.com.
  37. ^
    ISBN 9781527503939
  38. ^ "Roudometof, Victor. September 30, 2019. Review: Music Glocalization: Heritage and Innovation in a Digital Age". Ethnomusicology Review (UCLA). 2019-11-11. Retrieved November 11, 2019.
  39. ^ "Ho, Wai-Chung. June 8, 2018. Book review: Music Glocalization: Heritage and Innovation in a Digital Age". Cambridge Scholars. 2018-06-08. Archived from the original on April 2, 2019. Retrieved November 11, 2019.
  40. ^ Hebert, David & Rykowski, Mikolaj. (2018). Music Glocalization: Heritage and Innovation in a Digital Age. Newcastle: Cambridge Scholars, p.354.
  41. 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.
  42. ^ Hebert, D. G. Jazz and Rock Music. In W. M. Anderson & P. S. Campbell (Eds.), Multicultural Perspectives in Music Education, Vol.1 (third edition) (pp.112-127). Lanham, MD: Rowman-Littlefield Publishers (2011).
  43. ^ Patrick Schmidt (2012). Book Review – Sociology and Music Education "Visions of Research in Music Education", 22.
  44. ^ Tami J. Draves (2011). Sociology and Music Education. "Journal of Historical Research in Music Education", 33(1), pp.109.
  45. S2CID 147230232
    .
  46. ^ "Eva Sæther". evasaether.com.
  47. ^ 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.
  48. ^ "Publications by Professor David G. Hebert". Blogspot.com. Retrieved July 15, 2018.
  49. ^ "Alexandra Kertz-Welzel". alexandrakertzwelzel.com.Archived 2012-08-25 at the Wayback Machine
  50. ISBN 1409430804
  51. S2CID 146904712
    .
  52. ^ John Sloboda (2012). Patriotism and nationalism in music education: A review essay "International Journal of Education & the Arts", 13.
  53. ^ Veronica Jamset. (2013). Patriotism and Nationalism in Music Education. "Fontes Artis Musicae", 60(2), pp.123-125.
  54. ^ 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.
  55. ISBN 978-94-007-2177-7
    .
  56. ^ 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.
  57. ISBN 0739168266
  58. ^ Justin R. Hunter (2016). Theory and Method in Historical Ethnomusicology. "NOTES", 72(3), pp.534-537.
  59. ^ "Lexington Series". Rowman and Littlefield. Retrieved December 12, 2018.
  60. ^ "Historical Ethnomusicology Book Series: Deep Soundings". Sociomusicology blog. 2017-03-29. Retrieved January 14, 2018.
  61. ^
    S2CID 148146860
    .
  62. ^ 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; David G. Hebert (2007). "Five Challenges and Solutions in Online Music Teacher Education". Research and Issues in Music Education, 5.
  63. ISBN 9780190660772; David G. Hebert (2008). "Forms of Graduate Music Education: A Response to Kenneth Phillips"
    . Research and Issues in Music Education, 6.
  64. ISBN 0199928010;"S. Alex Ruthmann – Faculty Bio"
    . nyu.edu.
  65. ^ David G. Hebert (2009). "On Virtuality and Music Education in Online Environments" (in Hungarian translation, by Mariann Abraham) ‘’Parlando’’ Vol. 48(4).
  66. ISBN 9788792646118
    .
  67. ^ "Korean Studies. Hebert, D.G. (2018). International Perspectives on Translation, Education and Innovation in Japanese and Korean Societies, ed. by David G. Hebert. Advance online publication on Project MUSE". Project Muse: Korean Studies. 2019-11-11. Retrieved November 11, 2019.
  68. ^ "Sociological Approaches to Western Music in Japan". International Sociological Association. 2014-07-17. Retrieved March 15, 2015.. Also see: "Sociomusicology". David Hebert/Blogspot. Retrieved March 15, 2015.
  69. ^
    ISBN 0739168266
  70. ^ David G. Hebert (2009). "On Virtuality and Music Education in Online Environments". Parlando, 48(4) [in Hungarian translation, by Mariann Abraham].
  71. ISBN 9048126991
  72. ^ Hebert, David (2015) "Militarism and Music Education". Music Educators Journal, vol.101, no. 3, pp.77-84.
  73. ^ Jeananne Nichols (2011). Music education for changing times: A review essay "International Journal of Education & the Arts", 12.
  74. S2CID 144769294
    .
  75. ISBN 978-94-007-2177-7
    . Retrieved November 24, 2020.
  76. ^ 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.
  77. ^ David G. Hebert (2012). "International Comparisons in the Improvement of Education". Signum Temporis: Journal of Pedagogy and Psychology, 5(2), pp.17-27.
  78. doi:10.7577/njcie.4158
    . Retrieved August 22, 2022.
  79. ^ David G. Hebert, (2022), “Nature Conservation and Music Sustainability: Fields with Shared Concerns", Canadian Journal of Environmental Education, 25, p.175–189.
  80. doi:10.1080/00131857.2023.2241625
    .
  81. ^ 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" Archived 2015-01-28 at the Wayback Machine, 6.
  82. ^ Robert Walker (2007). Music Education: Cultural Values, Social Change and Innovation. Springfield, IL: Charles C. Thomas.
  83. ^ Vincent C. Bates (2014). "Rethinking cosmopolitanism in music education.". Action, Criticism, and Theory for Music Education 13(1): 310–27.
  84. ^ Thomas Regelski (2010). "Culturalism, Multi-Culturalism, and Multi-Musical Prosperity.". Finnish Journal of Music Education, 13(1), pp.95-98.
  85. ^ "Hebert-Sympathetic Resonance Trio". Sociomusicology. 2022-09-30. Retrieved September 30, 2022.
  86. ^ "Hebert-Goto Duo 2018". Sociomusicology. 2018-10-27. Retrieved December 12, 2018.
  87. ^ "HiB Faculty Profile David Gabriel Hebert (Norwegian language)". hib.no. Retrieved January 15, 2015.
  88. ^ "Edvard Grieg Kor: The Singers". Edvard Grieg Kor, Bergen, Norway. Retrieved February 15, 2016.
  89. ^ (McCollum and Hebert, 2014, p.409)
  90. ^ "Johnny Todd". Johnny Todd Piano. Retrieved October 15, 2015.
  91. ^ "Correspondence: a contemporary opera". transcri.be. Retrieved July 15, 2015.
  92. ^ "Pan-Asian Ensemble". Moscow Pan-Asian Ensemble. Retrieved July 15, 2015.
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