THEORY AND METHOD IN HISTORICAL ETHNOMUSICOLOGY:
Notable music professors have written the following about Theory and Method in Historical Ethnomusicology:
- “By means of thoughtful commentary on potential sources and procedures, the editors and authors of new articles will hopefully stimulate burgeoning interest in historical perspectives on the part of ethnomusicologists.” (Bonnie C. Wade, University of California, Berkeley)
- “A timely, thoughtful, and engaging collection, Theory and Method in Historical Ethnomusicology is sure to become an important resource. McCollum, Herbert, and their collaborators have done a great service to musical scholars of all stripes, be they historical musicologists, ethnomusicologists, or somewhere in between.” (Ken Prouty, Michigan State University)
- “This book is an ardent call for a historical turn in ethnomusicology.” (Alexandra Kertz-Welzel, Ludwig Maximilian University)
- "A scholarly and incisive account of the place of historiography in ethnomusicology. Editors McCollum and Hebert adopt an organizational structure that achieves a fine balance between historical, philosophical, and theoretical foundations, and their application is illustrated brilliantly in studies of diverse global music traditions. The text transcends music disciplinary boundaries and points the way to an expanded visions for historiography in music scholarship." (Marie McCarthy, University of Michigan).
In NOTES: Quarterly Journal of the Music Library Association, Justin Hunter describes Theory and Method in Historical Ethnomusicology as ‘a valuable resource for any music scholar interested in the past and its relationship with the present. . . . a jaunty and robust contribution to how music studies could be enhanced by a sensitivity to historical pasts. McCollum and Hebert’s lengthy discussions of the cognitive dissonance of cultural memory are particularly poignant for researchers working to connect oral histories with written sources.’
In volume 61 of Japanese musicology journal, Ongakugaku, the book Theory and Method in Historical Ethnomusicology is described by Matt Gillan as “summarizing the ways that historical issues have been addressed in previous ethnomusicological studies, outlining a number of theoretical and practical concepts that are useful in the field, and providing case studies demonstrating how historical ethnomusicology is being used in current research.” Gillan characterizes the chapters “co-written by McCollum and Hebert” as follows: “attempting to outline future directions for the field of study. These four theoretical and methodological chapters, accounting for some 170 pages (nearly half of the book), are thoughtful and well balanced in their combination of traditional and more cutting-edge approaches, and make an excellent introduction to the subject.”
Also, here is a link to a very positive review of our book Theory and Method in Historical Ethnomusicology in the Azerbaijani musicology journal Konservatoriya:
English translation of key points from Fattah Khaligzade's review in Konservatoriya: “the first great book on historical ethnomusicology . . . published by a new generation of researchers, Jonathan McCollum and David Hebert . . . this sophisticated collection of articles is regarded as valuable research from across recent years due to its scientific novelty, thorough content, and extensive capabilities for application . . . The editors deeply analyze the valuable contributions of their predecessors and contemporaries, and attain a unified direction for their colleagues’ efforts . . . an important achievement of contemporary ethnomusicology”
WIND BANDS AND CULTURAL IDENTITY IN JAPANESE SCHOOLS:
In his review in British Journal of Music Education, ethnomusicologist Dr. Norman Stanfield describes Wind Bands and Cultural Identity in Japanese Schools as “a most unique and engaging monograph . . . 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. . . Hardly a page goes by without an ‘aha’ moment . . . His book performs the remarkable: a call to explore new ways of doing high school band programmes differently”.
Reviews of my ethnography and social history Wind Bands and Cultural Identity in Japanese Schools by renowned music education researcher Richard Colwell and Asian performance studies scholar CedarBough Saeiji are in the February 2013 issue of Ethnomusicology Review:
PATRIOTISM AND NATIONALISM IN MUSIC EDUCATION:
Preeminent cognitive psychologist of music John Sloboda describes the book Patriotism and Nationalism in Music Education in the journal International Journal of Education and the Arts (2012) as “a brave first attempt to bring together information and arguments relevant to an understanding of how patriotism and nationalism intersect with music education. As such, it both stands as a 'must read' resource for anyone interested in this topic, and also as an indication of how little we know in depth about the effects of patriotism on music teachers and the young people they teach. There are many empirical studies that are begging to be done, and I hope this book stimulates some researchers to undertake them.”
Professor Jonathan Stock, ethnomusicologist, wrote the following in the British Journal of Music Education: ". . . appealing to a wide range of readers, interweaving broader historical overviews, and engaged, personal accounts . . . Patriotism and Nationalism in Music Education provides a stimulating series of case studies that trace music education's ethical, unethical and unexpected consequences"
J. Paul Louth writes the following in his review of Patriotism and Nationalism in Music Education: “This timely book offers an insightful array of international perspectives on a subject that badly calls out for scrutiny. . . . Of particular value is the use by a number of the authors of theoretical categories or constructs of patriotism to analyze historical or qualitative data.” – Canadian Association of Music Libraries Review.
Music education author Veronica Jamset writes the following about Patriotism and Nationalism in Music Education within the music library journal Fontes Artis Musicae: “A wide range of nations, at least one from almost every continent of the world, is discussed . . . The editors draw these diverse practices together in their own conclusion, calling for themes of reconciliation and mutual understanding, not nationalistic propaganda, and for teachers to be required to reflect ethically about what they are asked to do, and about why and how they do it . . . potentially of general interest to a wide range of readers but its immediate usefulness may be restricted academically to members of departments which have a significant education strand. Rather than a rounded and systematic study of music education per se, it presents a number of recurring threads that pose challenging questions about the role of music teachers in propagating and inculcating patriotic sentiments. Bibliographical referencing is generous. The book is a rich resource, its extensive sources offering many excellent starting-points for research, particularly for music educators who have not previously considered this aspect of how they train teachers, as well as scholars engaged in researching comparative and political educational issues.”
According to David Ashworth in his recently published review in the UK's Music Teacher Magazine, our book Patriotism and Nationalism in Music Education is "useful for the teacher who wants to explore global issues in the classroom", for it provides "a rich source of information about aspects of music education around the world," and "There is much for music teachers to think about here -- recommended."
In his review of the book Sociology and Music Education (ed. Ruth Wright), music education scholar Patrick Schmidt writes the following in Visions of Research in Music Education (2012):
In her review of the book Sociology and Music Education, music education scholar Sharon G. Davis writes the following in Music Education Research (2013): “David G. Hebert’s chapter on Ethnicity strikes at the heart of many of the challenges of multicultural teaching in music education and highlights the central role that ethnic identity plays in musical meaning and engagement.”
It is very encouraging to see that reviewers find some of my recent writings to be useful, and I am quite thankful for their endorsement. Nowadays, I am working on other books, and learning from previous experience, so hopefully the best is yet to come. I have many detailed ideas for future projects and plans to publish ten books by around 2025.