Rachel Beckles Willson
Biographic Data
| ID | 684030 |
|---|---|
| NAME | Rachel Beckles Willson |
| GIVEN NAMES | Rachel Beckles |
| FAMILY NAME | Willson |
| SIGNATURE | WILLSON R B |
| AFFILIATIONS | University of Bristol |
| ORCID | 0000-0003-1421-8767 |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 15 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 3 |
Call and Response: SEM President’s Roundtable 2016, “Ethnomusicological Responses to the Contemporary Dynamics of Migrants and Refugees
The privilege of organizing the SEM President’s Roundtable in 2016 and 2017 provided an opportunity to call attention to a topic that has concerned my teaching and research since graduate school. For the first iteration of “Ethnomusicological Responses to the Contemporary Dynamics of Migrants and Refugees” I convened a panel of people whose perspectives I admire. I wanted to learn from them, and I did. As someone who has been involved with Middle…
Sensing beyond Orientalism
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Orientalism and Musical Mission: Palestine and the West
Orientalism and Musical Mission presents a new way of understanding music's connections with imperialism, drawing on new archive sources and interviews and using the lens of 'mission'. Rachel Beckles Willson demonstrates how institutions such as churches, schools, radio stations and governments, influenced by missions from Europe and North America since the mid-nineteenth century, have consistently claimed that music provides a way of understandi…
Music Teachers as Missionaries: Understanding Europe's Recent Dispatches to Ramallah
In this article I address ideas underpinning the teaching of western classical music by European and North American musicians on Palestine's West Bank. I introduce the establishment and growth of this teaching movement since the mid-1990s as a product of broader international investment in the region, and suggest that it can be approached tellingly through the lens of mission. My extensive interview material has indicated ideational echoes with n…
Whose Utopia? Perspectives on the West-Eastern Divan Orchestra
one of his 2006 BBC Reith Lectures to the idea of "Meeting in Music," and focused on the West-Eastern Divan Orchestra, his ensemble of young musicians from Arab, Jewish, and Spanish backgrounds. 1 He conceptualized the orchestra as a "utopian republic," but he also played down its political significance by asserting that its utopian quality was a function of music.In music, he explained, one had to be aware not only of oneself but also of "the ot…
The Parallax Worlds of the West-Eastern Divan Orchestra
The West-Eastern Divan Orchestra - founded in 1999 by Daniel Barenboim with the support of Edward W. Said in response to the Israel-Palestine conflict - brings together young Arabs, Jews and Spaniards for a workshop and concert tour every year. It displays a tension between repertoire (exclusively the Western classical tradition) and marketing (as an expression of inter-cultural dialogue). Drawing on fieldwork from 2006, the article analyses this…
A Study in Geography, ‘Tradition’, and Identity in Concert Practice
Responding to recent work on historical performance and to cultural anthropologies of music, this article presents a case study in performance practice within the Western classical tradition. It argues that the methods of performance preparation characteristic of the Hungarians György Kurtág and Ferenc Rados share underlying beliefs that, while by no means representative of a ‘school’, nonetheless indicate a common tradition of thought. Through o…
Lendvay, Kamilló
Kurtág, György
Vocal music: Inspiration and ideology
Bartók's mature compositions for voice are spread across a range of musical genres. Aside from the opera discussed in the previous chapter, there are six works for voice and piano, six for unaccompanied choir, one for double choir and orchestra with soloists, one for choir and piano, and there are also further arrangements of these works for voice and piano, voice and orchestra, and choir and orchestra. The common thread connecting the mixture of…
“Culture is a vast weapon, its artistic force is also strong.” Finding a context for Kurtág's works: An interim report
This article is a preliminary attempt to set the scene of Kurtág's student period 1946–56. It introduces Kurtág's Oh — Were I a Dove, Pioneers' Dance Song, Suite, Korean Cantana and Our New World is Evolving through reference to unpublished manuscripts, contemporary journals and archive materials. Hungary's communist regime and its artistic policies are sketched out and Kurtág's position in relation to them is plotted. Some reference to Ligeti's …
Call and Response: SEM President’s Roundtable 2016, “Ethnomusicological Responses to the Contemporary Dynamics of Migrants and Refugees
The privilege of organizing the SEM President’s Roundtable in 2016 and 2017 provided an opportunity to call attention to a topic that has concerned my teaching and research since graduate school. For the first iteration of “Ethnomusicological Responses to the Contemporary Dynamics of Migrants and Refugees” I convened a panel of people whose perspectives I admire. I wanted to learn from them, and I did. As someone who has been involved with Middle…
Whose Utopia? Perspectives on the West-Eastern Divan Orchestra
one of his 2006 BBC Reith Lectures to the idea of "Meeting in Music," and focused on the West-Eastern Divan Orchestra, his ensemble of young musicians from Arab, Jewish, and Spanish backgrounds. 1 He conceptualized the orchestra as a "utopian republic," but he also played down its political significance by asserting that its utopian quality was a function of music.In music, he explained, one had to be aware not only of oneself but also of "the ot…
The Parallax Worlds of the West-Eastern Divan Orchestra
The West-Eastern Divan Orchestra - founded in 1999 by Daniel Barenboim with the support of Edward W. Said in response to the Israel-Palestine conflict - brings together young Arabs, Jews and Spaniards for a workshop and concert tour every year. It displays a tension between repertoire (exclusively the Western classical tradition) and marketing (as an expression of inter-cultural dialogue). Drawing on fieldwork from 2006, the article analyses this…
Music Teachers as Missionaries: Understanding Europe's Recent Dispatches to Ramallah
In this article I address ideas underpinning the teaching of western classical music by European and North American musicians on Palestine's West Bank. I introduce the establishment and growth of this teaching movement since the mid-1990s as a product of broader international investment in the region, and suggest that it can be approached tellingly through the lens of mission. My extensive interview material has indicated ideational echoes with n…
Lendvay, Kamilló
Kurtág, György
Vocal music: Inspiration and ideology
Bartók's mature compositions for voice are spread across a range of musical genres. Aside from the opera discussed in the previous chapter, there are six works for voice and piano, six for unaccompanied choir, one for double choir and orchestra with soloists, one for choir and piano, and there are also further arrangements of these works for voice and piano, voice and orchestra, and choir and orchestra. The common thread connecting the mixture of…
“Culture is a vast weapon, its artistic force is also strong.” Finding a context for Kurtág's works: An interim report
This article is a preliminary attempt to set the scene of Kurtág's student period 1946–56. It introduces Kurtág's Oh — Were I a Dove, Pioneers' Dance Song, Suite, Korean Cantana and Our New World is Evolving through reference to unpublished manuscripts, contemporary journals and archive materials. Hungary's communist regime and its artistic policies are sketched out and Kurtág's position in relation to them is plotted. Some reference to Ligeti's …
A Study in Geography, ‘Tradition’, and Identity in Concert Practice
Responding to recent work on historical performance and to cultural anthropologies of music, this article presents a case study in performance practice within the Western classical tradition. It argues that the methods of performance preparation characteristic of the Hungarians György Kurtág and Ferenc Rados share underlying beliefs that, while by no means representative of a ‘school’, nonetheless indicate a common tradition of thought. Through o…
Whose Utopia? Perspectives on the West-Eastern Divan Orchestra
one of his 2006 BBC Reith Lectures to the idea of "Meeting in Music," and focused on the West-Eastern Divan Orchestra, his ensemble of young musicians from Arab, Jewish, and Spanish backgrounds. 1 He conceptualized the orchestra as a "utopian republic," but he also played down its political significance by asserting that its utopian quality was a function of music.In music, he explained, one had to be aware not only of oneself but also of "the ot…
The Parallax Worlds of the West-Eastern Divan Orchestra
The West-Eastern Divan Orchestra - founded in 1999 by Daniel Barenboim with the support of Edward W. Said in response to the Israel-Palestine conflict - brings together young Arabs, Jews and Spaniards for a workshop and concert tour every year. It displays a tension between repertoire (exclusively the Western classical tradition) and marketing (as an expression of inter-cultural dialogue). Drawing on fieldwork from 2006, the article analyses this…
Music Teachers as Missionaries: Understanding Europe's Recent Dispatches to Ramallah
In this article I address ideas underpinning the teaching of western classical music by European and North American musicians on Palestine's West Bank. I introduce the establishment and growth of this teaching movement since the mid-1990s as a product of broader international investment in the region, and suggest that it can be approached tellingly through the lens of mission. My extensive interview material has indicated ideational echoes with n…
Orientalism and Musical Mission: Palestine and the West
Orientalism and Musical Mission presents a new way of understanding music's connections with imperialism, drawing on new archive sources and interviews and using the lens of 'mission'. Rachel Beckles Willson demonstrates how institutions such as churches, schools, radio stations and governments, influenced by missions from Europe and North America since the mid-nineteenth century, have consistently claimed that music provides a way of understandi…
Sensing beyond Orientalism
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Call and Response: SEM President’s Roundtable 2016, “Ethnomusicological Responses to the Contemporary Dynamics of Migrants and Refugees
The privilege of organizing the SEM President’s Roundtable in 2016 and 2017 provided an opportunity to call attention to a topic that has concerned my teaching and research since graduate school. For the first iteration of “Ethnomusicological Responses to the Contemporary Dynamics of Migrants and Refugees” I convened a panel of people whose perspectives I admire. I wanted to learn from them, and I did. As someone who has been involved with Middle…
Art (8 works) · Art history (5 works) · Diverse Musicological Studies (5 works) · History (5 works) · Sociology (5 works) · Aesthetics (4 works) · Computer Science (4 works) · Literature (4 works) · Musical (4 works) · Political science (4 works)