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8. Intercultural Musicking: Reflection in, on, and for Situated Klezmer Ensemble Performance

  • Richard Fay(author)
  • Daniel J. Mawson (author)
  • Nahielly Palacios (author)
Chapter of: Teaching Music Performance in Higher Education: Exploring the Potential of Artistic Research(pp. 195–220)

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Metadata
Title8. Intercultural Musicking
SubtitleReflection in, on, and for Situated Klezmer Ensemble Performance
ContributorRichard Fay(author)
Daniel J. Mawson (author)
Nahielly Palacios (author)
DOIhttps://doi.org/10.11647/obp.0398.10
Landing pagehttps://www.openbookpublishers.com/books/10.11647/obp.0398/chapters/10.11647/obp.0398.10
Licensehttps://creativecommons.org/licenses/by-nc/4.0/
CopyrightRichard Fay, Daniel J. Mawson, and Nahielly Palacios
PublisherOpen Book Publishers
Published on2024-05-27
Long abstractThe term klezmer, from the Hebrew klei zemer (vessel of song), originally referred to a musician rather than to a music culture. Such musicians (plural form, klezmorim) were essential in the largely dance-based music culture of Yiddish-speaking Ashkenazi Jewish communities in Eastern Europe. We have taught klezmer ensemble performance over the last decade in a UK university music department. The klezmer ensemble (founded in 2011) is linked to an assessed module in ensemble performance taken by music undergraduates in a department which has ‘Western’ music theory and practice at its core despite becoming more diverse in recent years. The ensemble provides opportunities for performance both within the university and the local community. It functions as a space for intercultural ‘musicking’, enabling students to not only become familiar with a Musical Other but also develop a sense of situated performance. The aspiration is for the teaching and learning to be critically underpinned, alert to the need for appropriacy and the avoidance of appropriation. Accordingly, the students learn to perform klezmer in a culturally-, historically-. and functionally-informed way with a keen eye also on the situatedness of their contemporary performances. As informed by the work of Schön (himself a musician who illustrated his reflective processes with reference to musicians), as extended by Farrell, the chapter explores the processes and roles of various types of, and moments for, reflection in students' experience of klezmer performance, and it considers how such reflective practices contribute to the students' developing performative confidence and purposefulness vis-a-vis situated performance.
Page rangepp. 195–220
Print length26 pages
LanguageEnglish (Original)
Contributors

Richard Fay

(author)
Senior Lecturer at University of Manchester
https://orcid.org/0000-0002-9171-5452

Richard Fay has been based at The University of Manchester since the early 1990s. He is a Senior Lecturer in TESOL and Intercultural Education in the Manchester Institute of Education. He is also Academic Lead for Klezmer Ensemble Performance in the Music Department, and a Research Fellow in the Centre for Jewish Studies. He coordinates the Lantern Doctoral Community where narrative and arts-based methods are now well-established. His PhD (Education) was narratively-based and interculturally-framed. He also has a narratively-based Masters in Ethnomusicology. He is an active composer and performer with various klezmer ensembles.

Daniel J. Mawson

(author)
Honorary Research Fellow and performance practitioner in the Music Department at University of Manchester

Daniel J. Mawson is an Honorary Research Fellow and performance practitioner in the Music Department at The University of Manchester. He is the Performance Lead for the university klezmer ensemble, The Michael Kahan Kapelye, of which he is an alumnus and for which he is now Co-Director. He is a sound designer, and performing arts producer, in addition to being a freelance reed player and band-leader.

Nahielly Palacios

(author)
Lecturer in Education at the Manchester Institute of Education at University of Manchester

Nahielly Palacios is a Lecturer in Education at the Manchester Institute of Education, University of Manchester. She teaches in the areas of academic and research reflective practice, researcher reflexivity, teaching and learning online, language learning and technology and methods in TESOL. Her research interests involve teacher professional development, reflection, narration and intercultural sojourns.

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