000			01897nam a22002417a 4500
003			ZW-GwMSU
005			20240730094855.0
008			240730b |||||||| |||| 00| 0 eng d
022			_a02650517
040			_aMSU _bEnglish _cMSU _erda
050	0	0	_aML5 BRI
100	1		_aRussell, Joan _eauthor
245	1	0	_aPreservation and development in the transformative zone: _bfusing disparate styles and traditions in a pedagogy workshop with Cuban musicians/ _ccreated by Joan Russell
264	1		_aCambridge: _bCambridge University Press: _c2006.
336			_2rdacontent _atext _btxt
337			_2rdamedia _aunmediated _bn
338			_2rdacarrier _avolume _bnc
440			_aBritish journal of music education _vVolume 23, number 2
520	3		_aThis paper builds on the concept that fusion – the blending of styles and traditions resulting in new or hybridised genres – takes place in social interaction in the ‘transformative zone’ (Bresler, 2003). First I explore the issues surrounding the tension that can occur between the need, or desire, to maintain cherished traditions and the need to create and adapt forms of expression (Bebey 1969/1975) that are meaningful to practitioners. Next, I describe a spontaneous act of fusion that occurred during a music pedagogy workshop that I gave to music teachers in Cuba. Blending the tranquil mood of a Hebrew blessing, with lively Cuban polyrhythms the participants created a hybridised genre that reflected Cuban musical traditions and values. I suggest that while the blessing was transformed stylistically, its meaningful aspects were retained in the sense that the experience provided the conditions for a feeling of communion with others and the feelings of happiness that can arise from such communion.
650			_aMusic _vMusic education, _xTeaching methods
856			_uhttps://doi.org/10.1017/S0265051706006917
942			_2lcc _cJA
999			_c166396 _d166396