MDG Colloquium 31
  • MDG31
    • Call for Proposals
    • Colloquium Host
    • MayDay Group Site
  • Schedule
  • Provocateurs
    • Vincent Bates
    • Aoife Chawke
    • Lori-Anne Dolloff
    • Sarah Dunne
    • Carol Friersen-Campbell
    • Crystal Gerrard & Donna Emmanuel
    • Scott Goble & Anita Prest
    • Juliet Hess & Deb Bradley
    • Karen Howard
    • Jason Huxtable
    • Marie McCarthy
    • Jennifer Mellizo
    • Gwen Moore
    • Regina Murphy & Francis Ward
    • Flávia Motoyama Narita
    • Mary Nugent
    • Orla O'Sullivan
    • John Perkins
    • Sean Robert Powell
    • Rebecca Rinsema
    • Thomas Regelski
    • J. Griffith Rollefson
    • Ed Sarath
    • Danielle Sirek
    • Brent C. Talbot
    • Nan Qi & Tiago De Quadros Maia Carvalho
    • Janice Waldron & Kari Veblen
    • Hakim Mohandas Amani Williams
  • Travel
  • Accommodations
  • Registration
CAROL FRIERSON-CAMPBELL
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Carol Frierson-Campbell teaches undergraduate and graduate courses in instrumental music education and research and coordinates the music education
program at William Paterson University. Her scholarly interests include music education in marginalized communities, instrumental music education, and research pedagogy. Previous projects include the co-authored textbook Inquiry in Music Education: Concepts and Methods for the Beginning Researcher (with Hildegard Froehlich), the edited 2-volume Teaching Music in the Urban Classroom, and articles in Music Education Research and Arts Education Policy Review. During the 2015-2016 school year she served as Scholar in Residence at the Edward Said National Conservatory of Music in the occupied Palestinian Territories. Dr. F-C (as her students know her) also directs the Music After School project, providing music enrichment for children in Paterson, New Jersey.

Noticing Musicking in Palestine: A Travelogue
This travelogue involves a journey to a Palestinian music conservatory. After following official routes to physical locations, we veer off to notice the musical becomings (Moisala, Leppänen, Tiainen, & Väätäinen, 2011) of the musickers who live and work there. Using Born’s (2011, 2015) four planes of music sociality as a lens, we see “ambiguous and conflictual” interpretations of music making as parts of an assemblage rather than opposites. By traveling paths in-between the official and the personal, we catch glimpses of the ways “having a place for music in Palestine” has enabled the re-mapping of Palestinian social space. 
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