Musiktraditionen im Kontext moderner Globalisierungsprozesse und globaler Denkkonzepte

The documentation of music cultures and the research in and on “classic” regions like India, Indonesia, and Sub-Saharan Africa still plays a central role within ethnomusicological research. However, given the increasing impact of global processes, the central guiding questions of the discipline have undergone profound changes in recent years. Approaches towards globalization are highly varied: One dominant perspective – which can be described as “skeptical” – has equated globalization with musical homogenization. This perspective is still apparent in approaches in European folk music research, which focus on the preservation of “traditional” cultures. Besides hyperglobal perspectives, which perceive the emergence of global networks (hypermedia, mass media, cultural organizations) as a positive development, one can predominantly observe the emergence of transformationalist approaches in recent decades: Global interconnectedness is viewed as a (neutrally perceived) basis for the emergence of new musical structures here. The transformation of the discipline is also apparent in the shift of the historical perspective. Comparative Musicology had already developed a global-historical perspective, which, however, became problematic due to the lack of contextualization. This might explain the subsequent distanced stance taken towards global concepts. Yet the focus on oral cultures also neglected deeper analysis of the historical dimension. At present, one can observe the emergence of a – albeit highly differentiated – change of perspective. While the Anglo-American approaches encourage the development of a specifically ethnomusicological-historical methodology, this separation between ethnomusicological and historical topics is perceived as racist in countries like South Africa. Starting out with an analysis of the concept of canonization in ethnomusicology, this article not only provides an overview of the aforementioned approaches and developments, but also discusses the integration of these processes into ethnomusicologically informed music pedagogical teaching material – within both a school and university context.

Context Aware e-Learning Objects and their Types from the Perspective of the Object-Oriented Paradigm

The contribution of this article demonstrates how to identify context-aware types of e-Learning objects (eLOs) derived from the subject domains. This perspective is taken from an engineering point of view and is applied during requirements elicitation and analysis relating to present work in constructing an object-oriented (OO), dynamic, and adaptive model to build and deliver packaged e-Learning courses. Consequently, three preliminary subject domains are presented and, as a result, three primitive types of eLOs are posited. These types educed from the subject domains are of structural, conceptual, and granular nature. Structural objects are responsible for the course itself, conceptual objects incorporate adaptive and logical interoperability, while granular objects congregate granular assets. Their differences, interrelationships, and responsibilities are discussed. A major design challenge relates to adaptive behaviour. Future research addresses refinement on the subject domains and adaptive hypermedia systems.