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- Ethnomusicology
Music can be described as humanly organized, meaningful sounds that have physical properties and physiological, psychological, social, and cultural attributes (to the extent these can or should be distinguished in practice). Ethnomusicology, literally the study of the music of communities (ethnos), has been defined as the study of music in its social and cultural context. In this sense it is a combination of anthropology and musicology, and it shares many of its formative influences with anthropology, sociology, psychology, and folklore on the one hand and musicology, music theory, art history, and literary criticism on the other. Although the field of study can be traced to the late 19th century, the term ethnomusicology entered common usage only in the 1950s.
Some of the important questions in ethnomusicology can be traced to ancient Greek philosophers, Muslim scholars, and Enlightenment philosophers, but the invention of the wax cylinder recorder by Thomas Edison in 1877 had a definitive impact on the formation and development of the field. The audio recorder enabled travelers to collect sounds in distant locations and bring them to specialists who analyzed and preserved them in museum-like settings using specialized equipment in ways that resembled the data and artifact collections of anthropologists. The Berlin Phonogramm-Archiv, founded in 1900 and staffed by active scientists, became one of the centres of research and theoretical diffusion in the first third of the 20th century. Colonialism, nationalism, and folklore influenced the collection and analysis of regional and national traditions and their use by scholars, composers, and the general public.
In the United States the anthropological study of music, like so many facets of American anthropology, was strongly influenced by Franz Boas. His students trained several influential scholars, among them Bruno Nettl (author of Encyclopædia Britannica’s article on folk music) and Alan Merriam, whose influential Anthropology of Music (1964) is still widely read. Other anthropologically trained figures who have had a strong impact on the development of ethnomusicology include John Blacking, Steven Feld, and Hugo Zemp.
Ethnomusicological approaches to musical performance have generally paralleled the rest of anthropology—virtually every theoretical development in anthropology has its counterpart in ethnomusicological publications, from evolutionism and diffusionism to functionalism, structuralism, ethnoscience, literary criticism, and beyond. Ethnomusicology has also generated its own internal debates specifically related to the analysis of sound and the field’s relationship to the other humanities and social sciences.
Music can be described as humanly organized, meaningful sounds that have physical properties and physiological, psychological, social, and cultural attributes (to the extent these can or should be distinguished in practice). Ethnomusicology, literally the study of the music of communities (ethnos), has been defined as the study of music in its social and cultural context. In this sense it is a combination of anthropology and musicology, and it shares many of its formative influences with anthropology, sociology, psychology, and folklore on the one hand and musicology, music theory, art history, and literary criticism on the other. Although the field of study can be traced to the late 19th century, the term ethnomusicology entered common usage only in the 1950s.
Some of the important questions in ethnomusicology can be traced to ancient Greek philosophers, Muslim scholars, and Enlightenment philosophers, but the invention of the wax cylinder recorder by Thomas Edison in 1877 had a definitive impact on the formation and development of the field. The audio recorder enabled travelers to collect sounds in distant locations and bring them to specialists who analyzed and preserved them in museum-like settings using specialized equipment in ways that resembled the data and artifact collections of anthropologists. The Berlin Phonogramm-Archiv, founded in 1900 and staffed by active scientists, became one of the centres of research and theoretical diffusion in the first third of the 20th century. Colonialism, nationalism, and folklore influenced the collection and analysis of regional and national traditions and their use by scholars, composers, and the general public.
In the United States the anthropological study of music, like so many facets of American anthropology, was strongly influenced by Franz Boas. His students trained several influential scholars, among them Bruno Nettl (author of Encyclopædia Britannica’s article on folk music) and Alan Merriam, whose influential Anthropology of Music (1964) is still widely read. Other anthropologically trained figures who have had a strong impact on the development of ethnomusicology include John Blacking, Steven Feld, and Hugo Zemp.
Ethnomusicological approaches to musical performance have generally paralleled the rest of anthropology—virtually every theoretical development in anthropology has its counterpart in ethnomusicological publications, from evolutionism and diffusionism to functionalism, structuralism, ethnoscience, literary criticism, and beyond. Ethnomusicology has also generated its own internal debates specifically related to the analysis of sound and the field’s relationship to the other humanities and social sciences.
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Several societies and periodicals were founded, the most notable being the Society for Ethnomusicology, which publishes the journal Ethnomusicology. Some ethnomusicologists consider their field to be associated with musicology, while others see the field as related more closely to anthropology .
Jul 17, 2019 · Anthropology is the study of humans and the ways they live. Sociology studies the ways groups of people interact with each other and how their behavior is influenced by social structures, categories (age, gender, sexuality), and institutions.
Ethnomusicology. Someone who studies music from a global perspective, as a social practice, and through ethnographic field work is called an ethnomusicologist. The Society for Ethnomusicology defines ethnomusicology as “the study of music in its social and cultural contexts” (n.d.).
