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- Transcription has to do with the writing of musical sounds. In the field of ethnomusicology, transcription has long been considered as an important skill which should lead the ethnomusicologist toward the analysis of folk music, non-Western art music and contemporary music in oral tradition.
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Oct 23, 2021 · 2.1 Music transcription in ethnomusicology. If they transcribe music at all, ethnomusicologists usually aim to document a specific performance on the basis of a recording (so-called ‘descriptive music-writing’), rather than to provide a model for performance (‘prescriptive music-writing’; Seeger, 1958 ).
Aug 25, 2021 · This paper argues for ethnomusicologists to begin using performance not just as a tool to understand the social and cultural field, but to use music and dance as methods in ‘translational’ ethnomusicology that focuses upon the translation and communication of artistic performance aesthetics and to theorise a space for research outcomes that ...
- Simon McKerrell
- 2021
Mar 7, 2019 · The problems of transcription and transnotation in ethnomusicology are especially important in Israel today because the concentration of so many different ethnic groups has led to increased research in their various folk musics.
In the end, the issue of transcription is revealed as one of the gates musicology and musicologists set up to act, unwarily but efficiently, as makers of a specific poli- tics-the politics of ethnomusicology- which is similar to other ideological and polit- ical processes. 1. Handling an Aporia.
If ethnomusicologists once championed ostensibly pure forms of traditional music, today they revel in the musical hybridity, fusion, deconstruction, and bricolage that musicians everywhere are deploying to make sense of the modern, globalized, spatially unbounded, unstable, frequently painful world of endless possibilities in which they live, wo...
Transcription has to do with the writing of musical sounds. In the field of ethnomusicology, transcription has long been considered as an important skill which should lead the ethnomusicologist toward the analysis of folk music, non-Western art music and contemporary music in oral tradition.
What directions might or should it take in the new millenium? With contributions from a number of key figures in Ethnomusicology and related disciplines, this volume explores Ethnomusicology’s shifting relationship to other disciplines and to its own ‘mythic’ history, and plots a range of potential developments for its future.
