- However, the principle distinction between the terms is that musicology studies the development of music through time, while ethnomusicology looks at music in any given culture. How do you feel? 3 2
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Jun 24, 2019 · However, the principle distinction between the terms is that musicology studies the development of music through time, while ethnomusicology looks at music in any given culture. For example, Dr. READ: Why does von Petzinger find these paintings and engravings interesting?
Oct 29, 2011 · Musicology vs. Ethnomusicology by · Published 29 October 2011 · Updated 29 October 2011 The working title of this post was “Musicologists are from Mars and Ethnomusicologists are from Venus”.
The difference between musicology and ethnomusicology is that musicology is a broad academic division, and ethnomusicology is a sub-division of... See full answer below. Become a member and unlock...
May 02, 2013 · The term ethnomusicology is inspired by ethnology, which is the comparative study of cultures. But ethnomusicology is more than the comparative study of music cultures. It is a discipline for which its name should no longer apply. A far better term is Musicology (with a capital M).
- Dale A. Olsen
Dec 07, 2016 · “’Musicology’ today encompasses the study of all music in all times and places using all different methods.” However, the principle distinction between the terms is that musicology studies the development of music through time, while ethnomusicology looks at music in any given culture. How do you feel? 3
- Travis Furman
- Research Questions
- Key Theories/Concepts
- Ethical Considerations
Ethnomusicologists study a wide range of topics and musical practices throughout the world. It is sometimes described as the study of non-Western music or “world music,” as opposed to musicology, which studies Western European classical music. However, the field is defined more by its research methods (i.e., ethnography, or immersive fieldwork within a given culture) than its topics. Thus, ethnomusicologists can study anything from folkloric music to mass-mediated popular music to musical practices associated with elite classes.
The field, as it is currently named, emerged in the 1950s, but ethnomusicology originated as “comparative musicology” in the late 19th century. Linked to the 19th-century European focus on nationalism, comparative musicology emerged as a project of documenting the different musical features of diverse regions of the world. The field of musicology was established in 1885 by Austrian scholar Guido Adler, who conceived of historical musicology and comparative musicology as two separate branches, with historical musicology focused only on European classical music. Carl Stumpf, an early comparative musicologist, published one of the first musical ethnographies on an indigenous group in British Columbia in 1886. Comparative musicologists were primarily concerned with documenting the origins and evolution of musical practices. They often espoused social Darwinistnotions and assumed that music in non-Western societies was “simpler” than music in Western Europe, which they considered the cul...
Ethnomusicology takes as given the notion that music can provide meaningful insight into a larger culture or group of people. Another foundational concept is cultural relativismand the idea that no culture/music is inherently more valuable or better than another. Ethnomusicologists avoid assigning value judgments like “good” or “bad” to musical practices. Theoretically, the field has been influenced most deeply by anthropology. For example, anthropologist Clifford Geertz’s notion of “thick description”—a detailed way of writing about fieldwork that immerses the reader in the researcher’s experience and tries to capture the context of the cultural phenomenon—has been very influential. In the later 1980s and 90s, anthropology’s “self-reflexive” turn—the push for ethnographers to reflect on the ways their presence in the field impacts their fieldwork and to recognize that it is impossible to maintain complete objectivity when observing and interacting with research participants—also to...
Ethnography is the method that most distinguishes ethnomusicology from historical musicology, which largely entails doing archival research (examining texts). Ethnography involves conducting research with people, namely musicians, to understand their role within their larger culture, how they make music, and what meanings they assign to music, among other questions. Ethnomusicological research requires the researcher to immerse him/herself in the cultureabout which he/she writes. Interviewing and participant observationare principal methods associated with ethnographic research, and are the most common activities ethnomusicologists engage in when conducting fieldwork. Most ethnomusicologists also learn to play, sing, or dance to the music they study. This method is considered to be a form of gaining expertise/knowledge about a musical practice. Mantle Hood, an ethnomusicologist who founded the renowned program at UCLA in 1960, termed this “bi-musicality,” the ability to play both Eu...
There are a number of ethical issues ethnomusicologists consider in the course of their research, and most relate to the representation of musical practices that are not “their own.” Ethnomusicologists are tasked with representing and disseminating, in their publications and public presentations, the music of a group of people who may not have the resources or access to represent themselves. There is a responsibility to produce accurate representations, but ethnomusicologists must also realize that they can never “speak for” a group of which they are not a member. There is also often a power differential between the mostly Western ethnomusicologists and their non-western “informants” or research participants in the field. This inequality is often economic, and sometimes ethnomusicologists give money or gifts to research participants as an informal exchange for the knowledge the informants are providing to the researcher. Finally, there are often questions of intellectual property ri...Barz, Gregory F., and Timothy J. Cooley, editors. Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. Oxford University Press, 1997.Myers, Helen. Ethnomusicology: An Introduction. W.W. Norton & Company, 1992.Nettl, Bruno. The Study of Ethnomusicology: Thirty-three Discussions. 3rded., University of Illinois Press, 2015.Nettl, Bruno, and Philip V. Bohlman, editors. Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology. University of Chicago Press, 1991.
Music as Discourse and the Nature of Musical Meaning The third consequence, finally, of the ‘interpretive turn’ in ethnomusicology is the idea that musical meaning is no longer seen as being intrinsic to its sonic structure – a viewpoint still prevalent in musicology as late as the 1990s.
While the traditional subject of musicology has been the history and literature of Western art music, ethnomusicology was developed as the study of all music as a human social and cultural phenomenon.
Musicology is a broad discipline which includes the social history of music (how it happened within society and the influence of social change on the art); organology (the study of musical instruments); the individuals who made music (especially the lives and careers of composers and, to perhaps a lesser degree, performers) and a number of “sub-disciplines” - the best known of which, I guess, is ethnomusicology (the study of music and its role and significance within traditional and ...