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Sep 8, 2021 · The perspective of this article is centred on the implications of the idea of notation’s capacity to act deconstructively for transcription practices in ethnomusicology.
- Research Questions
- History
- Key Theories/Concepts
- Methods
- Ethical Considerations
- Sources
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 with...
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 w...
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 pra...
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, amon...
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 ...
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.People also ask
What is ethnomusicology?
What is ethnomusicological transcription?
Does ethnomusicology have a central musical canon?
Is a perceptual transcription a phenomenology of listening to music?
Mar 7, 2019 · Analytical transcription incorporates all elements of the music and its performance—i.e., not only the pitches sung, but the artistic nuances of the performer as well. The problems which arise here are mainly those of accuracy within the framework of our standard notation.
Aug 25, 2021 · The paper briefly surveys some of the key historical discussions of musical performance in/as research and the epistemological challenges that surround a methodologically defined field such as ethnomusicology where there is no central musical canon.
- Simon McKerrell
- 2021
Study with Quizlet and memorize flashcards containing terms like What do ethnomusicologists mean when they say "music is universal, but it is not a universal language?", What are the potential problems in classifying music as "classical", "folk" or "popular"?, How might an ethnomusicologist approach the study of western classical music ...
Based in principles of social responsibility, applied ethnomusicology puts ethnomusicological knowledge to practical use through a music-centered intervention into a particular community, whose purpose is to benefit that community.
Jul 16, 2023 · Ethnomusicology is the study of music from the cultural and social aspects of the people who make it. It encompasses distinct theoretical and methodical approaches that emphasize cultural, social, material, cognitive, biological, and other dimensions or contexts of musical behavior, in addition to the sound component.
