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    • Why is transcription important in the field of ethnomusicology?

      • 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. The objectives behind a musical analysis will determine the style of transcription to be applied.
  1. 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. The objectives behind a musical analysis will determine the style of transcription to be applied.

  2. www.genome.gov › genetics-glossary › TranscriptionTranscription - Genome.gov

    Jun 24, 2022 · Transcription, as related to genomics, is the process of making an RNA copy of a gene’s DNA sequence. This copy, called messenger RNA (mRNA), carries the gene’s protein information encoded in DNA.

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    Why is transcription important in the field of ethnomusicology?

    What is transcription in music?

    What is ethnomusicology?

    What is the difference between transcription and gene expression?

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    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.
    • Rebecca Bodenheimer
    • Anthropology And History Expert
  4. Oct 22, 2008 · In genetics, transcription may mean ‘the process of copying DNA to RNA by an enzyme called RNA polymerase (RNAP)’, and in music ‘either notating an unnotated piece, common in ethnomusicology, or rewriting a piece, either simply recopying (as for clarity), or as an arrangement for another instrument’.

    • Claus Huitfeldt, C. M. Sperberg-McQueen
    • 2008
  5. Oct 23, 2021 · One of the ethnomusicologists, Tara Browner, suggests that transcription ‘provides a way to engage with music with a kind of depth and intensity that, just listening to it, you don’t get’ (p. 112), and the other, Michael Tenzer, agrees: ‘there is much about music that you can’t learn until you write it down’ (p. 119).

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