Ethnomusicology

"Documents" reflects on the new challenges to humanistic social science in a world in which the subjects of research increasingly share the professional passions and problems of the researcher. Documents are everywhere in modern life, from the sciences to bureaucracy to law; at the same time, fieldworkers document social realities by collecting, producing, and exchanging documents of their own. Capping off a generation of reflection and critique about the promises and pitfalls of ethnographic methods, the contributors explore how ethnographers conceive, grasp, appreciate, and see patterns, demonstrating that the core of the ethnographic method now lies in the way ethnographers respond to, and increasingly share the professional passions and problems of, their subjects.

Presenting the essentials of primary-source methodology, "The Emperor's Mirror" includes nine chapters on paleography, calendrics, source and quantitative analysis, and the visual interpretation of artifacts such as pictographs, illustrations, and maps. As an introduction to ethnohistory, this book clearly defines terminology and provides practical and accessible examples, effectively integrating the concerns of historians and anthropologists as well as addressing the needs of anyone using primary sources for research in any academic field. A leading theme throughout the book is the importance of a researcher's awareness of the inherent biases of documents while doing research on another culture. Documents are the result of people interpreting reality through the filter of their own experience, personality, and culture. Barber and Berdan's reality mediation model shows students how to analyze documents to detect the implicit biases or subtexts inherent in primary-source materials. Students and scholars working with primary sources will particularly appreciate the case studies that Barber and Berdan use to illustrate the practical implications of using each methodology. These case studies not only apply method to actual research but also are fascinating in their own right: they range from a discussion of the debate over Tupinamba cannibalism to the illustration of Nahuatl, Spanish, and hybrid place names of Tlaxcala, Mexico.

"Epistemology, Fieldwork, and Anthropology" provides a systematic examination of the empirical foundations of interpretations and grounded theories in anthropology. Olivier de Sardan explores the nature of the links between observed reality and the data produced during fieldwork, and between the data gathered and final interpretative statements. Olivier de Sardan's research asks how anthropologists develop a 'policy of fieldwork', what the advantages and limits of observation are, and if the dangers of over-interpretation and scientific ideologies be minimized. Exploring the space between epistemology and methodology, the book critically juxtaposes Anglo and Francophone writings about fieldwork, plausible interpretations, emicity, reflexivity, comparison, and scientific rigor.

Ethnographic fieldwork is something which is often presented as mysterious and inexplicable. How do we know certain things after having done fieldwork? Are we sure we know? And what exactly do we know? This book describes ethnographic fieldwork as the gradual accumulation of knowledge about something you don't know much about. We start from ignorance and gradually move towards knowledge, on the basis of practices for which we have theoretical and methodological motivations. Jan Blommaert and Dong Jie draw on their own experiences as fieldworkers in explaining the complexities of ethnographic fieldwork as a knowledge trajectory. They do so in an easily accessible way that makes these complexities easier to understand and to handle before, during and after fieldwork.

"Practicing Ethnohistory" is a compendium of twenty-one essays on ethnohistorical historiography. The essays, preceded by a contextualizing introduction, are organized under four topical heads: textual historiography, positive analytic methods using nontextual physical evidence, ethnohistorical synthesis, and the ethical-contextual issues of ethnohistory. Drawing on years of ethnohistorical research in the southeastern United States, Patricia Galloway has produced an essential reader on the practice of ethnohistory.

Folklorist Elaine J. Lawless has devoted her career to ethnographic research with underserved groups in the American Midwest, including charismatic Pentecostals, clergywomen, victims of domestic violence, and displaced African Americans. She has consistently focused her research on women's speech in these contexts and has developed a new approach to ethnographic research which she calls "reciprocal ethnography," while growing a detailed corpus of work on women's narrative style and expressive speech. Reciprocal ethnography is a feminist and collaborative ethnographic approach that Lawless developed as a challenge to the reflexive turn in anthropological fieldwork and research in the 1970s, which was often male-centric, ignoring the contributions by and study of women's culture. Collected here for the first time are Lawless's key articles on the topics of reciprocal ethnography and women's narrative which influenced not only folklore, but also the allied fields of anthropology, sociology, performance studies, and women's and gender studies. Lawless's methods and research continue to be critically relevant in today's global struggle for gender equality.

If you want to know what anthropology is, look at what anthropologists do. This Very Short Introduction to Social and Cultural Anthropology combines an accessible account of some of the disciplines guiding principles and methodology with abundant examples and illustrations of anthropologists at work. Peter Just and John Monaghan begin by discussing anthropologys most important contributions to modern thought: its investigation of culture as a distinctively human characteristic, its doctrine of cultural relativism, and its methodology of fieldwork and ethnography. They then examine specific ways in which social and cultural anthropology have advanced our understanding of human society and culture, drawing on examples from their own fieldwork. The book ends with an assessment of anthropologys present position, and a look forward to its likely future.

The invention of the cylinder phonograph at the end of the nineteenth century opened up a new world for cultural research. Ethnographers grasped its huge potential and fanned out through regional America to record rituals, stories, word lists, and songs in isolated cultures. From the outset the federal government helped fuel the momentum to record cultures that were at risk of being lost. This study of the early phonograph's impact shows traditional ethnography being transformed, for attitudes of both ethnographers and performers were reshaped by this exciting technology. By radically altering the old research modes, the phonograph brought the disciplines of anthropology and folklore into the modern era. In tracing the historical interplay of the talking machine with field research, "A Spiral Way" underscores the natural adaptability of cultural study to this new technology.

Anthropologists need history to understand how the past has shaped the present. Historians need anthropology to help them interpret the past. Where anthropologists' and historians' needs intersect is ethnohistory. The contributors to this volume have been inspired in large part by the teaching and writing of distinguished ethnohistorian Raymond J. DeMallie, whose exemplary combination of ethnographic and archival research demonstrates the ways anthropology and history can work together to create an understanding of the past and the present. "Transforming Ethnohistories" comprises ten new avenues of ethnohistorical research ranging in topic from fiddling performances to environmental disturbance and spanning places from North Carolina to the Yukon. The authors seek to understand communities by finding and interpreting their stories in a variety of different texts, some of which lie outside academic understanding and research methodology. The essays assembled here use DeMallie's approach to contribute to the history and anthropology of Native North America and address issues of literary criticism and contexts, sociolinguistics, performance theory, identity and historical change, historical and anthropological methods and theory, and the interpretation of histories, cultures, and stories.

How are ethnographic knowledge and anthropological theory created out of field experiences? Spanning Papua New Guinea, Taiwan, and Scotland, and Ireland, Stewart and Strathern show how fieldwork in apparently different areas can lead to unexpected comparisons and discoveries of similarities in human cross-cultural patterns of behavior.

Applied ethnomusicology is an approach guided by principles of social responsibility, which extends the usual academic goal of broadening and deepening knowledge and understanding toward solving concrete problems and toward working both inside and beyond typical academic contexts (International Council for Traditional Music 2007). The edited volume Applied Ethnomusicology: Historical and Contemporary Approaches brings together previously dispersed knowledge and perspectives, and offers new insights to various disciplines within the humanities and social sciences. Rooted in diverse scholarly traditions, it addresses a variety of challenges in today's world and aims to benefit the quality of human existence.

Framing timely and pressing questions concerning music and cultural rights, this collection illustrates the ways in which music--as a cultural practice, a commercial product, and an aesthetic form--has become enmeshed in debates about human rights, international law, and struggles for social justice. The essays in this volume examine how interpretations of cultural rights vary across societies; how definitions of rights have evolved; and how rights have been invoked in relation to social struggles over cultural access, use, representation, and ownership. The individual case studies, many of them based on ethnographic field research, demonstrate how musical aspects of cultural rights play out in specific cultural contexts, including the Philippines, China, Hawaii, Peru, Ukraine, and Brazil.

As economic, technological and cultural change gathers pace across the world, issues of music heritage and sustainability have become ever more pressing. Discourse on intangible cultural heritage has developed in complex ways in recent years, and musical practices have been transformed by safeguarding agendas. "Music as Heritage" takes stock of these transformations, bringing new ethnographic and historical perspectives to bear on our encounters with music heritage. The volume evaluates the cultural politics, ethics and audiovisual representation of music heritage; the methods and consequences of music transmission across national borders; and the perennial issues of revival, change and innovation. UNESCO's 2003 Convention for the Safeguarding of the Intangible Cultural Heritage provides an essential reference point for studies of music heritage. However, this volume also pays attention to important spheres of musical activity that lie outside of UNESCO's reach and the reasons why some repertories of music are chosen for safeguarding while others are not. Some practices of art music in Europe explored in this book, for example, have received little attention despite being susceptible to endangerment. Developing a comparative framework that cuts across genre distinctions and disciplinary boundaries, Music as Heritage explores how music cultures are being affected by heritage discourse and the impact of international and national policies on grass-roots music practices.

In response to increased focus on the protection of intangible cultural heritage across the world, "Music Endangerment" offers a new practical approach to assessing, advocating, and assisting the sustainability of musical genres. Drawing upon relevant ethnomusicological research on globalization and musical diversity, musical change, music revivals, and ecological models for sustainability, author Catherine Grant systematically critiques strategies that are currently employed to support endangered musics. She then constructs a comparative framework between language and music, adapting and applying the measures of language endangerment as developed by UNESCO, in order to identify ways in which language maintenance might (and might not) illuminate new pathways to keeping these musics strong. Grant's work presents the first in-depth, standardized, replicable tool for gauging the level of vitality of music genres, providing an invaluable resource for the creation and maintenance of international cultural policy. It will enable those working in the field to effectively demonstrate the degree to which outside intervention could be of tangible benefit to communities whose musical practices are under threat. Significant for both its insight and its utility, "Music Endangerment" is an important contribution to the growing field of applied ethnomusicology, and will help secure the continued diversity of our global musical traditions.

Applied studies scholarship has triggered a not-so-quiet revolution in the discipline of ethnomusicology. The current generation of applied ethnomusicologists has moved toward participatory action research, involving themselves in musical communities and working directly on their behalf. The essays in "The Oxford Handbook of Applied Ethnomusicology," edited by Svanibor Pettan and Jeff Todd Titon, theorize applied ethnomusicology, offer histories, and detail practical examples with the goal of stimulating further development in the field. The authors present case studies encompassing multiple places; other that discuss circumstances within a geopolitical unit, either near or far. Many of the authors consider marginalized peoples and communities; others argue for participatory action research. All are united in their interest in overarching themes such as conflict, education, archives, and the status of indigenous peoples and immigrants. A volume that at once defines its field, advances it, and even acts as a large-scale applied ethnomusicology project in the way it connects ideas and methodology, "The Oxford Handbook of Applied Ethnomusicology" is a seminal contribution to the study of ethnomusicology, theoretical and applied.

How can the classical Karnatik music of South India illuminate performers' and researchers' understanding of the art music of seventeenth-century Italy, and specifically Monteverdi's operas? Both art forms attach great value to the skill of vocal ornamentation, and by exploring the singer's practice moving between them, this element reveals how intercultural approaches can enable the reconsideration of the history of Western music from a global perspective. Using methods from historical and comparative musicology, theory and practice-based research, Charulatha Mani analyses vocal ornamentation and technique and arrives at an innovative approach to studying musics from the past. Musical practice, the author argues, is an enactment of hybridity and the artistic product of plurality. Specifically, in early modern Europe the fluid movement of musicians from the East paved the way to a plurality of musical cultures. This finding holds deep implications for diversity in and decolonization of current music performance and education.

By analyzing case studies of nine highly diverse music cultures against a single framework that identifies key factors in music sustainability, "Sustainable Futures for Music Cultures" offers an understanding of both the challenges and the dynamics of music sustainability in the contemporary global environment, and breathes new life into the previously discredited realm of comparative musicology, from an emphatically non-Eurocentric perspective. Situated within the expanding field of applied ethnomusicology, this book confirms some commonly held beliefs, challenges others, and reveals sometimes surprising insights into the dynamics of music cultures. By examining, comparing and contrasting highly diverse contexts from thriving to 'in urgent need of safeguarding,' Sustainable Futures for Music Cultures identifies pathways to strategies and tools that may empower communities to sustain and revitalize their music heritage on their terms. In this way, this book contributes to greater scholarly insight, new (sub)disciplinary approaches, and pathways to improved practical outcomes for the long-term sustainability of music cultures. As such it will be an essential resource for ethnomusicologists, as well as scholars and activists outside of music, with an interest in the preservation of intangible cultural heritage.

Alan Lomax (1915-2002) began working for the Archive of American Folk Song at the Library of Congress in 1936, first as a special and temporary assistant, then as the permanent Assistant in Charge, starting in June 1937, until he left in late 1942. He recorded such important musicians as Woody Guthrie, Muddy Waters, Aunt Molly Jackson, and Jelly Roll Morton. A reading and examination of his letters from 1935 to 1945 reveal someone who led an extremely complex, fascinating, and creative life, mostly as a public employee.While Lomax is noted for his field recordings, these collected letters, many signed ""Alan Lomax, Assistant in Charge,"" are a trove of information until now available only at the Library of Congress. They make it clear that Lomax was very interested in the commercial hillbilly, race, and even popular recordings of the 1920s and after. These letters serve as a way of understanding Lomax's public and private life during some of his most productive and significant years. Lomax was one of the most stimulating and influential cultural workers of the twentieth century. Here he speaks for himself through his voluminous correspondence.

The remarkable life and times of the man who popularized American folk music and created the science of song. Folklorist, archivist, anthropologist, singer, political activist, talent scout, ethnomusicologist, filmmaker, concert and record producer, Alan Lomax is best remembered as the man who introduced folk music to the masses. Lomax began his career making field recordings of rural music for the Library of Congress and by the late 1930s brought his discoveries to radio, including Woody Guthrie, Pete Seeger, and Burl Ives. By the 1940s he was producing concerts that brought white and black performers together, and in the 1950s he set out to record the whole world. Lomax was also a controversial figure. When he worked for the U.S. government he was tracked by the FBI, and when he worked in Britain, MI5 continued the surveillance. In his last years he turned to digital media and developed technology that anticipated today's breakthroughs. Featuring a cast of characters including Eleanor Roosevelt, Leadbelly, Carl Sandburg, Carl Sagan, Jelly Roll Morton, Muddy Waters, and Bob Dylan, Szwed's fascinating biography memorably captures Lomax and provides a definitive account of an era as seen through the life of one extraordinary man.

"Becoming an Ethnomusicologist" centers on the life and education of the author, Bruno Nettl, a well-known ethnomusicologist. Focusing on eleven individuals who influenced him significantly, it follows their roles through his career from his childhood in Czechoslovakia and his family's forced departure in 1939 to his education in the United States and career as a scholar. These essays contribute to an understanding of the life of Jewish and German minorities in Bohemia through the first half of the 20th century, of pre-World War II Prague, of the experience of intellectual and academic refugees in the United States during and after World War II, and of the early development of ethnomusicology as a field of study. He discusses the rise of the discipline of ethnomusicology, from the studies of Native American music by his mentor George Herzog to the work of linguist C. F. Voegelin and folklorist Stith Thompson. He also looks back on the contribution and input of his principal consultants in his fieldwork on Native American, Iranian, and Indian music. These essays contribute significantly to the history of musicology, containing the longest--to date--treatments of the contributions of the distinguished scholars Paul Nettl and George Herzog. This work will interest students and scholars of immigration history, Native American culture, and the history of ethnomusicology itself.

As the fastest growing sector of the U.S. music market, world music has embedded itself in the fabric of American life. Artists such as Peter Gabriel, Paul Simon and the Talking Heads have all utilized characteristics of the "world" sound in their music, while international performers are enjoying unexpected fame in the U.S. At the same time, in an era of unprecedented immigration and globalization, people all over the world are using music as way to preserve their local and ethnic identity. "Global Minstrels: Voices of World Music" is an accessible introduction to international music and culture. Including conversations with dozens of artists from five continents, it explores the breadth of the world music experience through the voices of the musicians themselves. In the process, it gives a unique view of the interactions of a globalizing society and introduces readers to some of the most fascinating and thoughtful artists working on the current scene. Artists profiled include Oumou Sangare, Caetano Veloso, Ravi Shankar, Paco de Lucía, Ladysmith Black Mambazo, and many more.

Louisville native John Jacob Niles (1892--1980) is considered to be one of our nation's most influential musicians. In "I Wonder as I Wander: The Life of John Jacob Niles," the first full-length biography of Niles, Ron Pen offers a rich portrait of the musician's character and career. Using Niles's own accounts from his journals, notebooks, and unpublished autobiography, Pen tracks his rise from farm boy to songwriter and folk collector extraordinaire. Niles was especially interested in documenting the voices of his fellow World War I soldiers, the people of Appalachia, and the spirituals of African Americans. In the 1920s he collaborated with noted photographer Doris Ulmann during trips to Appalachia, where he transcribed, adapted, and arranged traditional songs and ballads such as "Pretty Polly" and "Black Is the Color of My True Love's Hair." Niles's preservation and presentation of American folk songs earned him the title of "Dean of American Balladeers," and his theatrical use of the dulcimer is credited with contributing to the popularity of that instrument today. Niles's dedication to the folk music tradition lives on in generations of folk revival artists such as Jean Ritchie, Joan Baez, and Oscar Brand. "I Wonder as I Wander" explores the origins and influences of the American folk music resurgence of the 1950s and 1960s, and finally tells the story of a man at the forefront of that movement.

Winner of the Carr P. Collins Award and the Miss Ima Hogg Historical Achievement Award, "Last Cavalier" is the never-before-told story of the remarkable life and career of John A. Lomax, pioneering American folklorist, canny businessman, influential educator, and patriarch of an extended family of artists, performers, and scholars.

Michelle Wick Patterson examines the life, work, and legacy of Curtis at the turn of the century. The influence of increased industrialization, urbanization, immigration, and shaken social mores motivated Curtis to emphasize Native and African American contributions to the antimodernist discourse of this period. Additionally, Curtis's work in the field and her actions with informants reflect the impact of the changing status of women in public life, marriage, and the professions as well as new ideas regarding race and culture. This well-researched and richly textured portrait of Curtis illuminates the life and contributions of an important early ethnomusicologist, meticulously portraying her within the social, intellectual, and political developments of the day.

"Noise of the World" captures the world music scene through the eyes of the musicians who create it, all in their own words. Drawn from original interviews conducted over the last 20 years--with artists who left a massive musical legacy, like Nigeria's Fela Anikulapo Kuti, and artists that continue to make crucial recordings, like Winston "Burning Spear" Rodney--it will feature artists whose music has become part of the "mainstream," like the Gipsy Kings and Gloria Estefan and artists like Hugh Masakela and Miriam Makeba, who managed to cross over and garner that rarest of things, a pop hit, while retaining their roots, talking about making music in their native country and in exile. There is as much dissent between the artistic and holistic outlooks of Nigerian artists like Sunny Ade and Fela Anikulapo Kuti as there is between a religious rock band and a satanic metal band. These open and honest self-portraits will give music fans a greater appreciation of what is behind these sounds and the suffering these artists have endured and triumphs they have enjoyed.

This volume contains biographies of outstanding pioneers of ethnomusicology such as Alexander Ellis, Carl Stumpf, Jaap Kunst, and George Herzog. More than 100 other portraits, a history of ethnomusicology, a chronology of events, and relevant issues are included.

Over the first half of the twentieth century, scientist and scholar Frances Densmore (1867-1957) visited thirty-five Native American tribes, recorded more than twenty-five hundred songs, amassed hundreds of artifacts and Native-crafted objects, and transcribed information about Native cultures. Her visits to indigenous groups included meetings with the Ojibwes, Lakotas, Dakotas, Northern Utes, Ho-chunks, Seminoles, and Makahs. A "New Woman" and a self-trained anthropologist, she not only influenced government attitudes toward indigenous cultures but also helped mold the field of anthropology. Densmore remains an intriguing historical figure. Although researchers use her vast collections at the Smithsonian and Minnesota Historical Society, as well as her many publications, some scholars critique her methods of "salvage anthropology" and concepts of the "vanishing" Native American. "Travels with Frances Densmore" is the first detailed study of her life and work. Through narrative descriptions of her life paired with critical essays about her work, this book is an essential guide for understanding how Densmore formed her collections and the lasting importance they have had for researchers in a variety of fields.

This volume addresses a deeply political aspect of heritage preservation and management as it relates to human rights. Social and community advocates assert that heritage is necessary for the articulation and preservation of cultural identity. The display of heritage monuments and performance can be a strategy for asserting minority identity in the face of majority pressure - as well as a tool for resistance and the expression of difference. Conversely, the erasure of cultural expressions--such as buildings, monuments, language, religion, and social practices--is a powerful tool in warfare and political regulation. In the assault on human lives and political autonomy, the cultural history and values of a community are also attacked, destroying not only individuals but the very fabric of society. The cases presented are world-wide with their implications presented on a global level. This interdisciplinary volume brings together contributors from such diverse fields as: history, culture studies, anthropology, urban and regional planning, archaeology, gender studies, landscape architecture, heritage and museum studies, political economy, and legal studies. It will be of interest to scholars and practitioners in fields that are affected by heritage, globalization and social/cultural studies.

"Who Owns Culture?" offers the first comprehensive analysis of cultural authorship and appropriation within American law. From indigenous art to Linux, Susan Scafidi takes the reader on a tour of the no-man's-land between law and culture, pausing to ask: What prompts us to offer legal protection to works of literature, but not folklore? What does it mean for a creation to belong to a community, especially a diffuse or fractured one? And is our national culture the product of Yankee ingenuity or cultural kleptomania? Providing new insights to communal authorship, cultural appropriation, intellectual property law, and the formation of American culture, this innovative and accessible guide greatly enriches future legal understanding of cultural production.

This volume of essays honors the life and work of Stephen A. Wild, one of Australia's leading ethnomusicologists. Focusing on the music of Aboriginal Australia and the Pacific Islands, and the concerns of archiving and academia, the essays within are authored by peers, colleagues, and former students of Wild. Most of the authors are members of the Study Group on Music and Dance of Oceania of the International Council for Traditional Music, an organization that has also played an important role in Wild's life and development as a scholar of international standing. Ranging in scope from the musicological to the anthropological--from technical musical analyses to observations of the sociocultural context of music--these essays reflect not only on the varied and cross-disciplinary nature of Wild's work, but on the many facets of ethnomusicology today.

The musical human: without a doubt, this vision of the human species as naturally musical has become the most enduring legacy John Blacking bequeathed to ethnomusicology. The image aptly embodies his preoccupations, which integrated theoretical and methodological issues within the discipline with a deep concern for the physical and psychological well-being of humanity. Blacking believed sincerely in the power of music, and he contended that people's general health depended upon the musical opportunities made available to them. For this reason, he placed great importance upon ethnomusicology, the discipline that investigates the way different societies around the world organize their musical activities, and the impact of these diverse alternatives upon the people involved in them. Each essay draws upon distinct aspects of Blacking's writings but complements them with quite different sets of sources. Themes include the role of fieldwork in the postmodern era; the role of music amongst subaltern communities existing in a rapidly changing social environment with particular reference to Vendaland; the manipulation of traditional performance settings in pursuit of political or social strategies; children's music acquisition as an indicator of the innate musical capacity of humans; the biology of music making; the creation of pleasure, pain and power during dance; cognitive processes and the social consequences of the power of music, and a consideration of the method of applying ethnomusicological research methods to Western art music. In this way, the volume provides fresh assessments of Blacking's work, taking up his challenge to push the boundaries of ethnomusicology into new territories.

The most fundamental subject of music scholarship provides the common focus of this volume of essays: music itself. This Thing Called Music: Essays in Honor of Bruno Nettl" salutes not only a great scholar and beloved teacher, but also a thinker whose search for the meaning and ontology of music has exerted a global influence. Editors Victoria Lindsay Levine and Philip V. Bohlman have gathered essays that represent the many dimensions of musical meaning, addressing some of the most critically important areas of music scholarship today. The social formations of musical communities play counterpoint to analytical studies; investigations into musical change and survival connect ethnography to history, offering a collection of essays that can serve as an invaluable resource for the intellectual history of ethnomusicology. Each chapter explores music and its meanings in specific geographic areas--North and South America, Europe, Asia, and the Middle East--crossing the boundaries of genre, repertory, and style to provide insight into the aesthetic zones of contact between and among the folk, classical, and popular musics of the world. Chapters offer models for detailed analysis of specific musical practices, while at the same time they make possible new methods of comparative study in the twenty-first century, together posing a challenge crucial to all musicians and scholars in search of "this thing called music."

Ethnographic fieldwork is something which is often presented as mysterious and inexplicable. How do we know certain things after having done fieldwork? Are we sure we know? And what exactly do we know? This book describes ethnographic fieldwork as the gradual accumulation of knowledge about something you don't know much about. We start from ignorance and gradually move towards knowledge, on the basis of practices for which we have theoretical and methodological motivations. Jan Blommaert and Dong Jie draw on their own experiences as fieldworkers in explaining the complexities of ethnographic fieldwork as a knowledge trajectory. They do so in an easily accessible way that makes these complexities easier to understand and to handle before, during and after fieldwork.

"Handbook for Folklore and Ethnomusicology Fieldwork" offers a comprehensive review of the ethnographic process for developing a project, implementing the plan, and completing and preserving the data collected. Throughout, readers will find a detailed methodology for conducting different types of fieldwork such as digital ethnography or episodic research, tips and tricks for key elements like budgeting and funding, and practical advice and examples gleaned from the authors own fieldwork experiences. This handbook also helps fieldworkers fully grasp and understand the ways in which power, gender, ethnicity, and other identity categories are ever present in fieldwork and guides students to think through these dynamics at each stage of research. Written accessibly for lay researchers working in different mediums and on projects of varying size, this step-by-step manual will prepare the reader for the excitement, challenges, and rewards of ethnographic research.

Fieldwork is widely practiced but little written about, yet accounts of the exotic, mundane, complex and often dangerous are central to not only sociology and anthropology but also geography, social psychology and criminology. In all these - increasingly overlapping - fields, experience underlies any comprehensive understanding of social life. "The SAGE Handbook of Fieldwork" presents the first major overview of this method in all its variety, introducing the reader to the strengths, weaknesses, and real world applications of fieldwork techniques. Its 22 carefully chosen chapters are each based on a substantive field of empirical enquiry, written by an acknowledged expert in the field. The range is impressive: from the traditional to the virtual, concerning subjects as diverse as emotion, sexuality, sport, embodiment, identity, self-narrative, fieldwork in organizations, science and technology. Specifically intended for use in undergraduate and postgraduate courses in qualitative research design and methodology in sociology, anthropology, criminology, urban studies, social geography, public health and education, the handbook will also prove beneficial to academic researchers in these and other disciplines.

Ethnomusicological fieldwork has significantly changed since the end of the the 20th century. Ethnomusicology is in a critical moment that requires new perspectives on fieldwork - perspectives that are not addressed in the standard guides to ethnomusicological or anthropological method. The focus in ethnomusicological writing and teaching has traditionally centered around analyses and ethnographic representations of musical cultures, rather than on the personal world of understanding, experience, knowing, and doing fieldwork. "Shadows in the Field" deliberately shift the focus of ethnomusicology and of ethnography in general from representation (text) to experience (fieldwork). The "new fieldwork" moves beyond mere data collection and has become a defining characteristic of ethnomusicology that engages the scholar in meaningful human contexts. In this new edition of "Shadows in the Field," renowned ethnomusicologists explore the roles they themselves act out while performing fieldwork and pose significant questions for the field: What are the new directions in ethnomusicological fieldwork? Where does fieldwork of "the past" fit into these theories? And above all, what do we see when we acknowledge the shadows we cast in the field? The second edition of "Shadows in the Field" includes updates of all existing chapters, a new preface by Bruno Nettl, and seven new chapters addressing critical issues and concerns that have become increasingly relevant since the first edition.

"Analytical and Cross-Cultural Studies in World Music" presents intriguing explanations of extraordinary musical creations from diverse cultures across the world. The authors recount the contexts in which the music is created and performed, and then hone in on elucidating how the music works as sound in process. The music ranges across geography and cultures--court music of Japan and medieval Europe, pagode song from Brazil, solos by the jazz pianist Thelonius Monk and by the sitar master Budhaditya Mukherjee, form-and-timbre improvisations of a Boston sound collective, South Korean folk drumming, and the ceremonial music of indigenous cultures in North American and Australia--much of which has never been so thoroughly analyzed before. Thus the essays diversify and expand the scope of this book's companion volume, "Analytical Studies in World Music," to all inhabited continents and many of its greatest musical traditions. For everyone listening in wonderment to the richness of world music, whether listener, creator, or performer, this book will be an invaluable resource and a fount of inspiration.

The acceleration of mobility among the world's peoples, the growth of populations resettling in places other than their homelands, and world events that have propelled these developments have brought minorities unprecedented attention. Their significance as subjects for study has grown correspondingly and the study of their music has become an important gateway into understanding the culture of minorities. Geographically, the book's subjects and authors come from four continents, emphasizing the global scope of music and minorities. The methodological approaches used in this volume range from musical analysis in the educational context to the cultural studies approach. In both subject matter and perspective, therefore, this book represents the broad range of modern ethnomusicology today.

This text provides just a small sampling of some of the various musical styles and traditions that might be found, though the skills developed in this course can be applied to any type of music.

"The Other Classical Musics" offers challenging new perspectives on classical music by presenting the history of fifteen parallel traditions. What is classical music? This book answers the question in a manner never before attempted, by presenting the history of fifteen parallel traditions, of which Western classical music is just one. Each music is analysed in terms of its modes, scales, and theory; its instruments, forms, and aesthetic goals; its historical development, golden age, and condition today; and the conventions governing its performance. This books shows the extent to which most classical traditions are underpinned by improvisation, and reveals the cognate origins of seemingly unrelated musics; it reflects the multifarious ways in which colonialism, migration, and new technology have affected musical development, and continue to do today.

"The Oxford Handbook of Children's Musical Cultures" is a compendium of perspectives on children and their musical engagements as singers, dancers, players, and avid listeners. Over the course of 35 chapters, contributors from around the world provide an interdisciplinary enquiry into the musical lives of children in a variety of cultures, and their role as both preservers and innovators of music. Drawing on a wide array of fields from ethnomusicology and folklore to education and developmental psychology, the chapters presented in this handbook provide windows into the musical enculturation, education, and training of children, and the ways in which they learn, express, invent, and preserve music. Offering an understanding of the nature, structures, and styles of music preferred and used by children from toddlerhood through childhood and into adolescence, "The Oxford Handbook of Children's Musical Cultures" is an important step forward in the study of children and music.

When the first edition of "Queering the Pitch" was published in early 1994, it was immediately hailed as a landmark and defining work in the new field of Gay Musicology. In light of the explosion of Gay Musicology since 1994, a new edition of "Queering the Pitch" is timely and needed. In this new work, the editors are including a landmark essay by Philip Brett on Gay Musicology, its history and scope. The essay itself has become a cause celebre, and this will be its first full appearance in print. Along with this new historical essay, the editors are contributing a new introduction that outlines the changes that have occurred over the last decade as Gay Musicology has grown.

World Music: The Basics gives a concise introduction to popular musical styles found around the world. Organized alphabetically by region and then by country, it provides essential background information on the cultural and musical history of each area. Styles featured include: Celtic, Dijeridou, Bossa Nova, Reggae, and Bluegrass. Covering key artists and recordings and with guides to further listening, this is the perfect introduction for the student, scholar or general listener.

In "Beyond Exoticism," Timothy D. Taylor considers how western cultures' understandings of racial, ethnic, and cultural differences have been incorporated into music from early operas to contemporary television advertisements, arguing that the commonly used term "exoticism" glosses over such differences in many studies of western music. "Beyond Exoticism" encompasses a range of musical genres and musicians, including Mozart, Beethoven, Jean-Philippe Rameau, Maurice Ravel, Charles Ives, Henry Cowell, Bally Sagoo, and Bill Laswell as well as opera, symphony, country music, and "world music." Yet, more than anything else, it is an argument for expanding the purview of musicology to take into account not only composers' lives and the formal properties of the music they produce but also the larger historical and cultural forces shaping both music and our understanding of it. Beginning with a focus on musical manifestations of colonialism and imperialism, Taylor discusses how the "discovery" of the New World and the development of an understanding of self as distinct from the other, of "here" as different from "there," was implicated in the development of tonality, a musical system which effectively creates centers and margins. He describes how musical practices signifying nonwestern peoples entered the western European musical vocabulary and how Darwinian thought shaped the cultural conditions of early-twentieth-century music. In the era of globalization, new communication technologies and the explosion of marketing and consumption have accelerated the production and circulation of tropes of otherness. Considering western music produced under rubrics including multiculturalism, collaboration, hybridity, and world music, Taylor scrutinizes contemporary representations of difference. He argues that musical interpretations of the nonwestern other developed hundreds of years ago have not necessarily been discarded; rather they have been recycled and retooled.

'Globalization' has become one of the defining buzzwords of our time - a term that describes a variety of accelerating economic, political, cultural, ideological, and environmental processes that are rapidly altering our experience of the world. It is by its nature a dynamic topic - and this Very Short Introduction has been fully updated to include developments in global politics, the impact of terrorism, and environmental issues. Presenting globalization in accessible language as a multifaceted process encompassing global, regional, and local aspects of social life, Manfred B. Steger looks at its causes and effects, examines whether it is a new phenomenon, and explores the question of whether, ultimately, globalization is a good or a bad thing.

This book contextualizes a globalization process that has since ancient times involved the creation, use, and world-wide movement of song, instrumental music, musical drama, music with dance, concert, secular, popular and religious music. Integral to the process have been political, economic, military, and religious forces that motivated or compelled performers to travel, often far beyond the borders of their homelands, to practice their art and craft. That this music was often a traveling companion to non-musical movements--military campaigns, religious missions, political events -does not make the distance it traveled, nor its cultural and social impact, less remarkable. "The Globalization of Music in History" contributes to a growing awareness of the power of music to give insight into those things that all cultures and civilizations hold in common, and that promote and nurture mankind's most noble virtues. The book adds a philosophical perspective to ongoing work in ethnomusicology, musicology, music therapy, and what may be an evolving global music. It attributes this evolution to the motivation by musicians to travel and to spread music around the globe, and even into outer space. It also provides connectivity between the people, activities and events in which music is used and the means by which it moves from one place to another.

This book traces the particularities of music migration and tourism in different global settings, and provides current, even new perspectives for ethnomusicological research on globalizing musics in transit. The dual focus on tourism and migration is central to debates on globalization, and their examination--separately or combined--offers a useful lens on many key questions about where globalization is taking us: questions about identity and heritage, commoditization, historical and cultural representation, hybridity, authenticity and ownership, neoliberalism, inequality, diasporization, the relocation of allegiances, and more. Moreover, for the first time, these two key phenomena--tourism and migration--are studied conjointly, as well as interdisciplinary, in order to derive both parallels and contrasts. While taking diverse perspectives in embracing the contemporary musical landscape, the collection offers a range of research methods and theoretical approaches from ethnomusicology, anthropology, cultural geography, sociology, popular music studies, and media and communication. In so doing, Musics in Transit provides a rich exemplification of the ways that all forms of musical culture are becoming transnational under post-global conditions, sustained by both global markets and musics in transit, and to which both tourists and diasporic cosmopolitans make an important contribution.

How are national identities constructed and articulated through music? The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity.

How do we explain the globalized musical world in which we find ourselves in the early 21st century and how did we arrive here? This extraordinary book outlines an understanding of the human musical story as an intercultural--and ultimately a transcultural--one, with travel and trade as the primary conditions and catalysts for the ongoing development of musical styles. Starting with the cultural and civilizational precedents that gave rise to the first global trading and travel network in both directions across the Afro-Eurasian Old World Web in the form of the Silk Road, the book proceeds to the rise of al-Andalus and its influence on Europe through the Iberian peninsula before considering the fusion of European, African and indigenous musics that emerged in the Americas between c1500-1920 as part of Atlantic culture and the New World Web, as well as the concurrent acceleration of globalism in music through European empires and exoticism. The book concludes by examining the musical implications of our current Age of Instantaneous Exchange that technology permits, and by revisiting the question of interculturality and transculurality in music.

This book traces the trajectories of modern globalization since the late nineteenth century, and considers hegemonic cultural beliefs and practices during the various phases of the history of capitalism. Moving chronologically, the book adopts the three phases in the history of capitalist hegemony since the nineteenth century--liberal, organized, and neoliberal capitalism--to consider world popular music in each of these cultural contexts. Early Europeanization and globalization have had a major impact upon western race/gender/sexuality/capitalist hegemony, while nascent technologies of capital have led to a renewed reification and exploitation of racialized, sexualized, and classed populations. This book offers a critique of the relationship between emergent capitalist formations and culture over the past hundred years. It explores the way that world popular music mediates economic, cultural, and ideological conditions, through which capitalism has been created in multiple and heterogeneous ways, understanding world popular music as the production of meaning through language and representation. The various dimensions considered in the book are the work of critical social science--a critique of capitalism's impact upon popular music in historical and world perspective. This book provides a powerful contemporary framework for contemporary popular music studies with a distinctive global and interdisciplinary awareness, covering empirical research from across the world in addition to well-established and newer theory from the music disciplines, social sciences, and humanities. It offers fresh conceptualizations about world popular music seen within the context of globalization, capitalism, and identity.

Through a transnational, comparative and multi-level approach to the relationship between youth, migration, and music, the aesthetic intersections between the local and the global, and between agency and identity, are presented through case studies in this book. "Transglobal Sounds" contemplates migrant youth and the impact of music in diaspora settings and on the lives of individuals and collectives, engaging with broader questions of how new modes of identification are born out of the social, cultural, historical and political interfaces between youth, migration and music. Thus, through acts of mobility and environments lived in and in-between, this volume seeks to articulate between musical transnationalism and sense of place in exploring the complex relationship between music and young migrants and migrant descendant's everyday lives.

This volume presents a comprehensive introduction to the connection between language and ethnicity. Since the "ethnic revival" of the last twenty years, there has been a substantial and interdisciplinary change in our understanding of the connection between these fundamental aspects of our identity. The distinguished sociolinguist Joshua Fishman has commissioned over 25 previously unpublished papers on every facet of the subject. The volume is divided into two sections, the first examining disciplinary perspectives on the subject; the second uses the prism of geography, looking at the subject in the context of Africa, Scandinavia, Germany and the rest of Western Europe, North America and elsewhere. The volume is truly interdisciplinary and the contributors are all distinguished figures in their fields. Each chapter is followed by thought provoking questions and essential bibliography, and Fishman pulls together the various views that have been expressed and shows how they differ and how they are alike.The volume is useful as a scholarly reference, a resource for the lay reader, and can also be used as a text in ethnicity courses.

This volume in memory of Terry Crowley covers a wide range of languages: Australian, Oceanic, Pidgins and Creoles, and varieties of English. Part I, Linguistic Description and Typology, includes chapters on topics such as complex predicates and verb serialization, noun incorporation, possessive classifiers, diphthongs, accent patterns, modals in Australian English and directional terms in atoll-based languages. Part II, Historical Linguistics and Linguistic History, ranges from the reconstruction of Australian languages, to reflexes of Proto-Oceanic, to the lexicon of early Melanesian Pidgin. Part III, Language Development and Linguistic Applications, comprises studies of lexicography, language in education, and language endangerment and language revival, spanning the Pacific from South Australia and New Zealand to Melanesia and on to Colombia. The volume will whet the appetite of anyone interested in the latest linguistic research in this richly multilingual part of the globe.

Despite the world-wide association of music and dance with religion, this is the first full-length study of the subject from a global perspective. The work consists of 3,816 references divided among 37 chapters. It covers tribal, regional, and global religions and such subjects as shamanism, liturgical dance, healing, and the relationship of music, mathematics, and mysticism. Chapter 1 consists of general references to religious music and dance. The remaining 36 chapters are organized according to major geographical areas. Most chapters begin with general reference works and bibliographies, then continue with topics specific to the region or religion. This book will be of use to anyone with an interest in music, dance, religion, or culture.

This important study in ethnomusicology is an attempt by the author -- a musician who has become a social anthropologist -- to compare his experiences of music-making in different cultures. He is here presenting new information resulting from his research into African music, especially among the Venda. Venda music, he discovered is in its way no less complex in structure than European music. If John Blacking's guess about the biological and social origins of music is correct, or even only partly correct, it would generate new ideas about the nature of musicality, the role of music in education and its general role in societies.

Nineteen scholars from five countries explore significant issues in the history of ethnomusicology and its methodological and theoretical foundations, while providing a critique of the discipline.

Ethnomusicology: A Contemporary Reader is designed to supplement a textbook for an introductory course in ethnomusicology. It offers a cross section of the best new writing in the field from the last 15-20 years. Ethnomusicology: A Contemporary Reader serves as a basic introduction to the best writing in the field for students, professors, and music professionals. It is perfect for both introductory and upper level courses in world music.

Ethnomusicology: A Contemporary Reader, Volume II provides an overview of developments in the study of ethnomusicology in the twenty-first century, offering an introduction to contemporary issues relevant to the field. Nineteen essays, written by an international array of scholars, highlight the relationship between current issues in the discipline and ethnomusicologists' engagement with issues such as advocacy, poverty and social participation, maintaining intangible cultural heritages, and ecological concerns. The collection of essays is organized into six sections: Property and Rights; Applied Practice; Knowledge and Agency; Community and Social Space; Embodiment and Cognition; Curating Sound .

Ethnomusicologists believe that all humans, not just those we call musicians, are musical, and that musicality is one of the essential touchstones of the human experience. This insight raises big questions about the nature of music and the nature of humankind, and ethnomusicologists argue that to properly address these questions, we must study music in all its geographical and historical diversity. In this Very Short Introduction, one of the foremost ethnomusicologists, Timothy Rice, offers a compact and illuminating account of this growing discipline, showing how modern researchers go about studying music from around the world, looking for insights into both music and humanity. We see how the researcher analyzes the data to understand how a particular musical tradition works, what is distinctive about it, and how it bears the personal, social, and cultural meanings attributed to it. Rice also discusses how researchers may apply theories from anthropology and other social sciences, to shed further light on the nature of music as a human behavior and cultural practice

Ethnomusicologists have journeyed from Bali to Morocco to the depths of Amazonia to chronicle humanity's relationship with music. Margaret Sarkissian and Ted Solís guide us into the field's last great undiscovered country: ethnomusicology itself. Drawing on fieldwork based on person-to-person interaction, the authors provide a first-ever ethnography of the discipline. The unique collaborations produce an ambitious exploration of ethnomusicology's formation, evolution, practice, and unique identity. In particular, the subjects discuss their early lives and influences and trace their varied career trajectories. They also draw on their own experiences to offer reflections on all aspects of the field. Pursuing practitioners not only from diverse backgrounds and specialties but from different eras, Sarkissian and Solís illuminate the many trails ethnomusicologists have blazed in the pursuit of knowledge. A bountiful resource on history and practice, "Living Ethnomusicology" is an enlightening intellectual exploration of an exotic academic culture.

Over the past twenty years, a range of radical developments has revolutionized musicology, leading certain practitioners to describe their discipline as "New." What has happened to ethnomusicology during this period? Have its theories, methodologies, and values remain rooted in the 1970s and 1980s or have they also transformed? What directions might or should it take in the new millennium? "The New (Ethno)musicologies" seeks to answer these questions by addressing and critically examining key issues in contemporary ethnomusicology. Set in two parts, the volume explores ethnomusicology's shifting relationship to other disciplines and to its own "mythic" histories and plots a range of potential developments for its future. It attempts to address how ethnomusicology might be viewed by those working both inside and outside the discipline and what its broader contribution and relevance might be within and beyond the academy. The engaging result presents a range of perspectives, reflecting on disciplinary change, methodological developments, and the broader sphere of music scholarship in a fresh and unique way, and will be a key source for students and scholars.

"The Oxford Handbook of Musical Repatriation" is a significant edited volume that critically explores issues surrounding musical repatriation, chiefly of recordings from audiovisual archives. The Handbook provides a dynamic and richly layered collection of stories and critical questions for anyone engaged or interested in repatriation or archival work. The forty-eight expert authors of this book's thirty-eight chapters engage with multifaceted aspects of musical repatriation, situating it as a concept encompassing widely ranging modes of cultural work that can be both profoundly interdisciplinary and embedded at the core of ethnographic and historical scholarship. These authors explore a rich variety of these processes' many streams, making the volume a compelling space for critical analysis of musical repatriation and its wider significance. From retracing the paths of archived collections to exploring memory, performance, research goals, institutional power, curation, preservation, pedagogy and method, media and transmission, digital rights and access, policy and privilege, intellectual property, ideology, and the evolving institutional norms that have marked the preservation and ownership of musical archives, "The Oxford Handbook of Musical Repatriation" addresses these key topics and more in a deep, richly detailed, and diverse exploration.

Performing Ethnomusicology is the first book to deal exclusively with creating, teaching, and contextualizing academic world music performing ensembles. Considering the formidable theoretical, ethical, and practical issues that confront ethnomusicologists who direct such ensembles, the sixteen essays in this volume discuss problems of public performance and the pragmatics of pedagogy and learning processes. The authors examine the creative and pedagogical negotiations involved in intergenerational and intercultural transmission and explore topics such as reflexivity, representation, hegemony, and aesthetically determined interaction. "Performing Ethnomusicology" affords sophisticated insights into the structuring of ethnomusicologists' careers and methodologies. This book offers an unprecedented rich history and contemporary examination of academic world music performance in the West, especially in the United States.

Known affectionately as "The Red Book," Bruno Nettl's "The Study of Ethnomusicology" became a classic upon its original publication in 1983. Scholars and students alike have hailed it not just for its insights but for a disarming, witty style able to engage and entertain even casual readers while providing essential grounding in the field. In this third edition, Nettl revises the text throughout, adding new chapters and discussions that take into account recent developments across the field and reflecting on how his thinking has changed or even reversed itself during his sixty-year career. An updated bibliography rounds out the volume. A classroom perennial and a must-have for any scholar's bookshelf, the third edition of The Study of Ethnomusicology introduces Nettl's thought to a new generation.

"Theory for Ethnomusicology: Histories, Conversations, Insights, Second Edition" is a foundational work for courses in ethnomusicological theory. The book examines key intellectual movements and topic areas in social and cultural theory, and explores the way they have been taken up in ethnomusicological research. Each chapter examines ethnographic and historical works from within ethnomusicology, showcasing the unique contributions scholars in the field have made to wider, transdisciplinary dialogs, while illuminating the field's relevance and pointing the way toward new horizons of research. New chapters have been added on gender and sexuality, sound and voice studies, performance and critical improvisation studies, and theories of participation.

"Music Cultures in the United States" is a basic textbook for an Introduction to American Music course. Taking a new, fresh approach to the study of American music, it is divided into three parts. In the first part, historical, social, and cultural issues are discussed, including how music history is studied; issues of musical and social identity; and institutions and processes affecting music in the U.S. The heart of the book is devoted to American musical cultures: American Indian; European; African American; Latin American; and Asian American. Each cultural section has a basic introductory article, followed by case studies of specific musical cultures. Finally, global musics are addressed, including Classical Musics and Popular Musics, as they have been performed in the U.S.

In today's culture, popular music is a vital site where ideas about gender and sexuality are imagined and disseminated. "Popular Music and the Politics of Hope: Queer and Feminist Interventions" explores what that means with a wide-ranging collection of chapters that consider the many ways in which contemporary pop music performances of gender and sexuality are politically engaged and even radical. With analyses rooted in feminist and queer thought, contributors explore music from different genres and locations, including Beyoncé's "Lemonade," A Tribe Called Red's "We Are the Halluci Nation," and celebrations of Vera Lynn's 100th Birthday. At a bleak moment in global politics, this collection focuses on the concept of critical hope: the chapters consider making and consuming popular music as activities that encourage individuals to imagine and work toward a better, more just world. Addressing race, class, aging, disability, and colonialism along with gender and sexuality, the authors articulate the diverse ways popular music can contribute to the collective political projects of queerness and feminism. With voices from senior and emerging scholars, this volume offers a snapshot of today's queer and feminist scholarship on popular music that is an essential read for students and scholars of music and cultural studies.

Originally published in cloth as part of the seven-volume set the Garland library of readings in ethnomusicology (1990).

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