7/16/2019 Intro to Ethnomusicology http://slidepdf.com/reader/full/intro-to-ethnomusicology 1/22 Music 672 #4605-3 WI 09 Graduate Introduction to Ethnomusicology W, F 4-5:18 PM meeting room SU 0166 Dr. Ron Emoff 740 366-9271 (office) 740 344-5516 (home) [email protected]This course offers a theoretical and historical approach to the development and professionalization of ethnomusicology. Emphasis will be placed on ethnomusicology as an interdisciplinary field that has incorporated ethnographic research, use of oral and literate sources, lab transcription and analysis, critical analysis, and interpretative techniques. We will examine the major theoretical debates that have shaped ethnomusicology, and will trace varied orientations in the field towards, for example, music and culture, music in culture, and music as culture. A primary aim of this course is to thoroughly acquaint the students with the historical, bibliographic, and conceptual resources of ethnomusicology. The reading materials selected have been chosen to provide an overview and foundation for further work and study in ethnomusicology, and to suggest a bridge between this field and other domains of musical, humanist, and social science scholarship, such as in the disciplines of historical musicology, socio- cultural anthropology, folklore, and linguistics. Each student will be responsible for reading extensively from the bibliography, and to synthesize, discuss/debate in class, question, and critically evaluate the materials in the bibliography. The course structure consists of in-class discussions led by varying students, based upon the readings assigned for each week. During each class, a pair of students will be responsible for presenting the assigned readings, commenting critically on the readings, and leading a class discussion. The class should be prepared to engage in discussion with each week‟s discussants, thus each student shall prepare a list of at least 5 questions or comments upon the week‟s readings. Students may be called upon in class to ask these questions and to voice these comments. Grades will be dependent upon engagement and participation in class meetings. All students are responsible for reading all assigned texts, whether or not they are presenting these texts to the class. A variety of audio and visual examples and samples will be presented in class throughout the quarter for analysis, discussion, and critique.
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This course offers a theoretical and historical approach to the development andprofessionalization of ethnomusicology. Emphasis will be placed onethnomusicology as an interdisciplinary field that has incorporated ethnographicresearch, use of oral and literate sources, lab transcription and analysis, criticalanalysis, and interpretative techniques. We will examine the major theoreticaldebates that have shaped ethnomusicology, and will trace varied orientations inthe field towards, for example, music and culture, music in culture, and music asculture.
A primary aim of this course is to thoroughly acquaint the students with thehistorical, bibliographic, and conceptual resources of ethnomusicology. Thereading materials selected have been chosen to provide an overview andfoundation for further work and study in ethnomusicology, and to suggest abridge between this field and other domains of musical, humanist, and socialscience scholarship, such as in the disciplines of historical musicology, socio-cultural anthropology, folklore, and linguistics.
Each student will be responsible for reading extensively from the bibliography,and to synthesize, discuss/debate in class, question, and critically evaluate thematerials in the bibliography. The course structure consists of in-classdiscussions led by varying students, based upon the readings assigned for eachweek. During each class, a pair of students will be responsible for presenting theassigned readings, commenting critically on the readings, and leading a classdiscussion. The class should be prepared to engage in discussion with eachweek‟s discussants, thus each student shall prepare a list of at least 5 questionsor comments upon the week‟s readings. Students may be called upon in class toask these questions and to voice these comments. Grades will be dependentupon engagement and participation in class meetings. All students are
responsible for reading all assigned texts, whether or not they are presentingthese texts to the class. A variety of audio and visual examples and samples willbe presented in class throughout the quarter for analysis, discussion, andcritique.
There will be 2 longer research papers due in this class, each a minimum of 7typed pages (double-spaced, 12-point font, 1-inch margins, with citations in thestyle found in the journal Ethnomusicology).There will also be 3 short papers in which the student will summarize andsynthesize a particular weekly assigned reading. These papers will each be a
minimum of 2 pages.There will be no exams.Research Paper 1Ethnographic work requires extended stays in and integration into a fieldworklocale and with local people. This paper will consist of the write-up of a brieffield project in which only some of the facets of performing ethnographicresearch will be experienced and explored (due to time constraints). Eachstudent will choose a viable fieldwork site and will write on particular aspects ofparticipatory interaction, aesthetics, ethnographic voice, or a host of other issuesto be chosen individually.
Research Paper 2Each student will prepare a grant proposal for an imagined (or intended)ethnographic research project. In the paper, ethnographic method, theoreticalapproach, and specific delineation of the research site and project will becarefully explained. The student will address in clear and succinct terms thesignificance of the project to the field of ethnomusicology as well to other relatedfields. Students should refer to on-line guidelines for Fulbright, Wenner-GrenFoundation, National Endowment for the Humanities, Social Sciences ResearchCouncil, National Science Foundation, and any other granting agencies that
might fund ethnomusicological or ethnographic research (some agencies fundspecific themes or research in specific regional areas).
Grades will be determined as follows:1st research paper......................................................………………….25% 2nd research paper......................................................………….…..….25% 3 shorter papers (@ 5%/paper)...........................………………........15% In-class presentation of 1st research project (field project)…..….15% class participation…………………….............……………………….....20%
Grading scale:All grades in this class will be presented in letter-grade form. “+” and “-“ grades arepossible (A-, B+, for example).
As mentioned, attendance and engagement in class discussions and projects will bevital. Unexcused absences (i.e., ones not presented to and authorized by me inadvance) cannot be tolerated, and may count against one‟s grade. Missing a class on
which you are supposed to make a class presentation would be a serious matter. If youbecome ill or need to miss a class for some other reason, be certain to speak with me inadvance (call or e-mail me). Late work will only be accepted with authorization fromme prior to an assignment‟s due date.Students with any sort of special needs please see me the first day of class.
Academic misconduct of any sort, in particular plagiarism, will not be tolerated.Students must clear with me any citation from an internet source that they mightintend to use in their work–some sites are not reliable or otherwise acceptablescholarly sources.
Academic MisconductIt is the responsibility of the Committee on Academic Misconduct to investigate
or establish procedures for the investigation of all reported cases of student
academic misconduct. The term “academic misconduct” includes all forms of
student academic misconduct wherever committed; illustrated by, but not limited
to, cases of plagiarism and dishonest practices in connection with examinations.
Instructors shall report all instances of alleged academic misconduct to the
committee (Faculty Rule 3335-5-487). For additional information, see the Code of
Initial bibliography for Introduction to Ethnomusicology
We will refer throughout the class to varied seminal ethnomusicological book-length texts which represent major syntheses of the field and some of its keyissues, as well as to numerous theoretically-oriented books in which are
expressed current modes of thought on and in the field. [Books listed below thatcontain readings assigned for class are on reserve in the music library.]
Agawu, Kofi1995 African Rhythm. Cambridge: Cambridge University Press. ______ 2003 Representing African Music: Postcolonial Notes, Queries, Positions. New York and
London: Routledge.
Attali, Jacques1989 Noise: The Political Economy of Music. Minneapolis: University of Minnesota Press.
Barz, Gregory and Timothy Cooley, eds.1997 Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. New York:
Oxford University Press.
Béhague, Gerard, ed.1984 Performance Practice. New York: Greenwood.
Berliner, Paul F.1981 The Soul of Mbira. Berkeley: University of California Press.
Bigenho, Michelle2002 Sounding Indigenous: Authenticity in Bolivian Musical Performance.
Blacking, John1973 How Musical is Man?Seattle: University of Washington Press. ______ 1987 A Commonsense View of All Music. New York: Cambridge University
Press.
Blum, Stephen, Philip Bohlman, and Daniel Neuman
1991 Ethnomusicology and Modern Music History. Urbana: University of IllinoisPress.
Chernoff, John Miller1979 African Rhythm and African Sensibility. Chicago: University of Chicago Press.
2005 Alan Lomax: Selected Writings 1934-1997 . New York and London:Routledge Press.
D‟Andrade, Roy 1995 The Rise of Cognitive Anthropology. Cambridge: Cambridge University
Press.
Dowling, W. J. and D. L. Harwood1986 Music Cognition. Orlando, FL: Academic Press.
Emoff, Ron2009 Music and the Performance of Identity on Marie-Galante, French Antilles.
Aldershot, UK: Ashgate Press, SOAS Musicology Series.
2002 Recollecting from the Past: Musical Practice and Spirit Possession on the EastCoast of Madagascar . Middletown, CT: Wesleyan University Press, Musicand Culture Series.
Emoff, Ron and David Henderson, eds.2002 Mementos, Artifacts, and Hallucinations from the Ethnographer’s Tent.
London and New York: Routledge Press.
Erlmann, Veit1999 Music, Modernity, and the Global Imagination: South Africa and the West. New
York and Oxford: Oxford University Press.
Feld, Steven1990 (1982) Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli
Expression. Philadelphia: University of Pennsylvania Press (2nd Edition).
Feld, Steven and Charles Keil, eds.1994 Music Grooves: Essays and Dialogues. Chicago: University of Chicago Press.
Fox, Aaron A.2004 Real Country: Music and Language in Working-Class Culture. Durham and London:
Duke University Press.
Frith, Simon and Lee Marshall, eds.2004 Music and Copyright. Edinburgh: Edinburgh University Press.
1954 Enemy Way Music: A Study of Social and Esthetic Values as Seen in Navaho Music. Cambridge, MA: Peabody Museum of American Archaeology andEthnology, Harvard University vol. XLI, no. 3.
McLeod, Norma and Marcia Herndon
1980 The Ethnography of Musical Performance. Darby: Norwood Editions.
Meintjes, Louse,2003 The Sound of Africa: Making Music Zulu in a South African Studio. Durham
and London: Duke University Press.
Merriam, Alan P.1964 The Anthropology of Music. Evanston: Northwestern University Press. ______ 1967 Ethnomusicology of the Flathead Indians. Chicago: Aldine.
Moisala, Pirkko, and Beverley Diamond, eds.2000 Music and Gender. Urbana and Chicago: University of Illinois Press.
Myers, Helen, ed.1992 Ethnomusicology: an Introduction. NY: W. W. Norton.
Nattiez, Jean-Jacques1990 Music and Discourse: Toward a Semiology of Music. Princeton: Princeton
University Press.
Nettl, Bruno1964 Theory and Method in Ethnomusicology. New York: Free Press. ______ 1983 The Study of Ethnomusicology: Twenty-nine Issues and Concepts. Urbana:
University of Illinois Press. _____ 1985 The Western Impact on World Music. New York: Schirmer Books.
Nettl Bruno and Philip Bohlman1991 Comparative Musicology and Anthropology of Music. Chicago: University of
Chicago Press.
Post, Jennifer C., ed.2006 Ethnomusicology: A Contemporary Reader. New York and London:
Routledge Press.
Roseman, Marina1991 Healing Sounds from the Malaysian Rainforest: Temiar Music and Medicine.
Seeger, Anthony1988 Why Suya Sing: A Musical Anthropology of an Amazonian People. Cambridge:
Cambridge University Press.
Seeger, Charles1977 Essays in Musicology, 1935-1975. Berkeley: University of California Press.
Serafine, Mary Louise1988 Music as Cognition: The Development of Thought in Sound. New York:
Columbia University Press.
Shepherd, John1991 Music as Social Text. Cambridge: Polity Press.
Taylor, Timothy D.1997 Global Pop: World Music, World Markets. New York and London:Routledge. ______ 2007 Beyond Exoticism: Western Music and the World. Durham and London: Duke
University Press.
Turnbull, Colin M.1961 The Forest People. New York: Simon and Schuster.
Yost, William A. and Charles S. Watson, eds.1987 Auditory Processing of Complex Sounds. Hillsdale, NJ: Lawrence Erlbaum.
In addition, readings will be assigned from the following basic bibliography ofarticles and book chapters. These readings cover the literature from the 50‟s, 60‟sand 70‟s concerning the definition, aim, scope of, and varied approaches to thefield; the theoretical debates and issues of the 70‟s and 80‟s; and methods,problems, and styles of being an ethnomusicologist and performing
ethnomusicological research, all prominent topics in the 90s and beyond. It issuggested that each student add to this bibliography those readings in particularthat are germane to her/his interests and studies, and that each student begin tocompile a bibliography of monographs that address her/his own regional areaor theoretical topic of interest.
Babiracki, Carol M.1997 “What‟s the Difference? Reflections on Gender and Research in Village
India.” In Shadows in the Field: New Perspectives for Fieldwork inEthnomusicology. New York: Oxford University Press, Gregory Barz andTimothy Cooley, eds., pp. 121-36.
Baily, John1988 “Anthropological and Psychological Approaches to the Study of Music
Theory and Musical Cognition.” Yearbook for Traditional Music 20: 114-124.
Becker, Judith and Alton Becker1981 “A Musical Icon: Power and Meaning in Javanese Gamelan Music.” In The
Sign in Music and Literature, Austin: University of Texas Press, WendySteiner, ed., pp. 203-215.
Blacking, John1971 “Deep and Surface Structures in Venda Music.” Yearbook of the
International Folk Music Council 3: 91-108. ______ 1977a “Some Problems of Theory and Method in the Study of Musical Change.”
Yearbook of the International Folk Music Council 9: 1-26. _____ 1977b “Can Musical Universals be Heard?” The World of Music 19(1/2): 14-22. ______ 1981 “The Problem of Ethnic Perceptions in the Semiotics of Music.” In The
Sign in Music and Literature, Austin: University of Texas Press, Wendy
Steiner, ed., pp. 184-94. ______ 1986 “Identifying Processes of Musical Change.” The World of Music 28(1):3-12.
Blum, Stephen1975 “Towards a Social History of Musicological Technique.” Ethnomusicology
Fales, Cornelia1998 “Issues of Timbre: The Inanga Chuchotée. In The Garland Encyclopedia of
World Music Volume 1, Africa, Ruth Stone, ed. New York and London:Garland Publishing, Inc., pp. 164-207.
Feld, Steven1974 “Linguistic Models in Ethnomusicology.” Ethnomusicology 18(2): 197-
217. ______ 1976 “Ethnomusicology and Visual Communication.” Ethnomusicology 20(2):
293-325. ______ 1981 “„Flow Like a Waterfall‟: The Metaphors of Kaluli Musical Theory.”
Yearbook for Traditional Music 13: 22-47. ______ 1984a “Sound Structure as Social structure.” Ethnomusicology 28(3): 383-409. ______ 1984b “Communication, Music, and Speech about Music.” Yearbook for
Traditional Music 16: 1-18. ______ 1994a "Notes on 'World Beat'." In Music Grooves: Essays and Dialogues. Chicago:
University of Chicago Press, Steven Feld and Charles Keil, eds., pp. 238-246.
______ 1994b "From Schizophonia to Schismogenesis: On the Discourses and
Commodification Practices of 'World Music' and 'World Beat'." In MusicGrooves: Essays and Dialogues. Chicago: University of Chicago Press, StevenFeld and Charles Keil, eds., pp. 257-289.
______ 2000 “A Sweet Lullaby for World Music.” Public Culture 12(1): 145-171.
Feld, Steven and Aaron Fox1994 “Music and Language.” Annual Review of Anthropology 23: 25-53.
Frisbee, Charlotte1980 “Vocables in Navajo Ceremonial Music.” Ethnomusicology 24(3): 347-392.
Gourlay, Ken1978 “Towards a Reassessment of the Ethnomusicologist‟s Role in Research.”
Hood Mantle1957 “Training and Research Methods in Ethnomusicology.” Ethnomusicology
Newsletter 11: 2-8. ______ 1963 “Musical Significance.” Ethnomusicology 7(3): 187-192. ______ 1969 “Ethnomusicology” in Harvard Dictionary of Music. Cambridge: Harvard
University Press, 2nd edition. Willi Apel, ed., pp. 298-300.
Jakobson, Roman1985 “Poetry of Grammar and Grammar of Poetry.” In Verbal Art, Verbal Sign,
Verbal Time. Oxford: Basil Blackwell, K. Pomorska and S. Rudy, eds., pp.37-46.[also, “Subliminal Verbal Patterning in Poetry” pp. 59-68 in same volume]
Keil, Charles1994a (1985) "People's Music Comparatively: Style and Stereotype, Class and
Hegemony." In Music Grooves: Essays and Dialogue. Chicago: Universityof Chicago Press, Steven Feld and Charles Keil, eds., pp. 197-217 [printedinitially in Dialectical Anthropology 10: 119-130].
______ 1994b (1987 ) "Participatory Discrepancies and the Power of Music." Music
Grooves: Essays and Dialogue. Chicago: University of Chicago Press, StevenFeld and Charles Keil, eds., pp. 96-108 [printed initially in Cultural Anthropology 2(3): 257-283].
Koetting, James1970 “Analysis and Notation of West African Drum Ensemble Music.” Selected
Reports in Ethnomusicology. 1(3): 116-146.
Kolinski, Mieczyslaw1957 “Ethnomusicology, Its Problems and Methods.” Ethnomusicology
Newsletter 10: 1-7. ______ 1967 “Recent Trends in Ethnomusicology.” Ethnomusicology 11: 1-24. ______ 1976 “Herndon‟s Verdict on Analysis: Tabula Rasa.” Ethnomusicology 20(1): 1-22. ______ 1977 “Final Reply to Herndon.” Ethnomusicology 21(1): 75-83.
Koskoff, Ellen,2002 “Is Female to Male as Postmodern is to Modern?: Implications for a New
Ethno/Musicology.” In Encomium Musicae: Essays in Memory of Robert J.Snow. Hillsdale, NY: Pendragon Press, David Crawford and G. Grayson
Wagstaff, eds., pp. 733- 744.
List, George1963 "The Boundaries of Speech and Song." Ethnomusicology 7(1):1-16. ______ 1971 “On the non-universality of musical perspectives.” Ethnomusicology
Roseman, Marina1984 “The Social Structuring of Sound: the Temiar of Peninsular Malaysia.”
Ethnomusicology 18(3): 411-445. ______
1987 “Inversion and Conjuncture: Male and Female Performance among theTemiar of Peninsular Malaysia.” In Women and Music in Cross-CulturalPerspective. Westport, CT: Greenwood Press, Inc., Ellen Koskoff, ed., pp.131-49.
______ 2000 “The Canned Sardine Spirit Takes the Mic.” The World of Music: Spirit
Practice in a Global Ecumene, Ron Emoff, guest ed, 42(2): 115-136.
Ruwet, Nicholas1967 “Linguistics and Musicology.” International Social Science Journal 19: 79-87.
Scherzinger, Martin1999 “Music, Spirit Possession, and the Copyright Law: Cross-Cultural
Comparisons and Strategic Speculations.” Yearbook for Traditional Music 31:102-25.
Seeger, Anthony1992 “Ethnomusicology and Music Law.” Ethnomusicology 36(3): 345-59. ______ 1996 “Ethnomusicologists, Archives, Professional Organizations, and the
Shifting Ethics of Intellectual Property.” Yearbook for Traditional Music 28:
87-105.
Seeger, Charles1961 “Semantic, Logical, and Political Considerations Bearing upon Research in
Ethnomusicology.” Ethnomusicology 5(2): 77-80. ______ 1963 “On the Tasks of Ethnomusicology.” Ethnomusicology 7(3): 214-15. ______ 1970 “Toward a Unitary Field Theory for Ethnomusicology.” Selected Reports in
Ethnomusicology 1(3): 172-210.
______ 1971 “Reflections on a Given Topic: Music in Universal Perspective.”
1984 “The Development of Cognition in Music.” The Musical Quarterly 70(2):218-33.
Springer, George1956 “Language and Music: Parallels and Divergences.” In For Roman Jakobson.
The Hague: Mouton, pp. 504-513.
Sundberg, Johan and Bjorn Lindblom1976 “Generative Theories in Language and Music Descriptions.” Cognition
4(1): 99-122.
Turino, Thomas1999 “Signs of Imagination, Identity, and Experience: A Peircian Semiotic
Theory for Music.” Ethnomusicology 43(2): 221-55.
Wachsmann, Klaus1969 “Music.” Journal of the Folklore Institute 6: 164-191. ______ 1971 “Universal Perspectives in Music.” Ethnomusicology 15(3): 381-384. _____ 1982 “The Changeability of Musical Experience.” Ethnomusicology 26(2): 197-
215.
Zemp, Hugo1978 “„Are‟are Classification of Musical Types and Instruments.”
Ethnomusicology 22(1): 37-67.
______ 1979 “Aspects of „Are‟are Musical Theory.” Ethnomusicology 23(1): 5-48. ______ 1988 “Filming Music and Looking at Music Films.” Ethnomusicology 32(3): 393-
427. ______ 1996 “The/An Ethnomusicologist and the Record Business.” Yearbook for
Hood 1969, Merriam 1960, 1963, and 1967, Nettl 1963 and 1964––––––––––––– Week 3 Jan 21, 23 Concepts and arguments in the 1970s–80sFirst short paper due, Friday 1/23: Summary/synthesis of Keil 1994b (1987)Required reading: