Relevant bibliographies by topics / 190409 Musicology and Ethnomusicology

Academic literature on the topic '190409 Musicology and Ethnomusicology'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "190409 Musicology and Ethnomusicology"

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Al Harthy, Majid Hamdoon. "Ethnomusicology: Issues and Possibilities." Journal of Arts and Social Sciences [JASS] 6, no. 2 (June 1, 2015): 5. http://dx.doi.org/10.24200/jass.vol6iss2pp5-14.

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This study investigates and analyzes the relationship between the development of the field of Ethnomusicology in United States, since the 1950s, and its predecessor known as Comparative Musicology, which emerged during the last two decades of 19th century Germany. Tracing the theoretical bases for Comparative Musicology, it becomes clear that certain fundamental issues caused researchers to distance themselves from the ideologies of traditional musics that, eventually, led to the emergence of Ethnomusicology. Furthermore, by exploring certain aspects of Comparative Musicology and Ethnomusicology, one cannot but notice the central role publications played in the establishment of both fields. However, unlike Comparative Musicology, which adopted a comparative approach to analysis; modern ethnomusicology called for the embracement of the musics of the «other» and the recognition of their contextual uniqueness before comparing them to other musical systems. Thus, the modern ethnomusicologist always seeks to associate him/herself to the musics of the «other» not only for the sake of understanding musical elements and structures, but also in order to gain a deeper understanding of the social and cultural aspects of the communities producing the music.
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Leisio, Timo. "Ethnomusicology vis-a-vis Musicology." Ethnomusicology 38, no. 3 (1994): 412. http://dx.doi.org/10.2307/852106.

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Ghirardini, Cristina. "Perspectives on a 21st Century Comparative Musicology: Ethnomusicology or Transcultural Musicology?" Ethnomusicology 65, no. 1 (January 1, 2021): 187–89. http://dx.doi.org/10.5406/ethnomusicology.65.1.0187.

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Born, Georgina. "For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn." Journal of the Royal Musical Association 135, no. 2 (2010): 205–43. http://dx.doi.org/10.1080/02690403.2010.506265.

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What would contemporary music scholarship look like if it was no longer imprinted with the disciplinary assumptions, boundaries and divisions inherited from the last century? This article proposes that a generative model for future music studies would take the form of a relational musicology. The model is drawn from the author's work; but signs of an incipient relational musicology are found scattered across recent research in musicology, ethnomusicology, and jazz and popular music studies. In support of such a development, the article calls for a reconfiguration of the boundaries between the subdisciplines of music study – notably musicology, ethnomusicology, music sociology and popular music studies – so as to render problematic the music/social opposition and achieve a new interdisciplinary settlement, one that launches the study of music onto new epistemological and ontological terrain. In proposing this direction, the article points to the limits of the vision of interdisciplinarity in music research that is more often articulated, one that – in the guise of a turn to practice or performance – sutures together the historically inclined, humanities model of musicology with the micro-social, musicologically inclined aspects of ethnomusicology. The article suggests, moreover, that this vision obscures other sources of renewal in music scholarship: those deriving from anthropology, social theory and history, and how they infuse the recent work gathered under the rubric of a relational musicology. As an alternative to the practice turn, a future direction is proposed that entails an expanded analytics of the social, cultural, material and temporal in music. The last part of the article takes the comparativist dimension of a relational musicology to four topics: questions of the social, technology, temporality and ontology.
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Guin, Elisabeth Le, and Margaret Cayward. "Californian Musicology." Journal of Musicology 29, no. 1 (January 1, 2012): 85–100. http://dx.doi.org/10.1525/jm.2012.29.1.85.

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Craig Russell's book makes important contributions to the study of European music as it was brought to, implemented in, and shaped by the mission communities of Alta California. This field of inquiry by its nature questions received notions of musical historiography, especially as it pertains to the relationship of documentary and ethnographic evidence. Documents are sparse at best for much of this music, and those that survive represent the musical traditions of the Spanish colonizers. In disciplinary terms, this translates into an interrogation of the relationship between musicology and ethnomusicology. The authors, each representing one of these two fields, present a dialogue between the text under review and other existing work on California mission music and on the ethics and epistemology of postcolonial musicology. Further questions are duly raised about how Russell handles the great complexity of the mission situation, as regards colonial power relations, the applicability (or lack thereof) of Eurocentric historicity, and the delicate matter of representing the viewpoint of the California Indians involved in musical negotiations of culture under the mission system.
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Agawu. "Trends in African Musicology: A Review Article." Ethnomusicology 56, no. 1 (2012): 133. http://dx.doi.org/10.5406/ethnomusicology.56.1.0133.

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Feng, Lina. "Literature Review of the Application of Audio Testing Software to Chinese Musicology." Applied Mechanics and Materials 347-350 (August 2013): 1074–78. http://dx.doi.org/10.4028/www.scientific.net/amm.347-350.1074.

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In this paper, the extensive application of audio testing software to Chinese musicology was reviewed. New audio testing software developed by Chinese musicologists include DEAM and GMAS , which along with imported audio testing software such as Solo Explore 1.0, Speech Analyzer3.0.1 have been widely applied by Chinese musicologists to ethnomusicology, archeology of music, folk music as well as musical entertainment. With the support of audio testing software, Chinese musicology has made much progress.
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Pasichnyk, Volodymyr. "Scientific Biography of Volodymyr Hoshovskyi: to the Centenary Jubilee." Ethnomusic 18, no. 1 (December 2022): 9–24. http://dx.doi.org/10.33398/2523-4846-2022-18-1-9-24.

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The article deals with the scientific biography of V. Hoshovskyi, mostly con- cerning the 50-year period of his creative life, spanning the years of 1946–1996. The circumstances of his life are discussed, which influenced the upbringing and profes- sional background, among other. his manners and lifestyle, studies in gymnasium and University, the vast scientific educational background and erudition. The utmost importance is given to ethnography studies, musical dialectology and Slavic studies. The biography outline of V. Hoshovskyi spans several distinctive periods. First – Trans-Carpathian (1946–1960), concerned which ethnography, musical aesthetics, regional studies and elaboration of the principles of ethnomusicology, including the music dialectological studies. Second – Lviv period (1961–1974), which pinnacled his elaborate studies in music dialectology and comparative Slavic studies. The important part of this period is the formation in his scientific studies the basics of cybernetic ethnomusicology. The third period spans 1975–1996, which can be subdivided into two sub peri- ods: the Armenian one (1975–1986), which is specifically concerned with elaboration of cybernetic ethnomusicology, and the Lviv one, which spans the last decade in life of the musicologist – 1986–1996 and is concerned with further elaborations in cy- bernetic ethnomusicology, as well as public relations and musicology courses by V. Hoshovskyi. We can stress that V. Hoshovskyi were not only the promoter of up to-the-mo- ment tendencies of European musicology, but also the elaborator and promoter of some innovative studies. The scientific studies of V. Hoshovsky has became the notable contribution in all-Ukrainian and European musical culture. Keywords: Volodymyr Hoshovskyi, ethnography, ethnomusicology, music dia- lectology, Slavic studies, cybernetic ethnomusicology.
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Burckhardt Qureshi, Regula. "Is Complex Music Socially Significant? Doing Ethnomusicology in South Asia." Canadian University Music Review, no. 15 (March 1, 2013): 44–69. http://dx.doi.org/10.7202/1014392ar.

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In this article, four cases of ethnomusicological research on South Asian music are presented to substantiate the social essentiality (Wesentlichkeit) of music, and therefore the complementary role of a socially-grounded approach to studying complex musical traditions. Historiographically, it is argued that this social orientation progresses logically from, and is in keeping with, the growing cosmopolitan reality of musical scholarship and of music itself. Ethnomusicology draws resourcefully from its rich, inter-disciplinary heritage of musicology, music theory, anthropology, and area studies to yield tools of musical description and analysis that are culturally appropriate, culture-specific and yet cross-cultural, this paving a foundation for a truly comparative—and "Adlerian"— musicology.
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Medic, Ivana. "Applied musicology: A “manifesto”, and a case study of a lost cultural hub." Muzikologija, no. 33 (2022): 87–102. http://dx.doi.org/10.2298/muz2233087m.

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In this article I present a ?manifesto? of the new discipline of applied musicology, which is closely related to the project Applied Musicology and Ethnomusicology in Serbia: Making a Difference in Contemporary Society (APPMES), supported by the Serbian Science Fund. Here I wish to outline some of the main aims and goals of this project and offer a broader insight into what applied musicology should strive to become. In the second part of the article, I present a case study of the Belgrade neighbourhood of Savamala where I conducted fieldwork before formulating the concept of applied musicology; nevertheless, this research is completely aligned with the aims and purposes of the new discipline, and it has helped me to turn my intuitive insights into a comprehensive theoretical concept.
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Dissertations / Theses on the topic "190409 Musicology and Ethnomusicology"

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Hewitt, Donna G. "Compositions for Voice and Technology." Thesis, University of Western Sydney, Penrith, 2006. https://eprints.qut.edu.au/9386/1/HewittPhD2007_Compress.pdf.

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The PhD consists of a portfolio of electro-acoustic compositions and is accompanied by a scholarly dissertation. The portfolio of works explores the development of real-time electro-acoustic composition techniques using microphone captured audio. The portfolio focuses particularly of the voice as a sound source and aims to bring together the authors background as a popular vocalist with her 'music concrete' influenced electro-acoustic compositional work. The portfolio culminates in the development of a HCI (Human Computer Interface) called the eMic (extended mic-stand interface controller), which allows the performer to control sound parameters in real-time via common popular music performance gestures.
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Davidson, Robert A. "Folio of compositions with critical commentary." Thesis, University of Queensland, 2001. https://eprints.qut.edu.au/6034/1/6034_v1.pdf.

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Folio of original music compositions and critical commentary. Thesis PhD completed 2001: University of Queensland, School of Music. The thesis is contained within 2 volumes: [v.1] Folio of compositions and critical commentary -- [v.2] Folio of compositions.
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Kirkwood, Sandra Jane. "Frameworks of culturally engaged community music practice in rural Ipswich." Thesis, Griffith University, 2009. https://eprints.qut.edu.au/132103/2/132103.pdf.

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This study is a critical reflection on two music projects that I conducted in my home area of Ipswich, Australia, prior to undertaking this research. The music projects involved participatory action research to investigate the music heritage and culture of the rural Ipswich region. The purpose of this study is to review and analyse the creative processes that I used in the rural Ipswich music projects in order to develop suitable practice frameworks for similar projects in future. The first music project was a collaborative investigation of the music history of Purga in rural Ipswich (2003-2005). Local people and those who used to live in the area were invited to come back to share memories of the music from the area with one another. People collaborated creatively: This allowed me to write The Purga Music Story and Harold Blair (2005), an inter-generational community education package. In 2003, we established the Purga Music Museum as a meeting place where the music heritage and culture of our neighbourhood is performed and displayed. The second music project (2006) was a study of contemporary music in rural Ipswich that resulted in community consultation and the development of a Music Action Plan for the area. I continued facilitating community music in rural Ipswich, as the curator of the Purga Music Museum, until 2008. Both music projects presented different challenges in the establishment of processes that would be effective for the needs and interests of people from various cultural groups. The work was fraught with complex decisions and ethical dilemmas about representation and music cultural heritage management because our neighbourhood previously contained the Purga Aboriginal Mission (1915-1948). The findings therefore relate to the struggles of the ‘Stolen Generation’-- Aboriginal and Torres Strait Islander people who were taken away from their families and forced to live in government-controlled residential situations. New, respectful approaches had to be found, conducive to the health and well-being of all concerned. For this reason, participatory action research methods were developed and a ‘Community of Discovery’ approach was used. Throughout this study, I investigate issues that arose as people told their music stories, and passed on music heritage and culture from one generation to the next. The key question is “What are appropriate frameworks of culturally engaged community music practice for rural Ipswich?” This study also draws on findings from the music projects to address the sub-questions, “How did community music practice function in the past in rural Ipswich?” “What is the current situation regarding contemporary community music practice in rural Ipswich?” and “What can be done to enhance future community music practice for rural Ipswich?” Aspects of music and health practice complement each other in this study. As a dual qualified music and health professional, I draw on expertise from both of these areas. Ethnographic methods were used to record and review the findings from each music project. The analysis is grounded in review of literature and other sources, creative display and performance, analysis of music history, community consultation, and critical reflection on my own community music practice. Finally, this evidence-based process of professional reasoning leads to the development of appropriate practice frameworks that transform the way that I intend to deliver services in future, and will hopefully inspire others. The thesis has five parts. The context and rationale for the research are outlined in Part 1. This is followed by description of the two music projects in Part 2. Part 3 is an exploration of how my music practice is situated in relation to scholarly literature (and other sources) and outlines the chosen theoretical constructs or models. This prepares for critical analysis and discussion of specific issues that arose from reflection on practice in Part 4. The conclusions of the research, presented in chapter 9, outline the creative processes, underlying principles, and the philosophy of my practice. The study concludes with an epilogue, which is a consideration of the present situation and suggested future directions for service provision and research.
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Ukpanah, Ime Dan. "The music of Nigeria's Akwa Ibom State : a critical perspective and evaluation, with special reference to Ebre, Ekpo and Uta traditions." Thesis, Queen's University Belfast, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333853.

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Armstrong, Keith M. "Towards an Ecosophical Praxis of New Media Space design." Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.

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This study is an investigation in and through media arts practice. It set out to develop a novel type of new media artistic praxis built upon concepts drawn from the disciplines of scientific and cultural ecology. The rationale for this research was based upon my observation as a practising new media artist that existing praxis in the new media domain appeared to operate largely without awareness of the ecological implications of those practices. The thesis begins by explaining key concepts of ecology, spanning the arts and the sciences. It then outlines the thinking of contemporary theorists who propose that the problem of ecology is a critical issue for the 21st century, suggesting that our well-documented ecological crisis is indicative of a more general crisis of human subjectivity. It then records an investigation into particular strategies for artistic praxis which might instigate an active engagement with this problem of ecology. The study employed a methodology based in action research to focus upon the development and analysis of three new artistic works, '#14', 'Public Relations' and 'transit_lounge'. These were used to explore diverse theories of ecology and to hone a series of pointers towards Ecosophical arts/new media praxis. This journey constitutes an emergent theory for new media space design. The thesis concludes with a toolkit of tactics and approaches that other arts/new media practitioners might employ to begin working on the problem of ecology.
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Schwartz, Zachary. "Alternate Minimalisms: Repetition, Objectivity, and Process in the Age of Recording." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/165.

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This thesis examines the core concepts of early minimalism and the ways that they were influenced by recording as a medium of musical creation. The first chapter considers early minimalism’s historical lineage as the narrative has been passed down by music scholars, noting over-arching trends and problems of exclusion and misunderstanding inherent within it. Having established the myriad of concepts at the core of the early minimalist movement, the second chapter examines the recording medium’s effect on art music performance, noting trends in repetition, objectivity, and process that are represented within minimalism itself. With these ideas in mind, the idea of “post-minimalism” is interrogated, proposing that a music for the concert hall is not the natural development of the early minimalists’ expansive mission. In the third chapter, analysis of one iconic late-twentieth century musical style, techno music, demonstrates that it is fundamentally of the same artistic spirit as the early minimalists and an alternate manifestation of Minimal art. Ultimately, early minimalism and techno are “alternate minimalisms” of the age of the recording, referencing and embodying the musical consciousness of the twentieth century.
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Harrison, Ryan C. "Resonance: Collaborative Explorations of the Contemporary Percussionist." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1597482410922158.

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Brinkman, Andrew. "Exploring the Structure of Germanic Folksong." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1590774494540657.

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Nelson, James. "Hillbilly Music & Early Live Radio Programming in Bowling Green & Glasgow, Kentucky: Country Music as a Local Phenomenon." TopSCHOLAR®, 1994. https://digitalcommons.wku.edu/theses/3151.

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In this study, the author examines the development of country music in the area surrounding Bowling Green and Glasgow, Kentucky, from approximately 1930 to 1960 and its relation to the newly emerging medium of radio. Emphasis is placed on several performers whose careers were linked to the radio stations which began to broadcast in Bowling Green and Glasgow during the 1940s. In the past, country music scholarship has tended to focus on phonograph records as a source of material for study and as the primary means of musical transmission. As a result, the careers of many of the lesser known artists were overlooked simply because they never made a record. The writer looks at country music as a local phenomenon with live radio broadcasts and personal appearances as the primary mode of transmission. Data were collected from tape recorded interviews and written sources, including various archival sources - old newspapers, fan magazines, and assorted ephemera - and used to outline the careers of several performers associated with WLBJ and WKCT in Bowling Green and WKAY in Glasgow.
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Yeagle, Kalia. "Devil in the Strawstack, Devil in the Details: A Comparative Study of Old-Time Fiddle Tune Transcriptions." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3743.

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This thesis asks what transcriptions of old-time fiddle tunes might tell us about their underlying purposes and the nature of transcription. How could differing approaches to transcription reflect the intentions of the author, and what are those intentions? What does this suggest about how aural information is prioritized? Through a comparative analysis of three transcriptions of the same recording—Tommy Jarrell’s “Devil in the Strawstack”—this thesis examines how musical information is prioritized and how transcribers have adapted their methods to better reflect the nuances of old-time music. The three transcriptions come from Clare Milliner and Walt Koken (The Milliner-Koken Collection of American Fiddle Tunes), Drew Beisswenger (Appalachian Fiddle Tunes), and John Engle. The analysis of these transcriptions suggests new frameworks for interpreting old-time fiddling, further conversations about the possibilities and limitations of transcription, and provides insight into the underlying purposes of transcription.
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Books on the topic "190409 Musicology and Ethnomusicology"

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Turkkā, S. A. K. Ethnomusicology: A study of intercultural musicology. Madras: Center for Ethnomusicology, 1996.

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Durga, S. A. K. Ethnomusicology: A study of intercultural musicology. Delhi: B.R. Rhythms, 2004.

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Turkka, S. A. K. Ethnomusicology: A study of intercultural musicology. Madras: Center for Ethnomusicology, 1996.

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Musica humana: Die anthropologische und kulturethologische Dimension der Musikwissenschaft. Wien: H. Böhlau, 1986.

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Investigación musicológica: Cinco estudios de caso. Bernal: Universidad Nacional de Quilmes Editorial, 2011.

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Jähnichen, Gisa. Studies on musical diversity: Methodological approaches. Serdang: Universiti Putra Malaysia Press, 2011.

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Paredes, Juan M. Villar. Aparato categorial de definiciones musicológicas fundamentales. [Ciudad de La Habana]: Ministerio de Cultura, Centro de Investigación y Desarrollo de la Música Cubana, 1985.

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Eine ' andere' Musikwissenschaft?: Vorstudien zu Theorie und Methodologie. Frankfurt am Main: P. Lang, 1990.

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1948-, Bruhn Herbert, and Rösing Helmut, eds. Musikwissenschaft: Ein Grundkurs. Reinbek bei Hamburg: Rowohlt Taschenbuch Verlag, 1998.

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1952-, Araújo Samuel, Paz Gaspar, Cambria Vincenzo, and Nettl Bruno 1930-, eds. Música em debate: Perspectivas interdisciplinares. Rio de Janeiro, RJ: Mauad X, 2008.

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Book chapters on the topic "190409 Musicology and Ethnomusicology"

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Franke, Jonas. "Requirements and Use Cases for Digital Sound Archives in Ethnomusicology." In Current Research in Systematic Musicology, 229–48. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02695-0_11.

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Kroher, Nadine, Emilia Gómez, Amin Chaachoo, Mohamed Sordo, José-Miguel Díaz-Báñez, Francisco Gómez, and Joaquin Mora. "Computational Ethnomusicology: A Study of Flamenco and Arab-Andalusian Vocal Music." In Springer Handbook of Systematic Musicology, 885–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_43.

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Tilley, Leslie. "Analytical Ethnomusicology: How We Got Out of Analysis and How to Get Back In." In Springer Handbook of Systematic Musicology, 953–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_48.

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"Systematic Musicology: Viewpoints, Orientations, and Methods." In Ethnomusicology, 36–44. Routledge, 2013. http://dx.doi.org/10.4324/9780203063347-7.

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"Cultural Evolutionism and Diffusionism in Comparative Musicology." In Theory for Ethnomusicology, 38–50. Routledge, 2015. http://dx.doi.org/10.4324/9781315662442-9.

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Janeczko, Jeff. "Curating the Virtual Museum." In Voices of the Field, 177–200. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0011.

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Academic programs in ethnomusicology are almost exclusively oriented toward training students for tenure-track positions at research institutions and liberal arts colleges. However, the students that graduate from these institutions do not exclusively follow this singular, narrowly defined career path. Nor should they. If the field of ethnomusicology is to increase its relevance outside academe, it would do well to pay to greater attention to how it prepares its practitioners for nontraditional career paths. This chapter examines some of the themes and issues that the author has encountered as an ethnomusicologist working for a nonprofit organization focused on the preservation and dissemination of American Jewish music. In addition to outlining some of the key differences between working inside and outside academe, it argues for a view of applied (or public) ethnomusicology that bridges gaps between ethnomusicology and musicology, between the academic and the “real” world, and between the universal and the particular—with case studies illustrating specific examples from the author’s work. A discussion section considers the ubiquity of the term “curator” in the present cultural moment, and offers suggestions as to how to individuals can prepare themselves and their students for nontraditional career paths. Ultimately, it argues that the pursuit of traditional and nontraditional career paths should be complementary—rather than mutually exclusive—endeavors, and that working to bridge the perceived gap between the two will strengthen both.
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IAN, CROSS. "Music, Science, and Culture." In Imaginative Minds. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197264195.003.0007.

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Music is conceptualized as a product and a process of imagination. It is often assumed that engagement in music initiates the developmental and evolutionary emergence of imagination. This conception of music and its relationship to human powers of imagining is treated differently in science and musicology. For science, music is simply a complex pattern of sound or the experience of structured sound. For musicology and ethnomusicology, music cannot be separated from the cultural contexts in which they are embedded. This chapter proposes a broad operational definition of music which can be acceptable and applicable cross-naturally. This radical redefinition of music may provide ways of understanding music as both a culturally embedded practice and biologically grounded structure. Apart from providing a redefinition of music, the chapter also investigates some of the potential implications and consequences of this radical redefinition of music such as the possibility that the human capacity for culture may have been supported and consolidated by the emergence and presence of musicality.
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Wolkowicz, Vera. "Introduction." In Inca Music Reimagined, 1–11. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197548943.003.0001.

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The Introduction presents the main argument of the book: the creation by Latin American composers of a national and continental art music during the first decades of the twentieth century, through discourses on Indigenism and the particular use of Inca culture, seen as a remnant of America’s grandiose imperial past. By exploring Inca culture as a source for art music, particularly opera, the analysis is restricted to those countries that had a connection with this past and had composers writing for this genre. The temporary scope is determined by the political and cultural changes that affected the region: from the first centennial celebrations of independence (ca. 1910) to the 1929 world economic crisis. The Introduction also addresses the disciplinary issues that the study of Latin American art music has encountered in Anglophone scholarship, and resituates it within the field of musicology instead of ethnomusicology, arguing for the importance of understanding this music as a Western periphery. It finally includes a summary of each of the following chapters in the volume.
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Bolden, Tony. "Blue Funk." In Groove Theory, 37–84. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.003.0003.

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This chapter examines the development of funk as a distinct concept in black vernacular culture, and explains how blues artists, modern jazz musicians, and political attitudes during the civil rights movement combined to establish the foundation for the musical genre of funk as well as the non-conformist aesthetics and attitudes the music expressed. The central argument is therefore two-fold: that blues artists formulated the concept now known as funk, and that funk became the epistemic centerpiece of a broader cultural aesthetics in black working-class environments. As with the previous chapter, “Blue Funk: The Ugly Beauty of Stank ” foregrounds the central role of kinesthesia in blues-oriented approaches to music-making. Using insights and methods from multiple areas of scholarship, including musicology, ethnomusicology, philosophy, literary criticism, dance criticism, and art history, Bolden explains how the concept of funk and/or precepts associated with funk were not only exemplified in several black musical genres but also dancing, literature, and visual art as well. In this way, black artists working in several mediums contributed to the transformation of “funky” from a stigmatizing signification, that is, a negative, stereotypical expression into a metaphor of black cultural affirmation.
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"Department, Guizhou Normal University. He is a member of the Chinese Musicians’ Association and Director of the Society for Nuo-drama of China. Tsao Penyeh is Senior Lecturer in Ethnomusicology at the Chinese University of Hong Kong. His research interest in Chinese music includes singing-narratives, puppet theatre, and ritual music. Tsao heads the Ritual Music in China Research Programme at the Music Department of the Chinese University of Hong Kong, aiming to systematically investigate Taoist and Buddhist ritual music as well as ritual music of other ethnic nationalities in China. With a team of twenty scholars, the Research Programme is presently conducting a three-year project ‘Comparative Study of Regional and Transregional Taoist Ritual Music Traditions of Major Temples in China, Hong Kong and Taiwan’. Tian Lian-tao is an ethnomusicologist and composer, and professor of the Central Conservatory of Music, Beijing, China. He has conducted extensive research into the traditional music of China’s minority nationalities for more than forty years. Xiu Hailin was born in Shanghai in 1952 and graduated from the department of Musicology at the Central Conservatory of Music in 1983. He is currently the Assistant Professor and Assistant Director of the Institute of Music, Central Conservatory of Music. Tsui Ying is currently an ethnomusicology Ph.D. student in the University of Pittsburgh (Pennsylvania, USA). He received his B.A. in 1987 and his M.Phil. (Chinese music), in 1990 from the Chinese University of Hong Kong. His major field of interest in Chinese instrumental music. In Hong Kong, he has been active as a Chinese flute player as well as a conductor in the modernized Chinese folk orchestras, as well as a Western flute player, for over a decade. His master thesis studied amateur Chinese orchestras in Hong Kong in the seventies with reference to the musical characteristics of the kind of repertoire performed and the social context in which the orchestras emerged. Tsui’s doctoral dissertation is on the issues concerning the traditional Cantonese music ensemble. Ruth Wingyu Yee , a founder of the Shatin Cantonese Opera Troupe, Hong Kong, has for the past ten years been serving on its management committee and performing as a principal actress. She was a solo folksong singer." In Tradition & Change Performance, 86. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-17.

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Conference papers on the topic "190409 Musicology and Ethnomusicology"

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Bressan, Federica. "Philology in the preservation of audio documents." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.2.10.

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Abstract:
Sound recordings have proven to be irreplaceable primary sources for disciplines like linguistics, musicology, ethnomusicology and sociology. Their fragile physical nature has activated a number of counter-actions aimed at prolonging the life expectancy of their content. Methodological issues have been raised in the past three decades, considering the relationship between the physical object and its (digitized) intangible content, which is not only complex but develops over time. This article re ects on the role of the emerging discipline known as ‘digital philology’ in the long- term preservation of audio documents, pointing out how some concepts (such as authenticity, reliability and accuracy) may require a ‘customized’ (as opposed to a ‘ready-made’) approach in the preservation work ow – mainly depending on the type of the archive: unique copies, eld recordings, electronic music, oral history, to name some representative cases. The set-up of the laboratory for sound preservation at the Centro di Sonologia Computazionale (CSC) of the University of Padova, Italy, represents one customized approach in which conscious methodological decisions support philologically informed digitization e orts. The methods affect the results, and ultimately the consequences are not merely technological but cultural.
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