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Journal articles on the topic 'Ethnomusicology'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 October 2024

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1

Sella, Tamar. "Sour Solidarities: Musicians, Academics, and Precarity in the Pandemic's Wake." Ethnomusicology 68, no. 2 (2024): 300–324. http://dx.doi.org/10.5406/21567417.68.2.08.

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Abstract This article reflects on precarity in ethnomusicology by connecting the precarities of interlocutors and academics. Based on research conducted for the Society for Ethnomusicology's project “Musicians in America during the Covid-19 Pandemic,” I propose sour solidarities as a structural relationship that shows that while contingent ethnomusicologists and independent musicians confront similar worsening conditions under pandemic precarity, we also face a broader racialized class differentiation mediated by the institution of the neoliberal university and the field of ethnomusicology. I suggest that interrogations of such structural relationships are crucial as ethnomusicology addresses its historical legacies and the state of the field after 2020.

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2

Suppan, Wolfgang, and Helen Myers. "Ethnomusicology." Jahrbuch für Volksliedforschung 40 (1995): 173. http://dx.doi.org/10.2307/847955.

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3

Giuriati, Giovanni. "Italian Ethnomusicology." Yearbook for Traditional Music 27 (1995): 104. http://dx.doi.org/10.2307/768106.

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4

Greve, Martin. "Writing against Europe: On the Necessary Decline of Ethnomusicology. By Martin Greve. Translated by Férdia J. Stone-Davis." Ethnomusicology Translations, no. 3 (August 19, 2016): 1–13. http://dx.doi.org/10.14434/emt.v0i3.22461.

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In this appraisal of then-current German-speaking ethnomusicology, Martin Greve calls for much more critical acknowledgment and consideration of recent key debates in cultural studies and cultural anthropology. The essay and its provocative title, certainly written in a constructive spirit, hit a trouble spot, fueling the fear of losing ethnomusicology’s disciplinary raison d’être. A short but telling discussion among German-speaking ethnomusicologists ensued.Originally published in German as “‘Writing against Europe’: Vom notwendigen Verschwinden der Musikethnologie,” Musikforschung 55 (2002): 239-250.

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5

Ceribašić, Naila. "Musings on ethnomusicology, interdisciplinarity, intradisciplinarity, and decoloniality." Etnološka tribina 49, no. 42 (December 21, 2019): 3–79. http://dx.doi.org/10.15378/1848-9540.2019.42.01.

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Thinking from the perspective of Croatian ethnomusicology as one of ethnomusicologies "at home", the author muses on the position of ethnomusicology on a global scale, and in particular how it relates to mainstream English-language ethnomusicology and other fringe ethnomusicologies, the interdisciplinary links with sister disciplines (primarily ethnology and cultural anthropology), and endeavours to decolonize ethnomusicology. By taking into account the issue of reciprocity (or the lack thereof) between various disciplines and the linguocentric predicament of (ethno)musicological studies, she argues that more intellectual effort than is being currently exerted should be invested into engaged comparison of one's own fieldwork, analytical processes and research outcomes with cross-cultural ethnomusicological literature and literature in other disciplines of music studies. Related to this is her suggestion to take the issue of decoloniality seriously. Therefore, instead of mere celebration of different ethnomusicologies, she proposes a combination of "bi-ethnomusicologicality" and "going pidgin" ethnomusicology as means for making ethnomusicology a more relevant discipline on a global scale.

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6

Hanshi, Bao, Sularso Sularso, and Marie-Christinne B. Clarisse. "The Change of Concept: the Formation and Reflection of Applied Ethnomusicology." Gelar : Jurnal Seni Budaya 19, no. 2 (December 1, 2021): 114–20. http://dx.doi.org/10.33153/glr.v19i2.3978.

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If the study of Jesse Fewkes and Frances Densmore in the late 19th century is taken into account, western Applied Ethnomusicology is entering its second century. After more than one hundred years of development, Applied Ethnomusicology has basically become a relatively mature research path in the West, which not only provides scholars with a new research perspective but also enriches the subject connotation of Ethnomusicology to a certain extent with its research philosophy and value pursuit. In China, Applied Ethnomusicology has attracted more and more attention. Therefore, reviewing the development history of the discipline is not only conducive to clarifying the development context of the discipline but also conducive to reflecting on the current problems and better grasping the development trend of the discipline. In the first part of this paper, the factors influencing the birth and development of applied ethnomusicology are further discussed from within and outside the discipline, respectively based on consulting relevant literature and briefly summarizing the existing discussions of scholars. The second part mainly discusses the research characteristics of Applied Ethnomusicology, such as "pragmatic orientation", "change of researcher's identity", and "emphasis on intervention and intervention". The third part of the Applied Ethnomusicology on the "intervention", "the definition of" discipline "and the edge of two issues are discussed.

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7

Dumnic, Marija. "Applied ethnomusicology in Serbia: Politics and policies of Serbian ethnomusicological Society." Muzikologija, no. 12 (2012): 79–102. http://dx.doi.org/10.2298/muz120319003d.

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This paper deals with ethnomusicological research methodologies, the application of ethnomusicological knowledge outside academic institutions and ideologies which have contributed to ethnomusicological discourses in Serbia. Furthermore, state policy on ethnomusicology and folk music is analyzed. The recent institutionalisation of applied ethnomusicology, i.e. direct ethnomusicological engagement in society, which represents a turning point in the development of ethnomusicology, is particularly emphasized. The difference between contemporary applied ethnomusicology and ethnomusicology is in direct engagement: goals are changed, new strategies of (field-) work are introduced, folk music as a political tool is adopted, neutrality of research positions is destabilized, resulting in the emergence of the greatest problem of the discipline - ethics. Applied ethnomusicology in Serbia is especially interesting not only because of local cultural characteristics, but also because of the specific position of Serbian ethnomusicology in the scientific world map. The activities of the Serbian Ethnomusiclogical Society are analyzed as a representative example of successful public engagement. The projects of the Society are classified according to the type of animation (cultural and scientific). The promotion of Serbian folk music, folk music of national minorities and bagpipe-playing revitalization fall into the first category, whereas the second one comprises scientific round tables and the projects dealing with the preservation of Serbian folk music heritage.

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8

Aduonum. "Ethnomusicology, Ayε Kradow?" Ethnomusicology 65, no. 2 (2021): 203. http://dx.doi.org/10.5406/ethnomusicology.65.2.0203.

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9

Bielawski, Ludwik, and Ludwik Wiewiorkowski. "History in Ethnomusicology." Yearbook for Traditional Music 17 (1985): 8. http://dx.doi.org/10.2307/768434.

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10

Kippen, James, and Robert Witmer. "Ethnomusicology in Canada." Yearbook for Traditional Music 24 (1992): 170. http://dx.doi.org/10.2307/768488.

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11

Rahkonen, Carl, and Helen Myers. "Ethnomusicology: An Introduction." Notes 50, no. 4 (June 1994): 1435. http://dx.doi.org/10.2307/898337.

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12

Omarova, A. K., A. Zh Kaztuganova, and D. F. Karomat. "GLOBALIZATION AND ETHNOMUSICOLOGY." BULLETIN 384, no. 2 (April 15, 2020): 216–21. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.61.

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The interpretation of the category “genre” which is presented based on the classification of makom, due to its internal nature, causes disagreement among the scholars, and difficulties due to its designation of a specific type of work and/or national art form. In particular, the emphasis on circumstances related to the centuries-old, extended, regional, situational development in line with the oral tradition and in the frame of improvisational art, and the definition of the national type of musical art as a “genre” lead to disproportionate indicators in theoretical issues. In this regard, the reasons for the incorrect use of the category “genre” in the studies of the Kazakh kuy art were commented: in one case, it is correlated as a whole with the “kuy” phenomenon, in the other, it is used in relation to certain phenomena arising from the study of its internal distinctive nature. The “Triad of factors” – multivariance, cyclicity and locality – which formed the basis for conceptual generalizations of the famous musicologist T.B. Gafurbekov in the works revealing its system-forming nature in monodic culture is shown in conjunction with principles that reflect the genre specificity of instrumental music of the Kazakhs. The groups of macrovolume can include “Akzhelen”, “Kosbasar”, “Nauayi”, the microvolume barnch by Kurmangazy “Kisen ashkan”, “Kobіk shashkan”, “Turmeden kashkan” etc. The regional kuys with the same name by Kurmangazy, Dauletkerey, Dina “Zhiger” can be cited as an example. The situational kuys include “Kenes”, “16-zhyl” etc. As a final conclusion, the importance of considering the art of the Kazakh kuy in the system of monodic cultures and a new “clarification” of its inner nature is emphasized. From this point of view, the theoretical concept of T.B. Gafurbekov is updated as capable of forming a common scientific platform for studying the traditions of the Turkic-speaking peoples based on improvisation.

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13

Schuursma, Ann, Constantin Brailoiu, and A. L. Lloyd. "Problems of Ethnomusicology." Ethnomusicology 31, no. 1 (1987): 150. http://dx.doi.org/10.2307/852305.

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14

Clark, Susan D., Constantin Brailoiu, and A. L. Lloyd. "Problems of Ethnomusicology." Asian Music 17, no. 1 (1985): 161. http://dx.doi.org/10.2307/833748.

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15

Fox, Aaron A. "Divesting from Ethnomusicology." Journal of Musicology 37, no. 1 (January 1, 2020): 33–38. http://dx.doi.org/10.1525/jm.2020.37.1.33.

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This response to Amico’s paper draws lessons from the author’s own career to endorse Amico’s call to rename the discipline of “ethnomusicology,” while cautioning against the risks of nominalism as a sufficient response to the underlying tensions animating dissatisfaction with the current name of the discipline. The response emphasizes points of convergence and divergence between diverse disciplinary practices of music scholarship and locates a problem for efforts to synthesize such practices in competing views of science and applied research, and indeed in competing concepts of “music” as such.

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16

Wong, Deborah. "Ethnomusicology without Erotics." Women and Music: A Journal of Gender and Culture 19, no. 1 (2015): 178–85. http://dx.doi.org/10.1353/wam.2015.0014.

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17

A. K. Omarova, A. Zh. Kaztuganova, and D. F. Karomat. "GLOBALIZATION AND ETHNOMUSICOLOGY." BULLETIN 2, no. 384 (April 15, 2020): 216–21. http://dx.doi.org/10.32014/2020.2518-1467.61.

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18

박미경. "Inquery in ethnomusicology." Music and Culture ll, no. 32 (March 2015): 185–211. http://dx.doi.org/10.17091/kswm.2015..32.185.

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19

Lange, Barbara Rose. "Hypermedia and Ethnomusicology." Ethnomusicology 45, no. 1 (2001): 132. http://dx.doi.org/10.2307/852637.

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20

Wong, Deborah. "Ethnomusicology and Difference." Ethnomusicology 50, no. 2 (April 1, 2006): 259–79. http://dx.doi.org/10.2307/20174452.

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21

Witzleben, J. Lawrence. "Whose Ethnomusicology? Western Ethnomusicology and the Study of Asian Music." Ethnomusicology 41, no. 2 (1997): 220. http://dx.doi.org/10.2307/852604.

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22

Frishkopf, Michael, Michael Cohen, and Rasika Ranaweera. "Curating Ethnomusicology in Cyberworlds for Ethnomusicological Research." Ethnologies 37, no. 1 (May 3, 2017): 119–32. http://dx.doi.org/10.7202/1039658ar.

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We describe a musical cyberworld as a virtual space for curating ethnomusicology, as well as for conducting research: the ethnomusicology of controlled musical cyberspaces. Our cyberworld differs from most online music curation in enabling immersive, social experience. Considering such cyber-exhibition of ethnomusicological research as itself a form of social and musical practice also calls for an ethnomusicology of such exhibits. Research in ethnomusicology has typically been conducted through qualitative fieldwork in uncontrolled settings. By contrast, we design a custom musical cyberworld as a virtual ethnomusicological laboratory, a platform for research geared towards better ways of designing online musical exhibitions for discovery, learning, and aesthetic contemplation, as well as contributing towards our general understanding of the role of music in human interaction and community formation.

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23

Schultz, Anna. "Still an Ethnomusicologist (for Now)." Journal of Musicology 37, no. 1 (January 1, 2020): 39–50. http://dx.doi.org/10.1525/jm.2020.37.1.39.

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This response defends ethnomusicology against Amico’s call for its end, even as the “ethno-” prefix has already become optional in certain contexts. Addressing Amico’s critiques of gender, repertoire, method, and colonialism, the response argues that ethnomusicologists are thinking creatively about the same set of issues raised by Amico and rejects the claim that abandoning ethnomusicology would repair the inequities of music scholarship and music departments. Rather than welcoming the end of ethnomusicology, the response looks toward a future in which music departments collectively embrace a decolonizing mission and discard the West/non-West binary.

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24

Zhang, Boyu. "Chinese Music and Ethnomusicology." Etnomusikologian vuosikirja 9 (December 1, 1997): 227–57. http://dx.doi.org/10.23985/evk.101078.

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25

Saidasheva, Zemfira N. "Tatar Ethnomusicology: Development Prospects." ICONI, no. 2 (2019): 68–77. http://dx.doi.org/10.33779/2658-4824.2019.2.068-077.

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In the Russian musical culture the term “musical ethnography” as the name of science has appeared at the turn of the 19th and 20th centuries. In the Soviet period, when the politicization of art began to take place, the term “musical folklore” became established. The scientifi c thought about the Tatar folk musical creativity developed within the framework of “musical folklore”. In studies of the pitch and temporal structure of Tatar folk songs, a formal (abstract) approach dominated. Consideration of them in the context of other disciplines became possible only in the post-totalitarian period, when there were ample opportunities for rebirth and the return of the true artistic values. Only from that time the science of the musical folklore had the opportunity to actively use the methods and techniques of other sciences (history, literature, sociology, social psychology, ethnography, linguistics), to give an objective and in-depth assessment of the peculiarities of Tatar musical folklore.

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26

Christensen, Stephanie, and Jennifer C. Post. "Ethnomusicology: A Contemporary Reader." Music Educators Journal 93, no. 3 (January 2007): 18. http://dx.doi.org/10.2307/4101526.

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27

Harrison. "Epistemologies of Applied Ethnomusicology." Ethnomusicology 56, no. 3 (2012): 505. http://dx.doi.org/10.5406/ethnomusicology.56.3.0505.

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28

Seeger, Anthony. "Ethnomusicology and Music Law." Ethnomusicology 36, no. 3 (1992): 345. http://dx.doi.org/10.2307/851868.

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29

Jairazbhoy, Nazir A., Marcia Herndon, and Norma McLeod. "Field Manual for Ethnomusicology." Ethnomusicology 30, no. 2 (1986): 341. http://dx.doi.org/10.2307/852016.

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30

Reily, Suzel Ana. "Ethnomusicology and the Internet." Yearbook for Traditional Music 35 (2003): 187. http://dx.doi.org/10.2307/4149330.

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31

Swanwick, Keith. "Music education and ethnomusicology." British Journal of Ethnomusicology 1, no. 1 (January 1992): 137–44. http://dx.doi.org/10.1080/09681229208567204.

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32

Holmes, Sarah C. "Ethnomusicology: Global Field Recordings." Charleston Advisor 21, no. 3 (January 1, 2020): 31–33. http://dx.doi.org/10.5260/chara.21.3.31.

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Ethnomusicology Global Field Recordings is a new venture from Adam Mathew Digital: A SAGE Publishing Company. The database furnishes primary resource materials from a variety of audio field recordings, field notebooks, film footage, correspondence, educational recordings, and ephemera from over 60 ethnomusicologist field collections spanning over 70 years. Musical traditions, interviews with musicians, and assorted primary documents demonstrate how music influences and interacts with a variety of cultures. The geographic range is expansive and includes all continents. This resource is broadly inclusive covering education, art, anthropology, dance, religion, ritual, history, and gender studies.

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33

Woodfield, Ian. "The Evolution of Ethnomusicology." Journal of the Royal Musical Association 135, no. 2 (2010): 413–17. http://dx.doi.org/10.1080/02690403.2010.506276.

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34

Stokes, Martin. "Edward Said and Ethnomusicology." Journal of the Royal Musical Association 141, no. 1 (2016): 209–12. http://dx.doi.org/10.1017/s0269040300013402.

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35

Cottrell, Stephen. "The Impact of Ethnomusicology." Ethnomusicology Forum 20, no. 2 (August 2011): 229–32. http://dx.doi.org/10.1080/17411912.2011.596395.

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36

Loza, Steven. "Contemporary Ethnomusicology in Mexico." Latin American Music Review / Revista de Música Latinoamericana 11, no. 2 (1990): 201. http://dx.doi.org/10.2307/780125.

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37

Feld, Steven, and Bruno Nettl. "The Study of Ethnomusicology." Latin American Music Review / Revista de Música Latinoamericana 7, no. 2 (1986): 375. http://dx.doi.org/10.2307/780225.

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38

Sonnichsen, Philip, Marcia Herndon, and Norma McLeod. "Field Manual for Ethnomusicology." Journal of American Folklore 98, no. 388 (April 1985): 216. http://dx.doi.org/10.2307/540447.

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39

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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40

Al Harthy, Majid Hamdoon. "Ethnomusicology: Issues and Possibilities." Journal of Arts and Social Sciences [JASS] 6, no. 2 (June 1, 2015): 5–14. http://dx.doi.org/10.53542/jass.v6i2.1084.

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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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41

Zarbock, Carol Gee. "Ethnomusicology: An Introduction/Ethnomusicology: Historical and Regional Studies by Helen Myers (ed)." Musicology Australia 18, no. 1 (January 1995): 75–78. http://dx.doi.org/10.1080/08145857.1995.10415273.

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42

Alge, Barbara, and Julio Mendívil. "Über Ziele und Ansätze der angewandten Musikethnologie als Ausdruck sozialer Verantwortung." Die Musikforschung 72, no. 4 (September 22, 2021): 298–306. http://dx.doi.org/10.52412/mf.2019.h4.36.

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This article functions as an introduction to the following articles of this themed issue of Die Musikforschung. It frames the idea of an applied ethnomusicology, understood as an approach guided by principles of social responsibility, and as scholarship, knowledge and understanding put to practical use. The article discusses the emergence and relevance of applied ethnomusicology in Anglophone academia as well as the German-speaking world and gives insight into different fields in which applied ethnomusicology can be practiced: from traditional areas such as musical archives and museums to activism against social justice and for the rights of indigenous people and minorities, activism for musical and cultural sustainability or health, to musicological interventions in conflict situations and, finally, ethnomusicological contributions to music pedagogy. The authors do not claim to present a final definition of applied ethnomusicology, but rather aim to demonstrate the potential of this field and to show problems emerging in the course of ethnomusicological projects of an applied character.

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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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44

Caruso, Fulvia. "Event Review: The XXXVI European Seminar in Ethnomusicology." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 76–78. http://dx.doi.org/10.30819/aemr.8-10.

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This review describes the XXXVI European Seminar in Ethnomusicology as a virtual event organized by colleagues. The event is important to all ethnomusicologists and people interested in the field of ethnomusicology globally. It is mainly to inform about the organization and the way of interactions among its members.

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45

Ivkov, Vesna. "The Contribution of Nice Fracile to the Study of the Musical Folklore of Vojvodina." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 1 (July 20, 2023): 23–38. http://dx.doi.org/10.24193/subbmusica.2023.spiss1.02.

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"The immediate motive to produce this study is the marking of significant anniversaries in the field of ethnomusicology, both in the personal life of famous ethnomusicologist Nice Fracile and in the activities of the Academy of Arts of the University of Novi Sad. By reviewing the moments from the life and professional experience of this ethnomusicologist, an insight and a guide is offered into the possibilities of creativity and advancement of an individual, who has made a significant scientific contribution to local, regional and world ethnomusicology by studying the musical tradition of his community, and later the wider area as well. Keywords: Ethnomusicology, musical folklore, Nice Fracile, Vojvodina."

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46

Nelson, David. "Béla Bartók: The Father of Ethnomusicology." Musical Offerings 3, no. 2 (2012): 75–91. http://dx.doi.org/10.15385/jmo.2012.3.2.2.

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47

McLean, Mervyn. "Turning Points: Has Ethnomusicology Lost Its Way?" Yearbook for Traditional Music 39 (2007): 132–39. http://dx.doi.org/10.1017/s0740155800006706.

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As some readers may know, I have recently published a book entitled Pioneers of Ethnomusicology. In it I try to answer the questionsWhat were the events that led to the emergence of ethnomusicology? Who were the prime movers? What motivated them? What influences were brought to bear on them, and what were the consequences? (McLean 2006: 11)

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Kalinga Dona, Lasanthi Manaranjanie. "Bali Healing Ritual in Sri Lanka from a Medical Ethnomusicology Perspective." Musicological Annual 52, no. 2 (December 9, 2016): 121–36. http://dx.doi.org/10.4312/mz.52.2.121-136.

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Medical ethnomusicology, a new growing sub-field of ethnomusicology takes into consideration on an equal basis music, medicine/healing and culture. This article focuses on a complex of cultural beliefs intertwined with the arts and crafts, in a multileyered bali healing ritual, which aims to restore wellbeing of individuals and communities in the South Asian country Sri Lanka.

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Bendrups, Dan. "Popular Music Studies and Ethnomusicology in Australasia." IASPM Journal 3, no. 2 (April 8, 2013): 48–62. http://dx.doi.org/10.5429/612.

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A characteristic of the field of popular music studies in Australia and New Zealand (Australasia) is the strong and enduring presence of ethnomusicology and allied ethnographic approaches to popular music research in this region. In Australasia, ethnomusicology offers popular music researchers the opportunity to engage in a meaningful and direct way with a range of musical practices by Indigenous and migrant performers. Meanwhile, popular music studies provides ethnomusicologists with a way of demonstrating that they are interested in more than just traditional or ancestral musical practices. This article will provide a history of the interdisciplinary relationship between ethnomusicology and popular music studies in Australasia, and will examine the role of Indigenous and migrant music research in fostering links between these two disciplinary fields.

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Talam, Jasmina. "The Oxford Handbook of Applied Ethnomusicology." Musicological Annual 52, no. 1 (June 27, 2016): 217–22. http://dx.doi.org/10.4312/mz.52.1.217-222.

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In July 2015, Oxford University Press published a substantial volume titled The Oxford Handbook of Applied Ethnomusicology, co-edited by two eminent ethnomusicologists, Svanibor Pettan and Jeff Todd Titon. The book is an impressive collection of different approaches in applied ethnomusicology, developed through a combination of ethnographic research (personal experiences and fieldwork in different parts of the world) and contemporary scholarship.

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