Academic literature on the topic 'Humanities -> music -> ethnomusicology'
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Journal articles on the topic "Humanities -> music -> ethnomusicology"
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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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Dahlig, Piotr. "THE SIGNIFICANCE OF UKRAINIAN ETHNOMUSICOLOGY FOR THE DEVELOPMENT OF THIS BRANCH OF HUMANITIES IN POLAND." Problems of music ethnology 18 (December 22, 2023): 5–16. http://dx.doi.org/10.31318/2522-4212.2023.18.294818.
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The article is built as a comparative study which demonstrates a similarity of problems and clear parallelism of the Ukrainian and Polish ethnomusicology. The term „ethnomusicology” was invented in the Ukraine (1928) and it functioned in Poland already in the 1930s. The Ukrainians had begun systematic recordings of folk songs still in the Austrian Galicia at the beginning of the 20th c., in Poland the same action was undertaken in the interwar period. The system of analysis of ethnic melodies, elaborated in the Ukraine in the first decades of the 20th c., is echoed in Poland in the 1950s. We need not to speak of the influence or imitation but this wave shows rather a common cultural core and it proves to the fact that in the Ukraine the significance of study on folk music and traditional songs was more crucial for survival of national consciousness than in Poland, and thus the importance of folk song study was in the Ukraine, at least among its intellectual elites, perceived socially earlier than in Poland. Moreover, in the 20th and 21st centuries, the Ukrainian and Polish ethnomusicologists held common interests of and publish contributions to the study on music traditions of cultural bordelands, Carpathian Mountains, music instruments, song repertoires with its precious, unique cartography
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Moore, Robin, Luis Ricardo Silva Queiroz, John Bimbiras, Caroline Rohm, and Ashley Thornton. "Ethnomusicology and Higher Education: Challenges, Trends, and Lessons from the Humanities." Ethnomusicology 65, no. 3 (October 1, 2021): 413–43. http://dx.doi.org/10.5406/ethnomusicology.65.3.0413.
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Abstract Many authors in recent years note threats to humanistic studies within higher education. They express concern about the overproduction of PhD graduates, the increasing costs of higher education, and other topics. Ethnomusicologists are undoubtedly aware of such issues, yet as a society SEM has not engaged with related publications, nor has it collected much data on specific challenges to our own field. This essay synthesizes literature on trends within the humanities and considers its potential relevance for ethnomusicology. Then, based on interviews with faculty, as well as a 2018 survey circulated to current and former students on the SEM LISTSERV, it briefly considers the state of our discipline in terms of core training, student support, student placement, and other topics. The data suggest that many issues confronting ethnomusicologists resonate with those in other disciplines and that we would benefit from engagement with nationwide dialogues involving the future of graduate studies. Suggestions proposed are many and include an orientation of research toward issues impacting communities near one’s university, greater focus on team-based inquiry rather than individual scholarship, more active collaborations across disciplines, diverse professional training, more attention to shaping the content of K–12 education, communication with diverse audiences, and a research focus on areas of broad public concern whenever possible.
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Cooley, Allen, Hellier, Pedelty, Von Glahn, Titon, and Post. "Call and Response: SEM President's Roundtable 2018, “Humanities' Responses to the Anthropocene”." Ethnomusicology 64, no. 2 (2020): 301. http://dx.doi.org/10.5406/ethnomusicology.64.2.0301.
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Fournet, Adele. "Bit Rosie: A Case Study in Transforming Web-Based Multimedia Research into Digital Archives." American Archivist 84, no. 1 (March 1, 2021): 119–38. http://dx.doi.org/10.17723/0360-9081-84.1.119.
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ABSTRACT This article is a case study in transforming web-based multimedia research initiatives into digital institutional archives to safeguard against the unstable nature of the Internet as a long-term historical medium. The study examines the Bit Rosie digital archives at the New York University Fales Library, which was created as a collaboration between a doctoral researcher in ethnomusicology and the head music librarian at the Avery Fisher Center for Music and Media. The article analyzes how the Bit Rosie archives implements elements of both feminist and activist archival practice in a born-digital context to integrate overlooked women music producers into the archives of the recorded music industry. The case study illustrates how collaboration between cultural creators, researchers, and archivists can give legitimacy and longevity to projects and voices of cultural resistance in the internet era. To conclude, the article suggests that more researchers and university libraries can use this case study as a model in setting up institutional archival homes for the increasing number of multimedia initiatives and projects blossoming throughout the humanities and social sciences.
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Samarasinghe, Kamani. "A Review of the International Music Conference Themed “Symbiosis of Arts and Cultures: Nurturing Expression, Connection, and Well-being”." Journal of Research in Music 2, no. 1 (January 31, 2024): 54–62. http://dx.doi.org/10.4038/jrm.v2i1.26.
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The 5th International Conference of Faculty of Music, University of the Visual & Performing Arts 2023 (ICFM-2023) was held in the Faculty of Music premises in Colombo from 22 to 23 November 2023 with the main theme ‘Symbiosis of Arts and Cultures: Nurturing Expression, Connection, and Well-being’, brought together an assembly of over a hundred scholars and researchers from India and Sri Lanka and some other countries. The conference featured nineteen sessions delving into various dimensions of the musical landscape with the hope of fostering profound discussions across diverse areas such as music education, pedagogy, musicology, ethnomusicology, performing arts, music and technology, well-being and society, interdisciplinary connections in humanities, social and library sciences, exploring performing arts (including dance, theater and beyond), intangible cultural heritage with a focus on preservation and promotion, and visual art with interdisciplinary expression. Additionally, the program explored theoretical and practical aspects of music and dance therapy. Most participants shared their latest research in person, while some presented online. This conference enriched the knowledge of the participants as well as provided a platform for presenting studies on music and allied subject-related topics. Future music symposia can also introduce a wide variety of sessions to promote and inspire future researchers.
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Shelemay, Kay Kaufman. ": Ethnomusicology and Modern Music History . Stephen Blum, Philip V. Bohlman, Daniel M. Neuman." American Anthropologist 94, no. 3 (September 1992): 740–41. http://dx.doi.org/10.1525/aa.1992.94.3.02a00560.
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Stige, Brynjulf. "Dancing the Drama and Singing for Life: On Ethnomusicology and Music Therapy." Nordic Journal of Music Therapy 17, no. 2 (July 2008): 155–71. http://dx.doi.org/10.1080/08098130809478206.
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Vrekalić, Andreja. "The boundaries of disciplines in Croatia: on ethnomusicology in music therapy and vice versa." Nordic Journal of Music Therapy 25, sup1 (May 30, 2016): 154. http://dx.doi.org/10.1080/08098131.2016.1180206.
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Loeb, Laurence D. ": Worlds of Music: An Introduction to the Music of the World's Peoples . Jeff Todd Titon. ; Problems of Ethnomusicology: Constantin Brailoiu . A. L. Lloyd." American Anthropologist 88, no. 1 (March 1986): 247–48. http://dx.doi.org/10.1525/aa.1986.88.1.02a00850.
Full textDissertations / Theses on the topic "Humanities -> music -> ethnomusicology"
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Dvorin-Spross, Miriam. "Tune, tot and kin : constructing music praxis in a humanities course for undergraduate nonmusic majors /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11405.
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Sosso, Lorenzo. "Towards Selfishness and 'Materiality' : A diachronic study on the evolution of pop music lyrics in America (from 1970 to 2020)." Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44015.
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Chamberlin, Phillip Mark. "Folk Wiki : the shared traditions of folk music and the Wiki way." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001822.
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Eriksson, Karin. "Sensing Traditional Music Through Sweden's Zorn Badge : Precarious Musical Value and Ritual Orientation." Doctoral thesis, Uppsala universitet, Institutionen för musikvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-319842.
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This thesis investigates the multiple and contested spaces of belonging that may be evoked by ritualised musical performance. It makes an ethnographic case study of the Zorn Badge Auditions in Sweden, in which musicians play before a jury in the hope of being awarded a Zorn Badge and a prestigious but also contested title: Riksspelman. Building on theories of ritual and performance in combination with Sara Ahmed’s theorisation of orientation, the thesis attends to sensory ways of experiencing and knowing music while tracing the various ways in which Swedish traditional music is performed, felt, heard, sensed and understood in audition spaces. It draws on interviews with players and jury members, participant observations of music auditions and the jury’s deliberations, showing how musical value is negotiated through processes of inclusion and exclusion of repertoires, instruments and performance practices. The study also illuminates how anxiety and uncertainties are felt on both sides of the adjudication table. The auditions trigger feelings of belonging and harmony, but also rupture and distance. A brimming of felt qualities contributes to the sensing of history, tradition, memory, place and geography, as well as close emotional connections between music and individual performers. The thesis reveals how gradual adaptation, and the lived experiences of time within tradition, allow the Zorn institution to negotiate change and thereby maintain its position within Swedish society.
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Hernly, Patrick Michael. "World Percussion Approaches in Collegiate Percussion Programs: A Mixed-methods Study." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4070.
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As world percussion has grown in popularity in American colleges and universities, two main problems have emerged. The first problem is that no known source exists detailing how percussion instructors have incorporated world percussion into their collegiate teaching. A review of the literature has highlighted four main approaches to incorporating world percussion in collegiate percussion programs: applied study, group performance, travel experiences, and guest expert visits. The second problem is that systematic research on world percussion traditions has been carried out much more often by music education researchers, anthropologists, and ethnomusicologists than by percussionist-performers, so the relationship between theory and reality regarding the teaching of world percussion by collegiate percussion instructors is called into question. Via an exploratory mixed-methods design, this dissertation investigated the practical approaches most commonly utilized by percussion instructors to teach world percussion in their collegiate percussion programs, as well as the practical and philosophical reasons behind their decisions. Questionnaires were distributed to 1,032 collegiate percussion instructors in the United States with 518 respondents (N=518); descriptive statistics were utilized to determine the relative popularity of the four main approaches mentioned in the percussion literature. Interviews were conducted with collegiate world percussion instructors (N = 11), selected via stratified random sampling, regarding their practical and philosophical approaches to teaching world percussion. Content coding of interview data was utilized to search for emergent themes and meta-themes. Findings regarding the instructors' practical approaches toward the incorporation of world percussion in their programs included decisions about what world percussion instruments and styles to present, settings in which to present them, when to present world percussion and how much world percussion to include in relation to core areas, and breadth versus depth of world percussion. Findings regarding instructors' philosophical orientations included rationales for world percussion and issues of authenticity. Conclusions include that instructors' main rationales for incorporating world percussion into their programs were musical well-roundedness and employability as performers and educators, while understanding authentic musical processes in cultural context was also an important dimension. Implications were also discussed, and suggestions for further research were also included.
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Melendez, Elisa M. "For Those About to Rock: Gender Codes in the Rock Music Video Games Rock Band and Rocksmith." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3685.
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This dissertation explores gender codes within the intersection of two American pop culture staples, video games and rock music, by conducting a feminist analysis of two video games (Rock Band and Rocksmith). Both video games and rock music have had their share of feminist academic critique: Musicologists point out how lack of canonical inclusion, gendered attitudes towards instruments, and messages from supporting media create an unwelcome environment for women to pursue a rock music career. Game studies scholars have examined similar attitudes, including a lack of women represented in both the video games and the studios that create them.
Through a mix of creator and player interviews, participant observation, content analysis, and autoethnography, I look at the intersection of these two literatures (the rock music video game) to see how gender is hard-coded into the game, and what opportunities, if any, exist for subversion of societal and industry gender norms. Through not just looking at the game as text, I present a more “thick description” of a video game that takes into account the creators of the games, the players that play them, and a researcher that occupies multiple identities within the space. I argue that, in an effort to replicate an authentic rock musician experience in a video game, Rock Band and Rocksmith often replicate a lot of these gendered messages. The games’ text and set list emphasize a male-centric rock music canon. Rocksmith’s original whiskey-soaked visual design and marketing skew heavily towards an older male demographic. However, resistances to these codes exist in both the players who defy expectations by showing up to perform and compete, as well as the creators who actively work to make these games more inclusive via changes to future games as well as inclusive hiring practices, marketing, and music sourcing (with varying degrees of success).
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Curtet, Johanni. "La transmission du höömij, un art du timbre vocal : ethnomusicologie et histoire du chant diphonique mongol." Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00949955.
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Cette thèse est une étude ethnomusicologique à dimension historique portant sur la transmission globale du höömij en Mongolie. Pour expliquer l'évolution de cette technique vocale, sont explorés les légendes, les conceptions autochtones, l'histoire des années 1950 au début des années 2010 et la mise en patrimoine pour l'avenir.La première partie montre comment le chant diphonique prend forme dans sa culture. Perçu comme un art du timbre par ses détenteurs, il entretient des relations avec la nature, ainsi qu'un ensemble de techniques vocales et instrumentales issues des contextes rituel et pastoral. Ces fondements du höömij sont ensuite examinés à la lumière de l'histoire de la Mongolie. Entre les périodes soviétique etcontemporaine, la deuxième partie brosse les changements survenus dans la pratique, entre la scène et l'enregistrement. À côté de l'usage rural, se développe une nouvelle forme professionnelle. Tous ces apports ont façonné le chant diphonique mongol dans son état actuel. La troisième partie étudie la transmission à travers l'enseignement et la patrimonialisation. Les maîtres évoluent entre deux pôles : un village de l'Altaï perçu comme le lieu des origines, et une université d'Ulaanbaatar, qui académise la pratique et diffuse son modèle au niveau national. Tout cela participe au processus de patrimonialisation du höömij, desa constitution en emblème musical sous la période soviétique à son inscription sur la liste du Patrimoine Culturel Immatériel de l'Unesco. Le höömij mongol apparaît dans toute sa contemporanéité
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Saidel, Deborah J. "Women in Music: Letting a Long Story Be Long Contemplating Women’s Sonic, Musical, and Spiritual Experiences in Prehistory." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5635.
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Situated within deep history, this study explores the auditory and spiritual lives of Paleolithic women. It considers their personal agency in mediating the spiritual power of sound and how doing so contributes to a multifaceted musicality. The theoretical framework involves a wide spectrum of topics, from ways of rethinking the writing of history and reckoning with time, to sound studies and the study of acoustics in ancient sites, to a critical examination through a feminist lens of normative disciplinary scholarship in anthropology and archaeology, religious studies, and musicology. I explore potential audio-visual-lithic relationships for their implications for deepening an understanding of the spiritual aspects of Paleolithic life. Drawing from this interdisciplinary literature, integrative discussions are constructed which when considered collectively, not only provide different types of role models and different criteria pertaining to women's experiences of music-making, but also facilitate the emergence of a more nuanced understanding of Paleolithic spiritual practices. In this women-centric narrative innumerable generations of women's participation as spiritual healers within the shamanic musical paradigm are acknowledged and valued, broadening the parameters of women's cultural heritage and spiritual experience. This expansion can help women today turn away from a compensatory music history perspective that is oriented toward figuring out how to fit into a prescribed androcentric narrative of Western art music and turn towards a more holistic narrative in which women can better consider their lineage(s) on their own terms. It fosters re-conceptualizations of women's musical and spiritual identities by reorienting the timeline, contexts, and definition of women's experiences of music-making as sound-producers and sound-interpreters. This project is intended to provide one possible starting point for new conversations about women in music regardless of one's positionality. From a more inclusive gynocentric vantage point, the toxic self-perpetuating loop which has affected how musicology has thus far been shaped, namely through the undervaluing of women’s musical experiences and the ways that they think and feel about music, is being contested. Ultimately, it is a matter of ownership.
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Senger, Saesha. "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/150.
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This dissertation explores issues of gender politics, market segmentation, and taste through an examination of the contributions of several artists who have achieved Adult Contemporary (AC) chart success. The scope of the project is limited to a period when many artists who figured prominently in both the broader mainstream of American popular music and the more specific Adult Contemporary category were most commercially viable: from the mid-1980s through the 1990s. My contention is that, as gender politics and gendered social norms continued to change in the United States at this time, Adult Contemporary – the chart, the format, and the associated music – was an important, if overlooked or even trivialized, arena in which these shifting gender dynamics played out. This dissertation explores the significance of the Adult Contemporary format at the end of the twentieth century through analysis of chart performance, artist image, musical works, marketing, and contextual factors. By documenting these relevant social, political, economic, and musical factors, the notable role of a format and of artists neglected by scholars becomes clear.
I explore these issues in the form of lengthy case studies. Examinations of how Adult Contemporary artists such as Michael Bolton, Wilson Phillips, Matchbox Twenty, David Gray, and Mariah Carey were produced and marketed, and how their music was disseminated, illustrate record and radio industry strategies for negotiating the musical, political, and social climate of this period. Significantly, musical and lyrical analyses of songs successful on AC stations, and many of their accompanying promotional videos highlight messages about musical genre, gender, race, and age. This dissertation ultimately demonstrates that Adult Contemporary-oriented music figured significantly in the culture wars, second and third wave feminism, expressions of masculinity, Generation-X struggles, postmodern identity, and market segmentation.
This study also illustrates how the record and radio industries have managed audience composition and behavior to effectively and more predictably produce and market music in the United States. This dissertation argues that, amid broader social determinations for taste, the record industry, radio programmers, and Billboard chart compilers and writers have helped to make and reinforce certain assumptions about who listens to which music and why they do so. In addition, critics have weighed in on what different musical genres and artists have offered and for whom, often assigning higher value to music associated with certain genres, socio-political associations, and listeners while claiming over-commercialization, irrelevance, aesthetic insignificance, and bad taste for much other music.
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Swanson, Joshua. "Talk This Way: A Look at the Historical Conversation Between Hip-Hop and Christianity." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3810.
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Christianity and Hip-Hop culture are often said to be at odds with one another. One is said to promote a lifestyle of righteousness and love, while the other is said to promote drugs, violence, and pride. As a result, the public has portrayed these two institutions as conflicting with no willingness to resolve their perceived differences. This paper will argue that there has always been a healthy conversation between Hip-Hop and Christianity since Hip-Hop’s inception. Using sources like Hip-Hop lyrics, theologians, historians, autobiographies, sermons, and articles that range from Ma$e to Tipper Gore, this paper will look at the conversation between Hip-Hop and Christianity that has been ongoing for decades. This thesis will show why that conversation is essential for the church and necessary for Hip-Hop artists to express themselves fully. This paper will show rap and Hip-Hop culture to be a complex institution with its own theology, history, and prophets – that uses its own voice to express how urban youth view not only their lives but also how God and the church are present in their lives.
Books on the topic "Humanities -> music -> ethnomusicology"
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Music Autoethnographies. Australian Academic Press, 2012.
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The New (Ethno)musicologies. The Scarecrow Press, Inc., 2008.
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Kraaz, Sarah Mahler, and Charlotte de Mille, eds. The Bloomsbury Handbook of Music and Art. Bloomsbury Publishing Inc, 2024. http://dx.doi.org/10.5040/9781501377747.
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This volume brings together prominent scholars, artists, composers, and directors to present the latest interdisciplinary ideas and projects in the fields of art history, musicology and multi-media practice. Organized around ways of perceiving, experiencing and creating, the book outlines the state of the field through cutting-edge research case studies. For example, how does art-music practice / thinking communicate activist activities? How do socio-economic and environmental problems affect access to heritage? How do contemporary practitioners interpret past works and what global concerns stimulate new works? In each instance, examples of cross or inter-media works are not thought of in isolation but in a global historical context that shows our cultural existence to be complex, conflicted and entwined. For the first time cross-disciplinary collaborations in ethnomusicology-anthropology, ecomusicology-ecoart-ecomuseology and digital humanities for art history, musicology and practice are prioritized in one volume.
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DeLorenzo, Lisa. Giving Voice to Democracy in Music Education: Diversity and Social Justice in the Classroom. Taylor & Francis Group, 2015.
Find full textBook chapters on the topic "Humanities -> music -> ethnomusicology"
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Moore, Robin. "Rethinking the Engagement of Ethnomusicologists with Performance and Applied Music Curricula." In Voices of the Field, 219–37. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526682.003.0013.
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Music schools and conservatories in the United States and abroad focus primarily on training performers; one of the reasons ethnomusicologists have had such difficulty expanding their employment opportunities in such institutions is because they have not given enough thought to how they can productively contribute to performance curricula. The field of ethnomusicology has engaged creatively with many subdisciplines in the humanities and social sciences, of course. But while this focus has resulted in insightful publications, it has typically held little immediate relevance for performers. A surprising number of ethnomusicology programs do not encourage applied music-making of any sort as a required part of training in the discipline. In general, ethnomusicology does not dialogue sufficiently with applied music faculty or students. This chapter begins with reflection on what aspiring performers of the twenty-first century need to know in order to be professionally successful and continues with a consideration of how coursework offerings by ethnomusicologists can be retooled so as to contribute directly to the requirements of students in BM programs: to ear training, music theory, orchestration, junior and senior recitals, and so on. Lastly, the chapter covers an approach to teaching world music courses that focuses both on applied performance and on pressing contemporary issues (community outreach, social justice, financial exploitation, etc.) that link world traditions to other repertoires and make their relevance immediately apparent.
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Davies, Stephen. "Introduction." In Themes in the Philosophy of Music, 1–8. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199241576.003.0001.
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Abstract I had always intended to study music at university, and so I did. In my first degrees I specialized in musicology and ethnomusicology—history, theory, and analysis. But in my first year I found myself needing a subject in the humanities to complete my enrollment. The philosophy courses sounded interesting, so I took them. What a pleasant revelation they were. Here were people who shared my interest in analyzing and debating arguments and my fascination with questions about personal identity, determinism, God’s existence, and the like. Moreover, from the second year, courses in aesthetics were offered. Though I needed to satisfy the general requirements for a major, and later honors, in philosophy, it was the comparatively marginal area of philosophy of art that most attracted me.
Conference papers on the topic "Humanities -> music -> ethnomusicology"
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Irawati, Eli. "Ethnomusicology and Music Ecosystem." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008546200880094.
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