Do we know what `Ethnomusicology' really is?
What is the functionally, politically and formatively correct definition of `Ethnomusicology'? Ethnomusicology has been defined in many ways; its varied interpretations arise due to the difference in opinion held by the advocates of these definitions. Although `it is a recognized discipline in the field of music, ethnomusicologists, anthropologists, musicologists and other academics within and outside the field have yet to find an undisputed and universally accepted definition and identity for the term `Ethnomusicology'. According to the Merriam Webster dictionary, the term `definition' is a "statement expressing the essential nature of something"; keeping this exegesis in mind I aim to find an apt interpretation for the term `Ethnomusicology'.
Let me first put forward the proposed definitions of the term as they stand today, and cite the inconsistencies that exist in them. `Ethnomusicology' has often been described as " a study of a music foreign to one's own", in pretext of widely held beliefs this definition might be true however it does have a loophole; that being, we find some scholars who study the music of their own culture, (usually the music of a group outside the framework of western, educationally elite strata), aware to this fact a formal use of this definition would not be appropriate. Another popular rendition of the term states that " `Ethnomusicology' is the study of music that exists in oral tradition", this particular explication in my opinion does not hold true since in many music cultures the world over, oral tradition is an important component that complements the use of notation. Moving on we find other schools of thought advocat...
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...he arguments put forth in their entirety that `Ethnomusicology' is the study of people making music in and as a culture; the study of the sounds of music they are making, and that of the whole process and contexts through and within which music is imagined, discussed and made. Studying individuals and societies all around the world, aiming to discover what music means to particular groups of people - what part it plays in their lives and their attitude towards it. I feel this definition comprehensively deals with all the aspects of `Ethnomusicology' that confirm to the universally subscribed opinions held by various academics in the field. Thus owing to the accretion of facts and possibilities that I have encountered, some of which I have rebuked, I propose the above-mentioned definition to be a comprehensive and illustrative rendition of the term `Ethnomusicology'.
1. Music is a strictly local expression, rich in variety since each culture expresses affective differences through art, 2. Music is a poetic process--complex, vague, and irrational--based upon borrowed traditional musical materials (melodies, rhythms, forms, etc.), 3. Music is for a religious, elitist-class performer who can understand and appreciate its mysterious nature and power, 4. Music is played softly in intimate gatherings, 5. Music making is the activity of Everyman, exacting the talents of variously trained amateurs who, with industry and practice, decorate their recreation and leisure in moments of social intercourse.
Ethos: The credibility of Anti-Flag, as of right now, is growing enormously. All the other punk bands look to these guys and marvel at how much they are defending their beliefs. For example, a person is watching his or her favorite band play and he or she begins to talk of how great Anti-Flag is. Immediately one could pick up on that and want to get to know more about Anti-Flag. It is a chain reaction of learning about other bands through bands that he or she already knows. If Anti-Flag are respected by bands that were the original punk-rockers such as Bad Religion, NOFX, and The Clash, then they will be admitted into the fan base of such bands. As long as a band can get a well known band to show favor, the band will be more accepted by the fan-base community. This is ironic because the band does not have to make good music as long as a respected band likes them.
“Together the matrices of race and music occupied similar position and shared the same spaces in the works of some of the most lasting texts of Enlightenment thought..., by the end of the eighteenth century, music could embody differences and exhibit race…. Just as nature gave birth and form to race, so music exhibited remarkable affinities to nature” (Radano and Bohlman 2000: 14). Radano and Bohlman pointed out that nature is a source of differences that give rise to the different racial identities. As music embodies the physical differences of human, racial differences are not only confined to the differences in physical appearances, but also the differences in many musical features, including language, tonality and vocal expression. Nonetheless, music is the common ground of different racial identities. “In the racial imagination, music also occupies a position that bridges or overlaps with racial differences. Music fills in the spaces between racial distinctiveness….” (Radano and Bohlman 2000:8) Even though music serves as a medium through which different racial identities are voiced and celebrated individually, it establishes the common ground and glues the differences
Most people are familiar with the word "music", however they barely consider the definition of it. After carefully think, everyone has their own opinions on this term and it is hard to have an uniform criterion of music sounds. According to the text book, Michael B. Bakan states five propositions to define the music. The first one is about the tone and the second one talks about the music is organized in some way. The next two are claims that music is human organized and a product of human intention and perception. The last proposition argues music cannot separate from Western culture. Among these propositions, I think the music is a product of human intention and perception is most interesting and worth to discuss. So I assert that the most
The Doctrine of Ethos states that music effects character and emotion of man by way of morals or ethics. It was arranged into certain scales, each with a certain characteristic. Specific scales were said to be able to inspire rage or sadness. Some were said to inspire happiness, and one was even said to weaken the mind due to its simplicity. Greek music, of which the Doctrine of Ethos specifically talked about, wasn’t just solely instrumental. Improvising, they usually incorporated lyrics and even dance. Music was studied by the Greeks on a level that would be considered excessive in our society by all but our musicologists, ethnomusicologist, music theorists, and a small minority that take their love of music to more than just an aesthetic level. In our world, a world of empiricism and skepticism, the Doctrine of Ethos may sound a bit hard to believe. It may even sound magical and mystical, but I feel that it has some deep roots in truth. Philosophers, musicians, and even the layman have all theorized about the effect of music on the mind, body, and soul. After all, as William Congreve said in his The Mourning Bride, “Music hath charms to soothe a savage breast, to soften rocks, or bend a knotted oak.”
Music has been around since the dawn of time, ever since man first inhabited this planet we have learned to communicate in ways other then conventional speaking. Different Cultures all have there own specific way of communicating through music. Music is basically broken into two specific groups Eastern Music and Western Music. Eastern music is mainly derived from the orient and India. While, Western music first emerged from Europe. Western music has developed in many ways since the middle ages through its form, sound, and message.
The science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity. There are several different types of music. People listen to different kind of music depending on their mood. It can help take stress away too. My personal definition of music is describing how you feel and putting it into sound.
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
"Music is a common experience and a large part of societies. In fact, anthropologists note that all human communities at all times and in all places, have engaged in musical behaviours. Music as a mode of human activity is a cultural phenomenon constituting a fundamental social entity as humans create music and create their relationship to music. As cultural phenomeno...
Some may say music is just music; a song is just a song. However, music plays an enormous role in our psychology, because a single song has the ability to bring about many kinds of thoughts and emotions in the listener. Music is subtly one of the main factors in which people identify with certain groups and establish their belonging in society. It shapes people’s perspectives on how the world functions and the roles they play within it. Music can function the same way in a culture; it can reflect many of the culture’s values and ideologies. Music can have many effects on culture and the people’s idea of who they think they are within that culture. Music can serve in a way that promotes cultural identity and pride, yet it could also play a role in the separation of social and economical identities in within cultures.
This ethnography, written and told from Campbell’s point of view, shares her experiences as she sets out on her goal to study the musical culture among children in hopes to provide insight into how music plays a role in the lives of children of all different ages. This ethnography is split into three different sections, the first detailing Campbell’s different periods of observation. During her studies on the subject, Campbell spent time in different settings (such as a school bus, a cafeteria, a music class, and at a playground) in the hopes to observe their behavior and create detailed field notes in order to provide details into their interactions and their usage of music. In the second section, Campbell shares her conversations with several different children. Through these conversations, we get a taste of how music can be integrated within many different aspects of children’s lives. The third section focuses on what music means to children as well as how it can play a role or be integrated into diff...
many cultures view as an important part in their way of life. Music ranges from strictly
Throughout the semester, various styles of music and the aspects of culture associated with these styles have been analyzed. Musical elements such as dynamics, texture, form, timbre, melody, instruments, etc., have been used to thoroughly explore each kind of music from different areas of the world, with an emphasis in music from Africa, India and Indonesia. These aspects of music go far beyond just music itself. Culture also plays a huge role in music and the accompanying musical elements. Each country and culture has a different style and distinctiveness that add to what makes the music of that certain culture unique. Music in Africa may differ dramatically from music in Indonesia or India not only due to those certain elements but also due to how it is interpreted by people and what it represents for those people. In addition to this, what one may consider music in one culture may not be music to another. These differences have been made apparent in the several demonstrations that we have been exposed to in class.
The influence that music has throughout the world is immeasurable. Music evokes many feelings, surfaces old memories, and creates new ones all while satisfying a sense of human emotion. With the ability to help identify a culture, as well as educate countries about other cultures, music also provides for a sense of knowledge. Music can be a tool for many things: relaxation, stimulation and communication. But at the same time it can also be a tool for resistance: against parents, against police against power. Within the reign of imported culture, cross cultivation and the creation of the so-called global village lies the need to expand horizons to engulf more than just what you see everyday. It is important to note that the role of music in today’s world is a key tool in the process of globalization. However, this does not necessarily provide us with any reasons that would make us believe that music has a homogenizing affect on the world.
Music has played a role in society since the dawn of man. Said to be the beginning of communication in early civilization, music and dance have influenced how we think, act and treat members of our own society. Song and dance is used in rites of passage ceremonies such as births, weddings and funerals throughout the world. Jamaican and Yoruba cultures have made many contributions to our society. The uses of this music as a vehicle for political issues, values, and beliefs have been used by many musicians from different cultures. I intend to discuss the Contribution of these two contemporary cultures music and their effect on society.