Ethnomusicology
Ethnomusicology (from Greek ἔθνος ethnos ‘nation’ and μουσική mousike ‘music’) is the multidisciplinary study of music in its cultural context, investigating social, cognitive, biological, comparative, and other dimensions involved other than sound. Ethnomusicologists study music as a reflection of culture and investigate the act of musicking through various immersive, observational, and analytical approaches drawn from other disciplines such as anthropology to understand a culture’s music. This discipline emerged from comparative musicology, initially focusing on non-Western music, but later expanded to embrace the study of any and all different kinds of music of the world.
Definition[edit]
Stated broadly, ethnomusicology may be described as a holistic investigation of music in its cultural contexts.[1] The term ethnomusicology itself can be broken down as such: 'ethno' = people, and 'musicology' = the study of music. Thus, in the process of developing the study of music and people, the field of ethnomusicology combines perspectives from a wide variety of disciplines such as folklore, psychology, cultural anthropology, linguistics, comparative musicology, music theory, and history.[2][3] This disciplinary variety has resulted in several distinct definitions of ethnomusicology. As follows, there has not often been a unified definition of ethnomusicology within the field itself. Attitudes and foci of ethnomusicologists have evolved since initial studies in the area of comparative musicology in the early 1900s. For example, in 1956, Willard Rhodes provided his perspective on the definition of ethnomusicology, stating that it is a theoretical and empirical study amalgamating both musicology and anthropology.[4] Then, in 1983, Bruno Nettl characterized ethnomusicology as a product of Western thinking, proclaiming that "ethnomusicology as western culture knows it is actually a western phenomenon."[5] Later, in 1992, Jeff Todd Titon simply described ethnomusicology as the study of "people making music".[6]
While there still is not a unified, authoritative definition for ethnomusicology, a number of constants appear in the definitions frequently adopted by leading scholars in the field. It is agreed upon that ethnomusicologists look at music from beyond a purely theoretical, sonic, or historical perspective. Instead, these scholars look at music within culture, music as culture, and music as a reflection of culture.[7][8] In other words, ethnomusicology was developed as the study of all music as a human social and cultural phenomenon.
Rhodes,[9] in 1956, had described ethnomusicology as a fusion between musicology and cultural anthropology. He focused on the scientific study of music and the interpretation of the cultural phenomena within. However, he called for a broader view that emphasizes "music as an emotional expression." This notion is highly similar to that of Merriam's [10] 1960 extension of ethnomusicology, which views it as "the study of music in culture," that emphasized its pivotal role in human nature and the fact that musicology is primarily a human centric endeavour.
Merriam's 1964 work [11] redefined ethnomusicology and highlighted its importance in cultural anthropology in understanding music within different socio-cultural communities. He distinguished and showcased its distinct nature from that of comparative musicology by emphasizing the influence of social and cultural factors on music and how human centric it is. Hood's 1971 perspective, [12] emphasized the significance of direct engagement and performance of the intended music to be studied as a means of ethnomusicological research, having the realization that studying it academically was necessary but so was the direct act of performance. This came into direct opposition to some of his peers of the past. Hood addressed this by stressing the need to unlearn Western musical conventions when studying non-Western traditions showcasing the inevitable arguments that may arise in the future on the nature of ethnomusicological research.
In addition, many ethnomusicological studies share common methodological approaches encapsulated in ethnographic fieldwork. Scholars of ethnomusicology often conduct their primary fieldwork among those who make the music, learning languages and the music itself. Ethnomusicologists also take on the role of a participant observer in learning to perform in a musical tradition, a practice Mantle Hood termed "bi-musicality".[13] Musical fieldworkers also collect recordings and contextual information about the music of interest.[7] Thus, ethnomusicological studies do not rely on printed or manuscript sources as the primary source of epistemic authority, but rather, the focus is on qualitative practice-based research methods.
Academic programs[edit]
Many universities around the world offer ethnomusicology classes, offering both graduate and undergraduate degree-granting options, and act as centers for ethnomusicological research. [251] The Society of Ethnomusicology maintains a list of such programs.[251] At the undergraduate level, students pursuing degrees in ethnomusicology often enroll in programs housed within Departments of Music. These programs provide a solid foundation in music theory, history, and performance, with an emphasis on world music traditions. For graduate students seeking more advanced training, master's and Ph.D. programs specifically in ethnomusicology are commonly available. These advanced programs delve into a wide range of subjects, including in-depth research design, music transcription and analysis, the exploration of cultural interactions, and the utilization of specialized ethnomusicological tools. Students also engage with music studies theory, and they can choose from a variety of electives and area studies to tailor their education to their specific interests. Proficiency in at least two languages is often required to conduct research in diverse cultural contexts, and students are encouraged to pursue independent research projects. The culmination of their academic journey typically involves the completion of a dissertation that contributes to the field's body of knowledge.
In popular culture[edit]
In popular culture, ethnomusicology has made its presence felt not only through references in media (The movie Songcatcher is loosely based on the work of an early ethnomusicologist), but also through its role in shaping the intellectual community within the Society for Ethnomusicology (SEM) that places a focus on elements of popular culture.[252] SEM has recently established a section dedicated to the study of popular music, which serves as a platform for members who share common interests in the analysis and research of popular music in various dimensions.
Other notable mentions of the field of ethnomusicology include several films, one of which is "The Buena Vista Social Club" (1999). Directed by Wim Wenders, this film delves into traditional Cuban music as well as illustrates the ethnomusicological elements in its portrayal of musicians and their cultural backbones. Another noteworthy body of work heavily influenced by ethnomusicology is Paul Simon's album, "Graceland" (1986). Incorporating elements of South African music, Simon displays the significance of ethnomusicology in popularizing and amalgamate diverse musical traditions.
In terms of direct musical practice, the Kronos Quartet has exhibited many connections to the practice of ethnomusicology. Throughout their years, many collaborations have occurred between the members of the quartet and traditional musicians from around the world. This exemplifies the cross-cultural nature of ethnomusicological research; "Pieces of Africa" (1992) is an album by the Kronos Quartet that clearly exhibits these qualities. Global music festivals pertaining to ethnomusicology also occur, most notably, WOMAD (World of Music, Arts, and Dance). This yearly festival showcases a diverse range of artists and genres from around the world. This contributes to the rising popularity of ethnomusicological perspectives on a global scale.
Ethnomusicology has also had its fair share of representation in literature and media. In Karen Hesse's novel, "The Music of Dolphins," the main protagonist is an ethnomusicologist researching the musical communication of dolphins, exemplifying ethnomusicology in fictional literature. Another work of literature with ethnomusicological components is "The Power of the Daleks" by Alaya Dawn Johnson. This science fiction novel, published in 2017, also presents an ethnomusicologist as its main protagonist. June Costa, the said protagonist, lives in a future society where art and creativity are tightly monitored. This novel revolves around the storyline of June Costa finding the hidden power of music as well as its potential to spur up change in a dystopian world.
This section explores the ethnomusicological study of popular music and delves into the concrete social activities of musical participants and encompasses both mass-mediated music and locally developed musical traditions. This section also explores music evolving outside established institutional power structures, music emerging within the international industry, music developing with limited forms of institutionalized pedagogy and orally transmitted traditions.
Research within this section fosters greater interdisciplinary interactions among popular music scholars and encourages the development of innovative approaches to studying popular music that transcend traditional disciplinary boundaries. The research encompasses non-Western popular music, Western popular forms, and musical practices at all levels of social life, including the local, regional, national, and transnational contexts.
For articles on significant individuals in this discipline, see the List of ethnomusicologists.