1. Thinking about ethnomusicology To date through this discipline… To date through this discipline… a) we have looked at some things that strike us a strange, as unfamiliar, and as unexpected (such as?) a) we have looked at some things that strike us a strange, as unfamiliar, and as unexpected (such as?) b) we have experienced some of the world’s musics and cultures without being judgmental b) we have experienced some of the world’s musics and cultures without being judgmental

2. Points of entry We have found ways to comprehend other cultures, identifying central ideas and themes We have found ways to comprehend other cultures, identifying central ideas and themes We have found points of entry into other cultures through the music We have found points of entry into other cultures through the music We have used music as a window into the culture We have used music as a window into the culture

3. We have “practiced” being outsiders. We have “practiced” being outsiders. As you approach your projects, you will need to look at your own culture, or a subculture, as a “foreigner”. As you approach your projects, you will need to look at your own culture, or a subculture, as a “foreigner”. You must be an “ethnomusicologist at home”. You must be an “ethnomusicologist at home”. Now…

4. Atesh Sonneborn, Ph.D. "What grabbed me was the realization that there were perceptions so different from mine -- I wanted to understand that." Hooked on world music since childhood, he has made it his life. He is now head of the Folkways Collection of the Smithsonian. "What grabbed me was the realization that there were perceptions so different from mine -- I wanted to understand that." Hooked on world music since childhood, he has made it his life. He is now head of the Folkways Collection of the Smithsonian.

5. Mark Levy, UO He is an accomplished performer and teacher of Balkan folk music, specializing in the gaida (bagpipe), clarinet, zurla (keyless oboe), and other wind instruments. He is an accomplished performer and teacher of Balkan folk music, specializing in the gaida (bagpipe), clarinet, zurla (keyless oboe), and other wind instruments.

6. Bruno Nettl, Professor Emeritus of Ethnomusicology “Ethnomusicology has a significant role in musical education, as it provides for all students, no matter what their professional trajectory, a view of the musical universe as multi-faceted and diverse, and an understanding of music as an aspect of human culture related to social, spiritual, and material domains of culture.” “Ethnomusicology has a significant role in musical education, as it provides for all students, no matter what their professional trajectory, a view of the musical universe as multi-faceted and diverse, and an understanding of music as an aspect of human culture related to social, spiritual, and material domains of culture.”

7. Paul Berliner Professor of Ethnomusicology at the John Hope Franklin Center for International and Interdisciplinary Studies, and jointly, the Music Department at Duke University. Professor of Ethnomusicology at the John Hope Franklin Center for International and Interdisciplinary Studies, and jointly, the Music Department at Duke University. In the fall of 1999, he organized a two-month national American tour for an all-star Zimbabwean mbira ensemble--the first mbira ensemble to be heard in the States--and traveled with the group as performer and tour manager. The tour and the history of the author's mbira music research were the subjects of a March 17, 2000 NPR special on the program 'AfroPop Worldwide'.

8. Basic assumption for all projects Music is a group of sounds…or Music is a group of sounds…or ”humanely organized sound” ”humanely organized sound”

9. Questions to ponder Which subculture will I examine? Which subculture will I examine? At which events does the music play a part? At which events does the music play a part? Is innovation an important component in this music? Is innovation an important component in this music? Is the notion of “expert” present? Is the notion of “expert” present? Does the music change frequently? Does the music change frequently?

10. More factors Does the idea of individualism play a part? Does the idea of individualism play a part? Is the idea of conformity important? Is the idea of conformity important? Is improvisation a critical component? Is improvisation a critical component? Does the idea of virtuosity enter into this music? Does the idea of virtuosity enter into this music? Is it vital to entertain the listener? Is it vital to entertain the listener?

11. And even more What is the social context for this music? What is the social context for this music? Is everyone in the community involved in the process of music making? Is everyone in the community involved in the process of music making? Are spiritual (not only religious) beliefs vital to the particular study you have undertaken? Are spiritual (not only religious) beliefs vital to the particular study you have undertaken?

12. Concrete issues Who creates the music? Who creates the music? Which instruments are used? Which instruments are used? Is this music in a recital hall? Is this music in a recital hall? Is it on the street? Is it on the street? Is it only in a church? Is it only in a church? Does it matter? Does it matter? Is the PROCESS as important as the result? (venting hatred) Is the PROCESS as important as the result? (venting hatred)

13. Musical characteristics What is the role of: What is the role of: –melody –harmony –rhythm –repetition –call and response –text –timbre? –aesthetics?

14. As an outsider... Is it hard to gain access to your particular music? Is it hard to gain access to your particular music? How can you make the most of your time with your “informants”? How can you make the most of your time with your “informants”? How much should be simple observation? How much should be simple observation? Should my group know of my presence? Should my group know of my presence?

15. An example... Symphony orchestra easy to observe, unobserved easy access ready body of knowledge to call on concert hall, perfection individuality not emphasized one person in charge, the only one who makes no sound (go figure) sections have sub-bosses cooperation is critical NO audience participation Mennonite church not easy to observe, unobserved difficult access belief system may be foreign church, not concert can have solo no one in charge, exactly no sub-bosses want audience participation again, cooperation is critical

16. Syncretism What is it? How does it apply to music?

17. Definition Simply put, this is the belief in mixing various schools of thought Simply put, this is the belief in mixing various schools of thought attempts to merge or assert the underlying unity of several originally discrete belief systems attempts to merge or assert the underlying unity of several originally discrete belief systems

18. Syncretism is common in music Particularly for us, this is the blending of indigenous musics of the world with Western influences Particularly for us, this is the blending of indigenous musics of the world with Western influences Australian aborigines and Christian hymn influences (i.e. Maori, Native Americans show this as well) Australian aborigines and Christian hymn influences (i.e. Maori, Native Americans show this as well) Which particular aspects of syncretism does “my music” demonstrate? Which particular aspects of syncretism does “my music” demonstrate?

19. Final thoughts…. 1. Decide on a topic 2. Prepare for your fieldwork, including media needs 1.Internet, library, personal contacts 3. Do the fieldwork itself 1.Interviews 2.recordings (audio, video) 3.photographs 4. Analyze what you found 5. Disseminate your findings (this is the class presentation)