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ANTH398D/2A Meeting 5 (draft)

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ANTH398D/2A Meeting 5 (draft)

  1. 1. ANTH398D - Ethnomusicology Meeting 5 – Conservative October 2, 2007
  2. 2. Presentations <ul><li>Past </li></ul><ul><ul><li>David Huron </li></ul></ul><ul><ul><li>Journée d’études québécoises en musique </li></ul></ul><ul><li>Future </li></ul><ul><ul><li>Pop & Policy </li></ul></ul><ul><ul><li>Éthique, droit et musique (Oct. 18-21, register by Oct. 5) </li></ul></ul>
  3. 3. Kingsbury Themes <ul><li>Critical Thinking </li></ul><ul><li>Making Links </li></ul><ul><li>List, switch, then back </li></ul>
  4. 4. Ethnomusicology as Discipline Musical Ethnography
  5. 5. Ethnographic disciplines <ul><li>Cultural Anthropology </li></ul><ul><li>Linguistic Anthropology </li></ul><ul><li>Folkloristics </li></ul><ul><li>Ethnomusicology </li></ul><ul><li>Ethnohistory </li></ul>
  6. 6. Musical Ethnography <ul><li>Defining ethnomusicology through ethnography </li></ul><ul><li>“ Classic&quot; ethnomusicology </li></ul><ul><li>Clear academic Other (musicologists) </li></ul><ul><li>Fieldwork on Music </li></ul>
  7. 7. Differences with Cultural Anthropology? <ul><li>Play together </li></ul><ul><li>Reciprocity through music </li></ul><ul><li>Recordings </li></ul><ul><li>Transcription </li></ul><ul><li>Defending armchair? </li></ul>
  8. 8. Disciplinary Differences <ul><li>Relationship to psychology, folkloristics </li></ul><ul><li>Non-academic researchers </li></ul><ul><li>SEM/ICTM (vs. AAA) </li></ul><ul><li>Technology and material culture (including instruments) </li></ul><ul><li>Less on current social issues </li></ul><ul><li>Moving on with inequalities </li></ul>
  9. 9. Participation and Performance <ul><li>Mantle Hood </li></ul><ul><li>Bi-musicality </li></ul><ul><li>Aesthetics </li></ul><ul><li>Dialogue </li></ul><ul><li>Competence </li></ul>
  10. 10. Defining Ethnomusicology <ul><li>Historical parallels with anthro </li></ul><ul><li>Traditional, oral, ethnic </li></ul>
  11. 11. How Become Ethno? <ul><li>Musician </li></ul><ul><ul><li>Frustrated or not </li></ul></ul><ul><li>Discovered other music </li></ul><ul><li>Exposure to Culture </li></ul><ul><li>Learn about anthropology </li></ul><ul><li>Bi-musicality </li></ul><ul><li>Inclusive (women, non-US, practitioners) </li></ul>
  12. 12. Credo <ul><li>Holism (Total musical systems) </li></ul><ul><li>Music in a culture </li></ul><ul><li>Fieldwork </li></ul><ul><li>All musics </li></ul>
  13. 13. Changes Credo <ul><li>Holism as backdrop </li></ul><ul><li>Studies on specific issues </li></ul><ul><li>Cultures not bound </li></ul><ul><li>Return non-fieldwork? </li></ul><ul><li>Include any music </li></ul>
  14. 14. World Music <ul><li>Creation of Otherness </li></ul><ul><li>West/Non-West </li></ul><ul><li>Broad View of Music </li></ul><ul><li>Music itself </li></ul><ul><li>Music and/as/in culture </li></ul>
  15. 15. “ World Music” <ul><li>Music industry </li></ul><ul><li>Appropriation </li></ul><ul><li>Empress of Russia </li></ul>
  16. 16. Kingsbury <ul><li>First year, Kingsbury for Music People </li></ul><ul><li>Ethnography of WAM people </li></ul><ul><ul><li>Methodology </li></ul></ul><ul><ul><li>“ Boundable entities” </li></ul></ul><ul><ul><li>Impostor Syndrome </li></ul></ul><ul><li>Career </li></ul><ul><ul><li>Ethnomusicology? </li></ul></ul>
  17. 17. Issues <ul><li>Peace </li></ul><ul><ul><li>Musical activism </li></ul></ul><ul><ul><li>Barenboim-Said West-Eastern Divan Workshop and Orchestra </li></ul></ul><ul><li>Anecdote on “music“ </li></ul>
  18. 18. Fieldwork <ul><li>“ We're the savages, now?” </li></ul><ul><li>“ I don't want to be studied” </li></ul><ul><li>Observing Rehearsals </li></ul><ul><li>Verbalizing music (TAMILDAA) </li></ul>
  19. 19. Conservatories <ul><li>Music school as village in itself </li></ul><ul><li>“ Tribe” </li></ul><ul><li>Personal relationships </li></ul><ul><li>Community, communitas </li></ul><ul><li>Hierarchies </li></ul><ul><li>Insider/outsider </li></ul><ul><li>“ Get with the program” </li></ul>
  20. 20. Talent <ul><li>Technique vs. musicality </li></ul><ul><li>&quot;Innate/gift“ </li></ul><ul><li>Expertise </li></ul><ul><li>Not cognitive ability ( Philip Ross in SciAm, other references) </li></ul><ul><li>Practise </li></ul><ul><li>Objective evaluation </li></ul>
  21. 21. Learning <ul><li>Notation </li></ul><ul><li>Repertoire </li></ul><ul><li>Playing </li></ul><ul><li>Oral transmission </li></ul><ul><li>Music school </li></ul><ul><li>Samba school </li></ul>
  22. 22. WAM <ul><li>Pure music </li></ul><ul><ul><li>Music itself </li></ul></ul><ul><ul><li>Intra-musical (Buffoons) </li></ul></ul><ul><li>Sophistication </li></ul><ul><li>Social class </li></ul><ul><li>Music training </li></ul><ul><li>Music appreciation </li></ul><ul><li>Qc WAM on TQc </li></ul><ul><li>Job as musician </li></ul>
  23. 23. Music Specialists <ul><li>Religious parallels </li></ul><ul><li>Time spent </li></ul><ul><li>Status </li></ul><ul><li>Music-thinking </li></ul><ul><li>Creativity </li></ul><ul><li>Individualism </li></ul>
  24. 24. Musicking <ul><li>Participation </li></ul><ul><li>Dilettante, Amateur </li></ul><ul><li>Garage Band </li></ul><ul><li>Musical instruments </li></ul><ul><li>Player piano </li></ul><ul><li>Electric guitar sales </li></ul><ul><li>Sandbox </li></ul><ul><ul><li>Playfulness </li></ul></ul><ul><ul><li>Freedom </li></ul></ul>
  25. 25. Euro-American Conceptions of Musicians <ul><li>Hedonism </li></ul><ul><li>Money </li></ul><ul><li>Purity </li></ul><ul><li>Specialisation </li></ul><ul><li>Performance </li></ul>
  26. 26. Stereotypical portrait of WAM musician <ul><li>Pro </li></ul><ul><li>Geek </li></ul><ul><li>Nerd </li></ul><ul><li>Brainy </li></ul><ul><li>Bourgeois </li></ul><ul><li>Reactionary </li></ul><ul><li>Effeminate </li></ul><ul><li>Asexual </li></ul><ul><li>Technically proficient </li></ul><ul><li>Can generate emotions </li></ul>
  27. 27. Rockstar <ul><li>Heavily sexualized </li></ul><ul><li>Anti-intellectual </li></ul><ul><li>Emotional </li></ul><ul><li>Virile </li></ul><ul><li>Rebel </li></ul><ul><li>Working class </li></ul><ul><li>Deviant </li></ul>
  28. 28. Other Actors <ul><li>Promoters </li></ul><ul><li>Venue owners </li></ul><ul><li>Managers </li></ul><ul><li>VJs </li></ul><ul><li>Music critics </li></ul>
  29. 29. Playlist <ul><li>Ste No. 1- I: Prelude (BVW 1007), J.S. Bach Mstislav Rostropovich </li></ul><ul><li>Sequenza III (per voce solo) (Luciano Berio), Cathy Berberian </li></ul><ul><li>1ère Gnossienne, Erik Satie, Daniel Varsano </li></ul><ul><li>Sonatine bureaucratique, Erik Satie, Daniel Varsano </li></ul><ul><li>My Bonny Lass She Smelleth, PDQ Bach </li></ul><ul><li>The Planets: Jupiter, the Bringer of Jollity, Gustav Holst </li></ul><ul><li>Contrapunctus 9, Canadian Brass </li></ul><ul><li>Contrapunctus 9, Saxophne Quartet </li></ul><ul><li>Concertino da camera - Allegro con molto, John Harle & Academy of St Martin in the Fields/Marriner </li></ul><ul><li>Quatuor- IV. Variation II, Quatuor Alexandre </li></ul><ul><li>Saxoctet : 3e mvt, José Évangélista </li></ul><ul><li>Manu militari, Louis Dufort </li></ul><ul><li>The Unknown Pedestrian, Alexandre Burton </li></ul>

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