This document summarizes the topics discussed at a meeting for an ethnomusicology course. Some of the key topics included: - Defining ethnomusicology through ethnographic fieldwork and how it differs from cultural anthropology. - Issues related to the discipline such as its relationship to other fields like psychology and folkloristics. - How one becomes an ethnomusicologist and different career paths in the field. - Changes in the field over time from a traditional focus on oral and ethnic musics to a broader view that can include any music.

1. ANTH398D - Ethnomusicology Meeting 5 – Conservative October 2, 2007

2. Presentations Past David Huron Journée d’études québécoises en musique Future Pop & Policy Éthique, droit et musique (Oct. 18-21, register by Oct. 5)

3. Kingsbury Themes Critical Thinking Making Links List, switch, then back

4. Ethnomusicology as Discipline Musical Ethnography

5. Ethnographic disciplines Cultural Anthropology Linguistic Anthropology Folkloristics Ethnomusicology Ethnohistory

6. Musical Ethnography Defining ethnomusicology through ethnography “ Classic" ethnomusicology Clear academic Other (musicologists) Fieldwork on Music

7. Differences with Cultural Anthropology? Play together Reciprocity through music Recordings Transcription Defending armchair?

8. Disciplinary Differences Relationship to psychology, folkloristics Non-academic researchers SEM/ICTM (vs. AAA) Technology and material culture (including instruments) Less on current social issues Moving on with inequalities

9. Participation and Performance Mantle Hood Bi-musicality Aesthetics Dialogue Competence

10. Defining Ethnomusicology Historical parallels with anthro Traditional, oral, ethnic

11. How Become Ethno? Musician Frustrated or not Discovered other music Exposure to Culture Learn about anthropology Bi-musicality Inclusive (women, non-US, practitioners)

12. Credo Holism (Total musical systems) Music in a culture Fieldwork All musics

13. Changes Credo Holism as backdrop Studies on specific issues Cultures not bound Return non-fieldwork? Include any music

14. World Music Creation of Otherness West/Non-West Broad View of Music Music itself Music and/as/in culture

15. “ World Music” Music industry Appropriation Empress of Russia

16. Kingsbury First year, Kingsbury for Music People Ethnography of WAM people Methodology “ Boundable entities” Impostor Syndrome Career Ethnomusicology?

17. Issues Peace Musical activism Barenboim-Said West-Eastern Divan Workshop and Orchestra Anecdote on “music“

18. Fieldwork “ We're the savages, now?” “ I don't want to be studied” Observing Rehearsals Verbalizing music (TAMILDAA)

19. Conservatories Music school as village in itself “ Tribe” Personal relationships Community, communitas Hierarchies Insider/outsider “ Get with the program”

20. Talent Technique vs. musicality "Innate/gift“ Expertise Not cognitive ability ( Philip Ross in SciAm, other references) Practise Objective evaluation

21. Learning Notation Repertoire Playing Oral transmission Music school Samba school

22. WAM Pure music Music itself Intra-musical (Buffoons) Sophistication Social class Music training Music appreciation Qc WAM on TQc Job as musician

23. Music Specialists Religious parallels Time spent Status Music-thinking Creativity Individualism

24. Musicking Participation Dilettante, Amateur Garage Band Musical instruments Player piano Electric guitar sales Sandbox Playfulness Freedom

25. Euro-American Conceptions of Musicians Hedonism Money Purity Specialisation Performance

26. Stereotypical portrait of WAM musician Pro Geek Nerd Brainy Bourgeois Reactionary Effeminate Asexual Technically proficient Can generate emotions

27. Rockstar Heavily sexualized Anti-intellectual Emotional Virile Rebel Working class Deviant

28. Other Actors Promoters Venue owners Managers VJs Music critics

29. Playlist Ste No. 1- I: Prelude (BVW 1007), J.S. Bach Mstislav Rostropovich Sequenza III (per voce solo) (Luciano Berio), Cathy Berberian 1ère Gnossienne, Erik Satie, Daniel Varsano Sonatine bureaucratique, Erik Satie, Daniel Varsano My Bonny Lass She Smelleth, PDQ Bach The Planets: Jupiter, the Bringer of Jollity, Gustav Holst Contrapunctus 9, Canadian Brass Contrapunctus 9, Saxophne Quartet Concertino da camera - Allegro con molto, John Harle & Academy of St Martin in the Fields/Marriner Quatuor- IV. Variation II, Quatuor Alexandre Saxoctet : 3e mvt, José Évangélista Manu militari, Louis Dufort The Unknown Pedestrian, Alexandre Burton