A short essay, for David Josephson's festschrift, on the European exiles from Nazi Germany, and their impact on the field of ethnomusicology in North America. My Brown University colleague David accomplished monumental research on the exiles and their impact on musicology. Conversations with him about it led me to ask how they impacted ethnomusicology.

Music, individuals and contexts: dialectical interaction, 2019, ISBN 978-88-32932-64-5, págs. 1-8, 2019

Volume realizzato con il patrocinio dell'Associazione "Ricerca Continua. Alumni Lettere e Filosofi a Tor Vergata"

Notes, 2012

In 1962, only a dozen years after the term "ethnomusicology" first appeared in print in the writings of Jaap Kunst, Robert Garfias arrived at the University of Washington to found a program in ethnomusicology studies. Over the ensuing decades, the program at Washington influenced hundreds of students, musicians, and scholars, at the university and beyond. In this book, former students and colleagues of Garfias contribute essays on a variety of ethnomusicological topics in tribute to his influence on each of them and on the field as a whole.

Ethnologies, 2006

Toward a Sound Ecology, 2020

Ethnomusicology is the study of people making music. People make sounds that are recognized as music, and people also make “music” into a cultural domain. This 1989 conference paper defined ethnomusicology and contrasted music as a contingent cultural category with earlier scientific definitions that essentialized music as an object. It was published for the first time in Musicology Annual (2015). Here it is as reprinted, with a new introduction, in my book Toward a Sound Ecology: New and Selected Essays (Indiana University Press, 2020). The book is available from IU Press, the usual online sources, and your favorite independent bookstore.

Syllabus/Schedule and Flyer, 2021

In this seminar students examine the field of ethnomusicology through the lens of its archives, those storehouses of field recordings that helped establish the field. Discussions and assignments will focus on: - Extraction and "salvage" practices in ethnomusicology and its archives; -Decolonizing archives through repatriation and collaborative practices; -Traditional and evolving functions of archives, from collection and preservation, to access and community partnerships.

The New (Ethno)musicologies, 2008

Over the last twenty years a range of radical developments have revolutionised Musicology – leading certain practitioners to describe their discipline as ‘New’. What has happened to Ethnomusicology during this time? Do its theories, methodologies and values remain rooted in the 1970s and 1980s or has it also transformed? What directions might or should it take in the new millenium? With contributions from a number of key figures in Ethnomusicology and related disciplines, this volume explores Ethnomusicology’s shifting relationship to other disciplines and to its own ‘mythic’ history, and plots a range of potential developments for its future. It also considers perspectives on Ethnomusicology from ‘inside’ and ‘outside’ the ‘discipline’, and its broader contribution and relevance beyond the academy. In a period of particular dynamism and intense technological change, when Music departments, in the UK at least, are increasingly opening their doors to Ethnomusicologists, and valuing the types of skills and approaches they offer, such reflection is particularly timely. In many respects, this volume also offers a European perspective; one that provides some interesting and refreshing contrasts from the North American discourses and institutional dynamics that have tended to dominate Ethnomusicology since the 1950s.

This compilation of articles resulting from papers given on the occasion of three different seminars in three consecutive years from 2013 to 2015 (Perspectives on an 21st Century Comparative Musicology: Ethnomusicology or Transcultural Musicology?; Living Music: Case Studies and New Research Prospects, and Musical Traditions in Archives, Patrimonies, and New Creativities) is an interesting mixture of very updated and at the same time well-grounded insights into the core problems of a discipline that starts to question itself: Ethnomusicology or transcultural musicology? It is not by accident that the title of the first conference is also the general topic of the publication, whether there are sections on local music practices, historical research activities or general anthropology. The central question seems to be the denial of purity in cultures and the consequences for anything ethnomusicology has achieved so far.

2018

In this rhetorical essay, I argue for the benefits and possibility of grounding ethnomusicological research in enactments of artistic communication genres. I describe conceptual imprecision and incomplete analyses that often result from our fieldwork being guided by abstract categories like music and dance. I go on to outline the kinds of research needed to better understand any and all artistic acts formally and socially, and points to the promise of richer, more coherent, more productive, more multi-disciplinary output, with more relevance to the world. This unpublished 2018 version includes important content about pro- social impact removed for publication in the International Journal of Traditional Arts, https://tradartsjournal.ncl.ac.uk/index.php/ijta/article/view/19.

European Journal of Research , 2020

Ethnomusicology, formerly known as Comparative Musicology (Ethnomusicology Newsletter in 1953) is a theoretical subject which is the combination of archiving, research, teaching & learning, presentation, outreaching, interviewing, gathering data, observation, documenting musical tradition, for the development of human being, global development, community sustainability, peace and harmony, social integrity, justice, health and education. It is music like other music through singing, dancing, playing instruments, drama, poetry (Ramayana, a great Indian epic written by a great monk and poet Tulsi Das, it reflexes nationalism, music folklore, ethnology (Giving Voice to Hope for Liberia, a refugee camp in Ghana's village is the combination of nationalism, folklore and ethnology, international folk music council, a UNESCO affiliated organization created for international cooperation manifested in the creation of the United Nations). The paper aims to explore Ethnomusicology as an independent subject from the subject of Musicology and to know traditional music from around the world through its participatory research activities within the community and in the classroom. The outcome is to establish and understanding its glimpses to the society, its complexity through social, economic, cultural bonds in every ethnic and traditional community such as discover of Pigmy Community through the reading of Rain Forest. The question is how does Ethnomusicology work as a medication for the deprived community from the ancient world to the present world? The future activities are to expand its various roots by writing and researching especially to know about the music of lost communities from humanity such as Maya civilization.

Ethnologies, 2006

AI

Ethnomusicology Forum, 2011

Ethnomusicology, 2001

I. Ethnomusicology, Ethnographic Method, and "Non-Western" Music In an introduction to a special issue of the Journal of the American Musicological Society (JAMS) published in 1995, Regula Qureshi discussed the relationship between anthropology, history, and a broader musicology that includes ethnomusicology. Qureshi characterizes the "anthropologizing of music history," the primary and most productive relationship to date of anthropology and historical musicology, as beginning with "a recasting of the musical product into the realm of experience" (Qureshi 1995:335). The four essays that follow Qureshi's introduction interrogate music in culture through highlighting the notions of "dialogue, de-essentializing, and difference" (Qureshi 1995:339). Indeed, the specialJAMS issue builds on historical musicology's growing engagement with a range of anthropological theories that have served to enliven and enrich the musicological palette, forecast earlier in writings by Tomlinson (1984) and Treitler (1989). Ethnomusicologists, of course, have drawn freely on anthropology; indeed, they have spent much of the second half of the twentieth century trying to remake their own discipline in its image. To note just a few milestones, one might cite Merriam's Anthropology of Music (1964), Alan Lomax's Cantometrics (1976), Timothy Rice's remodeling of ethnomusicological theory (1987) based on readings of Clifford Geertz, and Mark Slobin's schema for transnational musics (1993) which draws upon Arjun Appardurai's notion of "ethnoscapes" (Appadurai 1990). Ethnomusicological research and writing have further interacted closely with a number of different streams of anthropological thought, ranging from structuralism, to symbolic, linguistic, and reflexive anthropology. While none of these efforts has resulted in a new theory that moves beyond its anthropological model, there have been, particularly recently, a number of increasingly nuanced case studies. Yet there is one area allied to anthropology in which ethnomusicologists alone have innovated. I have earlier suggested (Shelemay 1996b) that the domain of ethnographic method is where ethnomusicologists have most successfully and creatively occupied a disciplinary space midway between anthropology and musical scholarship. One is tempted to dub this a true "anthromusicology." But since terminology is already so problematic, I will draw instead on a distinction made over a decade ago by Anthony Seeger (1987). While historical musicologists are now beginning to participate actively in an "anthropology of music," bringing the "concepts, methods, and concerns of anthropology" to studies of music history, ethnomusicologists have in the meantime moved much more aggressively toward what Seeger has termed a "musical anthropology," exploring the way[s] "musi

To Judith Cohen, longtime colleague and friend Very little remains of the conceptual world in which ethnomusicologists received their education and worked in the first half of the twentieth century. Suffice it to recall some key words and concepts born in the second half of that century, which convey the scope and depth of the intellectual revolution: imagined communities, imagined ethnicities, ethnography as "writing culture", the ethnographer or ethnomusicologist as an objective outsider, and subsequent alternative titles -"participant observer" and even "insider" (Clifford and Marcus 1986; Barz & Cooley 2008). The very concept of tradition, a central tenet of anthropology and ethnography, underwent a thorough interpretive reevaluation, which now claimed it to be invented and malleable (Hobsbawm & Ranger 1983). In this article, I focus on a single case of invented musical tradition. It concerns Professor Edith Gerson-Kiwi, a well-trained historical musicologist, who switched to ethnomusicology mainly due to the circumstances of her life, that is, due to the historical and cultural-ideological trends and pressures of the time and place to which she belonged. Far from wishing to criticize her findings or methodology, my purpose here is to learn something about situations that might arise when ethnomusicologists intervene with the musical life of their own culture.

Current Musicology, 1997

Ethnomusicology, Vol. 36, no. 3, 1992

Definition, theory and review of practice in the fields that became known as public and/or applied ethnomusicology, from the first (and only) issue of the journal of the Society for Ethnomusicology devoted entirely to that topic.

R. Eichmann, E. Hickmann og L.-C. Koch (eds.), Studies in Music Archaeology VII. On Ethnographic Analogy in Music Archaeology, s. 103–108., 2010

‘Music’ is a surprisingly new invention. Most of the languages of the world lack a concept of music, yet in all known cultures people play, sing and dance. Historical musicologists too often employ an ethnocentric understanding of music, arisen from the western art music tradition. Does music archaeology represent an alternative voice that challenges ethnocentric approaches to music? Since the field consists of individual researchers with different interests and views, there is no easy answer to this question. But the fact that music archaeologists use material culture as their primary point of departure means that they arrive at other perspectives and approaches to musical activities than historical musicologists using written sources. Most music archaeologists will probably understand music in the widest sense. On the other hand, does our discipline need ‘music’ at all? Some music archaeologists tend to abandon the concept of music, in favour of ‘intentional sound’ or similar, and some prefer to label their field of study ‘archaeomusicology’ or ‘archaeo-organology’. Such strategies could be seen as a response to an unwanted ethnocentric perspective.

2004

Various enquiries and a census reveal that more than half of patrimonial sound collections with ethnographical interest being made in France are about ethnomusicology and dancing. Overwhelmingly association-made collections have been recorded in the wake of identity movements and concern chiefly “indigenous” music. For several years now, researchers have begun to deposit musical recordings from migrant or nomadic communities and more generally from living music deeply immersed in local cultures in the sound archives. Frequently “the world music” is a generic expression covering this music whereas local traditional music is being left aside. Beyond the controversy of words, it is becoming more and more obvious that today's traditional music practices go beyond the geographical and cultural areas that regionalist movements of the 70's claimed as their turf and include all migrant communities or nomadic groups roaming about the country. The deposits made in the sound archives j...

2014

In 1945/46, after the surrender of Germany in the Second World War, approximately twelve million German civilians living in Central and Eastern Europe were expelled (or fled before they received the inevitable expulsion order) mostly to Germany in what R.M. Douglas termed the “largest forced population transfer [...] in human history.” Even though these events occurred over sixty years ago, the recollections of these expellees suggest the ongoing immediacy of their experiences. For this phenomenological-historical ethnography, I collected more than eighty life stories and oral histories specifically from ethnic Germans expelled from Bohemia, Moravia, and Czech Silesia (Sudeten Germans). Through the lenses of musical practice and musical repertoire, I investigate how these Sudeten Germans used and still continue to use music as a tool for both remembrance and adaptation in their new environments. I seek to understand music’s significances for social and political integration in the S...

The 16th Annual Symposium for Music Scholars in Finland, 2012

The present paper seeks to establish the distinction (if there is any) between contemporary ethnomusicology and cultural musicology by using my own Ph.D. research project as a case study. One way to approach this task is to assess the extent to which the very topic and objectives of my Ph.D. project, as well as at the theories and methodologies used, correspond to the current tendencies in the two fields of studies. The aim of such a survey is twofold: one is to open a debate on the (im)possibility of drawing clear disciplinary boundaries, and the other is to try and position my Ph.D. research along disciplinary lines.

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