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Journal articles on the topic 'Ethnomusicology'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Reyes, Adelaida. "Urban Ethnomusicology." Lidé města 14, no. 2 (2012): 193–206. https://doi.org/10.14712/12128112.3510.

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The nature of urban ethnomusicology and its relations with its parent discipline have been nebulous almost from the start. Some four decades ago, when urban ethnomusicology first entered the ethnomusicological scene, the term was taken to signal an expansion of ethnomusicology's research field beyond self-contained societies into the urban area. It has now become clear that that expansion required a re-thinking of prevailing practices and theoretical orientations. To better define the issues at stake, this paper traces the development of urban ethnomusicology not as praxis but as idea. The ess

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2

Sella, Tamar. "Sour Solidarities: Musicians, Academics, and Precarity in the Pandemic's Wake." Ethnomusicology 68, no. 2 (2024): 300–324. http://dx.doi.org/10.5406/21567417.68.2.08.

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Abstract This article reflects on precarity in ethnomusicology by connecting the precarities of interlocutors and academics. Based on research conducted for the Society for Ethnomusicology's project “Musicians in America during the Covid-19 Pandemic,” I propose sour solidarities as a structural relationship that shows that while contingent ethnomusicologists and independent musicians confront similar worsening conditions under pandemic precarity, we also face a broader racialized class differentiation mediated by the institution of the neoliberal university and the field of ethnomusicology. I

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3

Suppan, Wolfgang, and Helen Myers. "Ethnomusicology." Jahrbuch für Volksliedforschung 40 (1995): 173. http://dx.doi.org/10.2307/847955.

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4

Giuriati, Giovanni. "Italian Ethnomusicology." Yearbook for Traditional Music 27 (1995): 104. http://dx.doi.org/10.2307/768106.

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5

Ramzy, Carolyn. "A Letter in Times of Genocide." Resonance: The Journal of Sound and Culture 5, no. 4 (2024): 439–42. https://doi.org/10.1525/res.2024.5.4.439.

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At the Society for Ethnomusicology’s 68th annual conference in Ottawa, Canada, several Indigenous graduate students, postdocs, as well as un/tenured faculty teamed up to present the conference keynote known as the Charles Seeger Lecture. Titled “Listen, Watch Your Step,” the performative lecture aimed to unsettle the “structural normativity that conscripts Indigenous experience to a narrow range of telling, sensing, and feeling” in the field of music knowledge-making and research. Importantly, the collaborators invited listeners to think carefully about the “structural weaknesses, epistemologi

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6

Ceribašić, Naila. "Musings on ethnomusicology, interdisciplinarity, intradisciplinarity, and decoloniality." Etnološka tribina 49, no. 42 (2019): 3–79. http://dx.doi.org/10.15378/1848-9540.2019.42.01.

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Thinking from the perspective of Croatian ethnomusicology as one of ethnomusicologies "at home", the author muses on the position of ethnomusicology on a global scale, and in particular how it relates to mainstream English-language ethnomusicology and other fringe ethnomusicologies, the interdisciplinary links with sister disciplines (primarily ethnology and cultural anthropology), and endeavours to decolonize ethnomusicology. By taking into account the issue of reciprocity (or the lack thereof) between various disciplines and the linguocentric predicament of (ethno)musicological studies, she

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7

Greve, Martin. "Writing against Europe: On the Necessary Decline of Ethnomusicology. By Martin Greve. Translated by Férdia J. Stone-Davis." Ethnomusicology Translations, no. 3 (August 19, 2016): 1–13. http://dx.doi.org/10.14434/emt.v0i3.22461.

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In this appraisal of then-current German-speaking ethnomusicology, Martin Greve calls for much more critical acknowledgment and consideration of recent key debates in cultural studies and cultural anthropology. The essay and its provocative title, certainly written in a constructive spirit, hit a trouble spot, fueling the fear of losing ethnomusicology’s disciplinary raison d’être. A short but telling discussion among German-speaking ethnomusicologists ensued.Originally published in German as “‘Writing against Europe’: Vom notwendigen Verschwinden der Musikethnologie,” Musikforschung 55 (2002)

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8

Hanshi, Bao, Sularso Sularso, and Marie-Christinne B. Clarisse. "The Change of Concept: the Formation and Reflection of Applied Ethnomusicology." Gelar : Jurnal Seni Budaya 19, no. 2 (2021): 114–20. http://dx.doi.org/10.33153/glr.v19i2.3978.

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If the study of Jesse Fewkes and Frances Densmore in the late 19th century is taken into account, western Applied Ethnomusicology is entering its second century. After more than one hundred years of development, Applied Ethnomusicology has basically become a relatively mature research path in the West, which not only provides scholars with a new research perspective but also enriches the subject connotation of Ethnomusicology to a certain extent with its research philosophy and value pursuit. In China, Applied Ethnomusicology has attracted more and more attention. Therefore, reviewing the deve

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9

Dumnic, Marija. "Applied ethnomusicology in Serbia: Politics and policies of Serbian ethnomusicological Society." Muzikologija, no. 12 (2012): 79–102. http://dx.doi.org/10.2298/muz120319003d.

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This paper deals with ethnomusicological research methodologies, the application of ethnomusicological knowledge outside academic institutions and ideologies which have contributed to ethnomusicological discourses in Serbia. Furthermore, state policy on ethnomusicology and folk music is analyzed. The recent institutionalisation of applied ethnomusicology, i.e. direct ethnomusicological engagement in society, which represents a turning point in the development of ethnomusicology, is particularly emphasized. The difference between contemporary applied ethnomusicology and ethnomusicology is in di

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10

Aduonum. "Ethnomusicology, Ayε Kradow?" Ethnomusicology 65, № 2 (2021): 203. http://dx.doi.org/10.5406/ethnomusicology.65.2.0203.

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11

Bielawski, Ludwik, and Ludwik Wiewiorkowski. "History in Ethnomusicology." Yearbook for Traditional Music 17 (1985): 8. http://dx.doi.org/10.2307/768434.

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12

Kippen, James, and Robert Witmer. "Ethnomusicology in Canada." Yearbook for Traditional Music 24 (1992): 170. http://dx.doi.org/10.2307/768488.

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13

Rahkonen, Carl, and Helen Myers. "Ethnomusicology: An Introduction." Notes 50, no. 4 (1994): 1435. http://dx.doi.org/10.2307/898337.

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14

Omarova, A. K., A. Zh Kaztuganova, and D. F. Karomat. "GLOBALIZATION AND ETHNOMUSICOLOGY." BULLETIN 384, no. 2 (2020): 216–21. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.61.

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The interpretation of the category “genre” which is presented based on the classification of makom, due to its internal nature, causes disagreement among the scholars, and difficulties due to its designation of a specific type of work and/or national art form. In particular, the emphasis on circumstances related to the centuries-old, extended, regional, situational development in line with the oral tradition and in the frame of improvisational art, and the definition of the national type of musical art as a “genre” lead to disproportionate indicators in theoretical issues. In this regard, the

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15

Schuursma, Ann, Constantin Brailoiu, and A. L. Lloyd. "Problems of Ethnomusicology." Ethnomusicology 31, no. 1 (1987): 150. http://dx.doi.org/10.2307/852305.

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16

Clark, Susan D., Constantin Brailoiu, and A. L. Lloyd. "Problems of Ethnomusicology." Asian Music 17, no. 1 (1985): 161. http://dx.doi.org/10.2307/833748.

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17

Fox, Aaron A. "Divesting from Ethnomusicology." Journal of Musicology 37, no. 1 (2020): 33–38. http://dx.doi.org/10.1525/jm.2020.37.1.33.

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This response to Amico’s paper draws lessons from the author’s own career to endorse Amico’s call to rename the discipline of “ethnomusicology,” while cautioning against the risks of nominalism as a sufficient response to the underlying tensions animating dissatisfaction with the current name of the discipline. The response emphasizes points of convergence and divergence between diverse disciplinary practices of music scholarship and locates a problem for efforts to synthesize such practices in competing views of science and applied research, and indeed in competing concepts of “music” as such

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18

Wong, Deborah. "Ethnomusicology without Erotics." Women and Music: A Journal of Gender and Culture 19, no. 1 (2015): 178–85. http://dx.doi.org/10.1353/wam.2015.0014.

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19

A. K. Omarova, A. Zh. Kaztuganova, and D. F. Karomat. "GLOBALIZATION AND ETHNOMUSICOLOGY." BULLETIN 2, no. 384 (2020): 216–21. http://dx.doi.org/10.32014/2020.2518-1467.61.

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20

박미경. "Inquery in ethnomusicology." Music and Culture ll, no. 32 (2015): 185–211. http://dx.doi.org/10.17091/kswm.2015..32.185.

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21

Lange, Barbara Rose. "Hypermedia and Ethnomusicology." Ethnomusicology 45, no. 1 (2001): 132. http://dx.doi.org/10.2307/852637.

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22

Wong, Deborah. "Ethnomusicology and Difference." Ethnomusicology 50, no. 2 (2006): 259–79. http://dx.doi.org/10.2307/20174452.

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23

Witzleben, J. Lawrence. "Whose Ethnomusicology? Western Ethnomusicology and the Study of Asian Music." Ethnomusicology 41, no. 2 (1997): 220. http://dx.doi.org/10.2307/852604.

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24

Frishkopf, Michael, Michael Cohen, and Rasika Ranaweera. "Curating Ethnomusicology in Cyberworlds for Ethnomusicological Research." Ethnologies 37, no. 1 (2017): 119–32. http://dx.doi.org/10.7202/1039658ar.

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We describe a musical cyberworld as a virtual space for curating ethnomusicology, as well as for conducting research: the ethnomusicology of controlled musical cyberspaces. Our cyberworld differs from most online music curation in enabling immersive, social experience. Considering such cyber-exhibition of ethnomusicological research as itself a form of social and musical practice also calls for an ethnomusicology of such exhibits. Research in ethnomusicology has typically been conducted through qualitative fieldwork in uncontrolled settings. By contrast, we design a custom musical cyberworld a

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25

Sun, Weiyi. "Significance and Methodological Deliberations on Fieldwork in Ethnomusicology." International Journal of Education and Social Development 3, no. 1 (2025): 135–37. https://doi.org/10.54097/z69sg896.

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The formal inception of ethnomusicology can be attributed to the release of On the Musical Scales of Various Nations in 1885, a work penned by Alexander John Ellis (1814 - 1890), and the origins of fieldwork in this discipline can be traced back to that time. Given the pivotal role of fieldwork in ethnomusicology, over the past century and more, ethnomusicologists, anthropologists, and scholars from diverse fields both in China and abroad have engaged in reflections, discussions, and even heated debates concerning the methodological issues in ethnomusicology, which underscores the significance

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26

Schultz, Anna. "Still an Ethnomusicologist (for Now)." Journal of Musicology 37, no. 1 (2020): 39–50. http://dx.doi.org/10.1525/jm.2020.37.1.39.

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This response defends ethnomusicology against Amico’s call for its end, even as the “ethno-” prefix has already become optional in certain contexts. Addressing Amico’s critiques of gender, repertoire, method, and colonialism, the response argues that ethnomusicologists are thinking creatively about the same set of issues raised by Amico and rejects the claim that abandoning ethnomusicology would repair the inequities of music scholarship and music departments. Rather than welcoming the end of ethnomusicology, the response looks toward a future in which music departments collectively embrace a

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27

Zhang, Boyu. "Chinese Music and Ethnomusicology." Etnomusikologian vuosikirja 9 (December 1, 1997): 227–57. http://dx.doi.org/10.23985/evk.101078.

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28

Saidasheva, Zemfira N. "Tatar Ethnomusicology: Development Prospects." ICONI, no. 2 (2019): 68–77. http://dx.doi.org/10.33779/2658-4824.2019.2.068-077.

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In the Russian musical culture the term “musical ethnography” as the name of science has appeared at the turn of the 19th and 20th centuries. In the Soviet period, when the politicization of art began to take place, the term “musical folklore” became established. The scientifi c thought about the Tatar folk musical creativity developed within the framework of “musical folklore”. In studies of the pitch and temporal structure of Tatar folk songs, a formal (abstract) approach dominated. Consideration of them in the context of other disciplines became possible only in the post-totalitarian period

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29

Christensen, Stephanie, and Jennifer C. Post. "Ethnomusicology: A Contemporary Reader." Music Educators Journal 93, no. 3 (2007): 18. http://dx.doi.org/10.2307/4101526.

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30

Harrison. "Epistemologies of Applied Ethnomusicology." Ethnomusicology 56, no. 3 (2012): 505. http://dx.doi.org/10.5406/ethnomusicology.56.3.0505.

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31

Seeger, Anthony. "Ethnomusicology and Music Law." Ethnomusicology 36, no. 3 (1992): 345. http://dx.doi.org/10.2307/851868.

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32

Jairazbhoy, Nazir A., Marcia Herndon, and Norma McLeod. "Field Manual for Ethnomusicology." Ethnomusicology 30, no. 2 (1986): 341. http://dx.doi.org/10.2307/852016.

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33

Reily, Suzel Ana. "Ethnomusicology and the Internet." Yearbook for Traditional Music 35 (2003): 187. http://dx.doi.org/10.2307/4149330.

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34

Swanwick, Keith. "Music education and ethnomusicology." British Journal of Ethnomusicology 1, no. 1 (1992): 137–44. http://dx.doi.org/10.1080/09681229208567204.

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35

Holmes, Sarah C. "Ethnomusicology: Global Field Recordings." Charleston Advisor 21, no. 3 (2020): 31–33. http://dx.doi.org/10.5260/chara.21.3.31.

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Ethnomusicology Global Field Recordings is a new venture from Adam Mathew Digital: A SAGE Publishing Company. The database furnishes primary resource materials from a variety of audio field recordings, field notebooks, film footage, correspondence, educational recordings, and ephemera from over 60 ethnomusicologist field collections spanning over 70 years. Musical traditions, interviews with musicians, and assorted primary documents demonstrate how music influences and interacts with a variety of cultures. The geographic range is expansive and includes all continents. This resource is broadly

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36

Mukuna, Kazadi wa. "Epistemological interfaces of Ethnomusicology." Revista Música e Cultura 13, no. 3 (2024): 19–30. https://doi.org/10.71199/1wskh993.

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This paper invites ethnomusicologists to adventure outside boundaries suggested in descriptive definitions of their predecessors and formulate an inclusive definition that asserts the new ethnomusicological praxis according to the new challenges. The inclusive definition has to articulate, among other, the intended study goal overlooked in the past.

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37

Woodfield, Ian. "The Evolution of Ethnomusicology." Journal of the Royal Musical Association 135, no. 2 (2010): 413–17. http://dx.doi.org/10.1080/02690403.2010.506276.

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38

Stokes, Martin. "Edward Said and Ethnomusicology." Journal of the Royal Musical Association 141, no. 1 (2016): 209–12. http://dx.doi.org/10.1017/s0269040300013402.

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39

Cottrell, Stephen. "The Impact of Ethnomusicology." Ethnomusicology Forum 20, no. 2 (2011): 229–32. http://dx.doi.org/10.1080/17411912.2011.596395.

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40

Loza, Steven. "Contemporary Ethnomusicology in Mexico." Latin American Music Review / Revista de Música Latinoamericana 11, no. 2 (1990): 201. http://dx.doi.org/10.2307/780125.

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41

Feld, Steven, and Bruno Nettl. "The Study of Ethnomusicology." Latin American Music Review / Revista de Música Latinoamericana 7, no. 2 (1986): 375. http://dx.doi.org/10.2307/780225.

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42

Sonnichsen, Philip, Marcia Herndon, and Norma McLeod. "Field Manual for Ethnomusicology." Journal of American Folklore 98, no. 388 (1985): 216. http://dx.doi.org/10.2307/540447.

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43

Al Harthy, Majid Hamdoon. "Ethnomusicology: Issues and Possibilities." Journal of Arts and Social Sciences [JASS] 6, no. 2 (2015): 5. http://dx.doi.org/10.24200/jass.vol6iss2pp5-14.

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This study investigates and analyzes the relationship between the development of the field of Ethnomusicology in United States, since the 1950s, and its predecessor known as Comparative Musicology, which emerged during the last two decades of 19th century Germany. Tracing the theoretical bases for Comparative Musicology, it becomes clear that certain fundamental issues caused researchers to distance themselves from the ideologies of traditional musics that, eventually, led to the emergence of Ethnomusicology. Furthermore, by exploring certain aspects of Comparative Musicology and Ethnomusicolo

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44

Al Harthy, Majid Hamdoon. "Ethnomusicology: Issues and Possibilities." Journal of Arts and Social Sciences [JASS] 6, no. 2 (2015): 5–14. http://dx.doi.org/10.53542/jass.v6i2.1084.

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This study investigates and analyzes the relationship between the development of the field of Ethnomusicology in United States, since the 1950s, and its predecessor known as Comparative Musicology, which emerged during the last two decades of 19th century Germany. Tracing the theoretical bases for Comparative Musicology, it becomes clear that certain fundamental issues caused researchers to distance themselves from the ideologies of traditional musics that, eventually, led to the emergence of Ethnomusicology. Furthermore, by exploring certain aspects of Comparative Musicology and Ethnomusicolo

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45

Zarbock, Carol Gee. "Ethnomusicology: An Introduction/Ethnomusicology: Historical and Regional Studies by Helen Myers (ed)." Musicology Australia 18, no. 1 (1995): 75–78. http://dx.doi.org/10.1080/08145857.1995.10415273.

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46

Alge, Barbara, and Julio Mendívil. "Über Ziele und Ansätze der angewandten Musikethnologie als Ausdruck sozialer Verantwortung." Die Musikforschung 72, no. 4 (2021): 298–306. http://dx.doi.org/10.52412/mf.2019.h4.36.

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This article functions as an introduction to the following articles of this themed issue of Die Musikforschung. It frames the idea of an applied ethnomusicology, understood as an approach guided by principles of social responsibility, and as scholarship, knowledge and understanding put to practical use. The article discusses the emergence and relevance of applied ethnomusicology in Anglophone academia as well as the German-speaking world and gives insight into different fields in which applied ethnomusicology can be practiced: from traditional areas such as musical archives and museums to acti

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47

Nurunnabi Shato. "সংগীতবিদ্যা : একটি সংক্ষিপ্ত পরিচয় অধ্যায় নবম : সংগীতনৃতাত্ত্বিকদের কর্মপরিধি Ethnomusicology: A very short introduction Chapter 9 Ethnomusicologists at work". BHĀBANAGARA: International Journal of Bengal Studies 19, № 23 (2025): 2379–90. https://doi.org/10.64242/bijbs.v19i23.5.

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Ethnomusicologists navigate unique challenges in establishing their discipline within academic and institutional frameworks due to its focus on global music perspectives and ethical considerations. The 9 th Chapter of Ethnomusicology A Very Short Introduction written by Thimothy Rice explores the diverse institutional landscapes where ethnomusicologists work, from academia to public and private sectors. Despite historical challenges, ethnomusicology finds a home primarily within music departments and schools, where it challenges Eurocentric entrenched value systems that predominantly values Eu

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48

Pasichnyk, Volodymyr. "Scientific Biography of Volodymyr Hoshovskyi: to the Centenary Jubilee." Ethnomusic 18, no. 1 (2022): 9–24. http://dx.doi.org/10.33398/2523-4846-2022-18-1-9-24.

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The article deals with the scientific biography of V. Hoshovskyi, mostly con- cerning the 50-year period of his creative life, spanning the years of 1946–1996. The circumstances of his life are discussed, which influenced the upbringing and profes- sional background, among other. his manners and lifestyle, studies in gymnasium and University, the vast scientific educational background and erudition. The utmost importance is given to ethnography studies, musical dialectology and Slavic studies. The biography outline of V. Hoshovskyi spans several distinctive periods. First – Trans-Carpathian (1

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49

Caruso, Fulvia. "Event Review: The XXXVI European Seminar in Ethnomusicology." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 76–78. http://dx.doi.org/10.30819/aemr.8-10.

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This review describes the XXXVI European Seminar in Ethnomusicology as a virtual event organized by colleagues. The event is important to all ethnomusicologists and people interested in the field of ethnomusicology globally. It is mainly to inform about the organization and the way of interactions among its members.

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50

Ivkov, Vesna. "The Contribution of Nice Fracile to the Study of the Musical Folklore of Vojvodina." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 1 (2023): 23–38. http://dx.doi.org/10.24193/subbmusica.2023.spiss1.02.

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"The immediate motive to produce this study is the marking of significant anniversaries in the field of ethnomusicology, both in the personal life of famous ethnomusicologist Nice Fracile and in the activities of the Academy of Arts of the University of Novi Sad. By reviewing the moments from the life and professional experience of this ethnomusicologist, an insight and a guide is offered into the possibilities of creativity and advancement of an individual, who has made a significant scientific contribution to local, regional and world ethnomusicology by studying the musical tradition of his

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