32 Facts About Ethnomusicology

Ethnomusicology is the study of music from the cultural and social aspects of the people who make it.

Ethnomusicology had recognized that global pitch and scale systems were not naturally occurring in the world, but rather “artifices” created by humans and their “organized preferences, ” and they differed in various locations.

Ethnomusicology posited that there is some correlation between musical traits or approaches and the traits of the music's native culture.

Ethnomusicology was interested in the characteristics of Indonesian music, as well as "social and economic valuations" of music.

Ethnomusicology cites another attempt made by Morris Friedrich, an anthropologist, to classify field data into fourteen different categories in order to demonstrate the complexity that information gathered through fieldwork contains.

Related searches

Ethnomusicology describes ethnomusicology as both a field and a laboratory discipline.

Ethnomusicology said ethnomusicologists often face feelings of trepidation as they attempt to get to know the local populace and culture while attempting to avoid being exploitative.

Ethnomusicology's view is that universals in music are not a matter of specific musical structure or function—but of basic human cognitive and social processes construing and adapting to the real world.

Ethnomusicology calls this the “information processing approach”, and argues that one must “examine music as a complex auditory stimulus which is somehow perceived, structured, and made meaningful by the human perceptual and cognitive system.

Ethnomusicology argues that this would adjust for the differences in context with which music is defined, produced, and observed, which would lead to insight into.

Ethnomusicology argues that music is both a cultural and individual phenomenon, yet culture is something individuals learn about their worlds which is shared with others in the group.

Ethnomusicology proposed that the inclusion of linguistic methods in ethnomusicology would increase the field's interdependence, reducing the need to borrow resources and research procedures from exclusively other sciences.

Ethnomusicology wanted to create a musical analytical grammar, which he coined the Cultural Analysis of Music, that could incorporate both sonic description and how cultural and social factors influence structures within music.

Ethnomusicology felt that ethnomusicology was just a "meeting ground" for anthropology of music and the study of music in different cultures, and lacked a distinguishing characteristic in scholarship.

Ethnomusicology urged others in the field to become more aware and inclusive of the non-musical processes that occur in the making of music, as well as the cultural foundation for certain properties of the music in any given culture, in the vein of Alan Merriam's work.

Ethnomusicology had to "broaden his horizons" and try instead to learn the music from a Bulgarian framework in order to learn to play it sufficiently.

Ethnomusicology then suggests that no ethnomusicologist can ever come to an objective understanding of a music nor can an ethnomusicologist understand foreign music in the same way that a native would understand it.

Ethnomusicology is interested in the categories they would create to classify their own music.

Ethnomusicology approached the conservatory as if it were a foreign land, doing his best to disassociate his experiences and prior knowledge of American conservatory culture from his study.

Ethnomusicology emphasizes that he doesn't intend to "chide" the conservatory, but his critiques are nonetheless far from complimentary.

Ethnomusicology cites a specific example of a music analyst interpreting music Beethoven in a literal fashion according to various pieces of literature.

Ethnomusicology takes note of every interaction as he is a proxy the Spanish monarchy.

Ethnomusicology wants to perform pieces you feel inappropriately represent his tradition to Westerns, as the genre reinforces Western stereotypes about the musician's homeland.

Ethnomusicology provides some evidence for Slobin's statement in his article, Notes on World Beat, as he notes that inherently imbalanced power dynamics within musical collaboration can contribute to cultural exploitation.

Ethnomusicology's reiterates that in patriarchal societies, the role of a man in a marriage tends to be one of ownership and control, while a married woman often takes on a position of submission and subordination.

Related searches

Ethnomusicology describes one interaction with an older woman who was personally uncomfortable leading religious worship, but greatly appreciated observing other women in that role.

Ethnomusicology begins with a discussion about definitions of genres, highlighting the difficulties in distinguishing between folk, classical, and popular music, within any one society.

Ethnomusicology stresses that any modern theoretical lens from which to view music must account for the advent of technology.

Ethnomusicology cites the early ideology behind copyright in the 19th century, stating that spiritual inspiration did not prohibit composers from being granted authorship of their works.

Ethnomusicology suggests that the mass media dilutes minority culture by representing the dominant culture as the most natural and normal.

Ethnomusicology proposes that the oppressed groups have their own "organic intellectuals" who provide counter-oppressive imagery to resist this legitimization.

Ethnomusicology's has offered three main characteristics of timbre: timbre constitutes a link to the external world, it functions as perceptualization's primary instrument and it is a musical element that we experience without informational consciousness.