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The focus in ethnomusicological writing and teaching has traditionally centered around analyses and ethnographic representations of musical cultures, rather than on the personal world of understanding, experiencing, and doing fieldwork. Shadows in the Field shifts the focus of ethnography from representation (text) to experience (fieldwork) and proposes a "new fieldwork" that moves beyond data collection to engage scholars in more meaningful human contexts.
In this new edition of Shadows in the Field, renowned ethnomusicologists explore their various roles while performing fieldwork and pose significant questions: What are the new directions in ethnomusicological fieldwork? Will fieldwork continue as an integral part of ethnomusicological theory and practice, or will new methods emerge and dominate future discourse? Where does fieldwork of "the past" fit into these theories? Above all, what do we see when we acknowledge the shadows we cast in the field? The second edition of Shadows in the Field includes updates of most original chapters, a new foreword by Bruno Nettl, and six new chapters addressing the latest critical issues.
|Publisher:||Oxford University Press, USA|
|Product dimensions:||6.30(w) x 9.30(h) x 1.00(d)|
About the Author
Timothy J. Cooley is Associate Professor of Ethnomusicology at the University of California, Santa Barbara, and is the author of Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians. He serves as the editor of Ethnomusicology, the journal of the Society for Ethnomusicology, and is the president of the Society for Ethnomusicology, Southern California Chapter.
Gregory Barz is Associate Professor of Ethnomusicology and Anthropology at the Blair School of Music at Vanderbuilt University, and the general editor of the African Soundscapes book series. He serves as African Music editor for the New Grove Dictionary of Music and Musicians and is the author of Singing for Life: HIV/AIDS and Music in Uganda, which has been nominated for a Grammy Award and Music in East Africa: Experiencing Music, Expressing Culture.
Table of Contents
Foreword Bruno Nettl v
Casting Shadows: Fieldwork Is Dead! Long Live Fieldwork! Introduction Timothy J. Cooley Gregory Barz 3
Knowing Fieldwork Jeff Todd Titon 25
Toward a Mediation of Field Methods and Field Experience in Ethnomusicology Timothy Rice 42
Phenomenology and the Ethnography of Popular Music: Ethnomusicology at the Juncture of Cultural Studies and Folklore Harris M. Berger 62
Moving: From Performance to Performative Ethnography and Back Again Deborah Wong 76
Virtual Fieldwork: Three Case Studies Timothy J. Cooley Katharine Meizel Nasir Syed 90
Fieldwork at Home: European and Asian Perspectives Jonathan P. J. Stock Chou Chiener 108
Working with the Masters James Kippen 125
The Ethnomusicologist, Ethnographic Method, and the Transmission of Tradition Kay Kaufman Shelemay 141
Shadows in the Classroom: Encountering the Syrian Jewish Research Project Twenty Years Later Judah M. Cohen 157
What's the Difference? Reflections on Gender and Research in Village India Carol M. Babiracki 167
(Un)doing Fieldwork: Sharing Songs, Sharing Lives Michelle Kisliuk 183
Confronting the Field(note) In and Out of the Field: Music, Voices, Texts, and Experiences in Dialogue Gregory F. Barz 206
The Challenges of Human Relations in Ethnographic Inquiry: Examples from Arctic and Subarctic Fieldwork Nicole Beaudry 224
Returning to the Ethnomusicological Past Philip V. Bohlman 246
Theories Forged in the Crucible of Action: The Joys, Dangers, and Potentials of Advocacy and Fieldwork Anthony Seeger 271