Intro to Ethnomusicology

7/16/2019 Intro to Ethnomusicology

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Music 672 #4605-3 WI 09 Graduate Introduction to Ethnomusicology W, F 4-5:18 PM meeting room SU 0166

Dr. Ron Emoff740 366-9271 (office)

740 344-5516 (home)[email protected]

This course offers a theoretical and historical approach to the development andprofessionalization of ethnomusicology. Emphasis will be placed onethnomusicology as an interdisciplinary field that has incorporated ethnographicresearch, use of oral and literate sources, lab transcription and analysis, criticalanalysis, and interpretative techniques. We will examine the major theoreticaldebates that have shaped ethnomusicology, and will trace varied orientations inthe field towards, for example, music and culture, music in culture, and music asculture.

A primary aim of this course is to thoroughly acquaint the students with thehistorical, bibliographic, and conceptual resources of ethnomusicology. Thereading materials selected have been chosen to provide an overview andfoundation for further work and study in ethnomusicology, and to suggest abridge between this field and other domains of musical, humanist, and socialscience scholarship, such as in the disciplines of historical musicology, socio-cultural anthropology, folklore, and linguistics.

Each student will be responsible for reading extensively from the bibliography,and to synthesize, discuss/debate in class, question, and critically evaluate thematerials in the bibliography. The course structure consists of in-classdiscussions led by varying students, based upon the readings assigned for eachweek. During each class, a pair of students will be responsible for presenting theassigned readings, commenting critically on the readings, and leading a classdiscussion. The class should be prepared to engage in discussion with eachweek‟s discussants, thus each student shall prepare a list of at least 5 questionsor comments upon the week‟s readings. Students may be called upon in class toask these questions and to voice these comments. Grades will be dependentupon engagement and participation in class meetings. All students are

responsible for reading all assigned texts, whether or not they are presentingthese texts to the class. A variety of audio and visual examples and samples willbe presented in class throughout the quarter for analysis, discussion, andcritique.



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There will be 2 longer research papers due in this class, each a minimum of 7typed pages (double-spaced, 12-point font, 1-inch margins, with citations in thestyle found in the journal Ethnomusicology).There will also be 3 short papers in which the student will summarize andsynthesize a particular weekly assigned reading. These papers will each be a

minimum of 2 pages.There will be no exams.Research Paper 1Ethnographic work requires extended stays in and integration into a fieldworklocale and with local people. This paper will consist of the write-up of a brieffield project in which only some of the facets of performing ethnographicresearch will be experienced and explored (due to time constraints). Eachstudent will choose a viable fieldwork site and will write on particular aspects ofparticipatory interaction, aesthetics, ethnographic voice, or a host of other issuesto be chosen individually.

Research Paper 2Each student will prepare a grant proposal for an imagined (or intended)ethnographic research project. In the paper, ethnographic method, theoreticalapproach, and specific delineation of the research site and project will becarefully explained. The student will address in clear and succinct terms thesignificance of the project to the field of ethnomusicology as well to other relatedfields. Students should refer to on-line guidelines for Fulbright, Wenner-GrenFoundation, National Endowment for the Humanities, Social Sciences ResearchCouncil, National Science Foundation, and any other granting agencies that

might fund ethnomusicological or ethnographic research (some agencies fundspecific themes or research in specific regional areas).

Grades will be determined as follows:1st research paper......................................................………………….25% 2nd research paper......................................................………….…..….25% 3 shorter papers (@ 5%/paper)...........................………………........15% In-class presentation of 1st research project (field project)…..….15% class participation…………………….............……………………….....20%

Grading scale:All grades in this class will be presented in letter-grade form. “+” and “-“ grades arepossible (A-, B+, for example).

As mentioned, attendance and engagement in class discussions and projects will bevital. Unexcused absences (i.e., ones not presented to and authorized by me inadvance) cannot be tolerated, and may count against one‟s grade. Missing a class on



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which you are supposed to make a class presentation would be a serious matter. If youbecome ill or need to miss a class for some other reason, be certain to speak with me inadvance (call or e-mail me). Late work will only be accepted with authorization fromme prior to an assignment‟s due date.Students with any sort of special needs please see me the first day of class.



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Academic misconduct of any sort, in particular plagiarism, will not be tolerated.Students must clear with me any citation from an internet source that they mightintend to use in their work–some sites are not reliable or otherwise acceptablescholarly sources.

Academic MisconductIt is the responsibility of the Committee on Academic Misconduct to investigate

or establish procedures for the investigation of all reported cases of student

academic misconduct. The term “academic misconduct” includes all forms of

student academic misconduct wherever committed; illustrated by, but not limited

to, cases of plagiarism and dishonest practices in connection with examinations.

Instructors shall report all instances of alleged academic misconduct to the

committee (Faculty Rule 3335-5-487). For additional information, see the Code of

Student Conduct (http://studentaffairs.osu.edu/resource_csc.asp).

Disability Services

Students with disabilities that have been certified by the Office for Disability

Services will be appropriately accommodated, and should inform the instructor as

soon as possible of their needs. The Office for Disability Services is located in

Hopewell 53, 1179 University Drive, Newark, OH 43055; telephone (740) 366-9246;



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Texts for MUS 672, available at the University Bookstore (Barnes and Noble)

Blacking, John

1973 How Musical is Man? Seattle: University of Washington Press.

Kisliuk, Michelle2006 Seize the Dance! BaAka Musical Life and the Ethnography of Performance.

Oxford: Oxford University Press (paperback edition).

Merriam, Alan P.1964 The Anthropology of Music. Evanston: Northwestern University Press.

Taylor, Timothy D.2007 Beyond Exoticism: Western Music and the World. Durham and London: Duke

University Press.



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Initial bibliography for Introduction to Ethnomusicology

We will refer throughout the class to varied seminal ethnomusicological book-length texts which represent major syntheses of the field and some of its keyissues, as well as to numerous theoretically-oriented books in which are

expressed current modes of thought on and in the field. [Books listed below thatcontain readings assigned for class are on reserve in the music library.]

Agawu, Kofi1995 African Rhythm. Cambridge: Cambridge University Press. ______ 2003 Representing African Music: Postcolonial Notes, Queries, Positions. New York and

London: Routledge.

Attali, Jacques1989 Noise: The Political Economy of Music. Minneapolis: University of Minnesota Press.

Barz, Gregory and Timothy Cooley, eds.1997 Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. New York:

Oxford University Press.

Béhague, Gerard, ed.1984 Performance Practice. New York: Greenwood.

Berliner, Paul F.1981 The Soul of Mbira. Berkeley: University of California Press.

Bigenho, Michelle2002 Sounding Indigenous: Authenticity in Bolivian Musical Performance.

Blacking, John1973 How Musical is Man?Seattle: University of Washington Press. ______ 1987 A Commonsense View of All Music. New York: Cambridge University

Press.

Blum, Stephen, Philip Bohlman, and Daniel Neuman

1991 Ethnomusicology and Modern Music History. Urbana: University of IllinoisPress.

Chernoff, John Miller1979 African Rhythm and African Sensibility. Chicago: University of Chicago Press.

Cohen, Ronald D., ed.



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2005 Alan Lomax: Selected Writings 1934-1997 . New York and London:Routledge Press.

D‟Andrade, Roy 1995 The Rise of Cognitive Anthropology. Cambridge: Cambridge University

Press.

Dowling, W. J. and D. L. Harwood1986 Music Cognition. Orlando, FL: Academic Press.

Emoff, Ron2009 Music and the Performance of Identity on Marie-Galante, French Antilles.

Aldershot, UK: Ashgate Press, SOAS Musicology Series.

2002 Recollecting from the Past: Musical Practice and Spirit Possession on the EastCoast of Madagascar . Middletown, CT: Wesleyan University Press, Musicand Culture Series.

Emoff, Ron and David Henderson, eds.2002 Mementos, Artifacts, and Hallucinations from the Ethnographer’s Tent.

London and New York: Routledge Press.

Erlmann, Veit1999 Music, Modernity, and the Global Imagination: South Africa and the West. New

York and Oxford: Oxford University Press.

Feld, Steven1990 (1982) Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli

Expression. Philadelphia: University of Pennsylvania Press (2nd Edition).

Feld, Steven and Charles Keil, eds.1994 Music Grooves: Essays and Dialogues. Chicago: University of Chicago Press.

Fox, Aaron A.2004 Real Country: Music and Language in Working-Class Culture. Durham and London:

Duke University Press.

Frith, Simon and Lee Marshall, eds.2004 Music and Copyright. Edinburgh: Edinburgh University Press.

Hagedorn, Katherine J.



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2001 Divine Utterances: The Performance of Afro-Cuban Santería. Washington andLondon: Smithsonian Institution Press.

Herndon, Marcia and Norma McLeod1981 (1979) Music as Culture. Darby: Norwood Press.

Hood, Mantle1981 (1971) The Ethnomusicologist. Kent State University Press, 2nd edition.

Jackendoff, Ray and Fred Lerdahl1980 A Deep Parallel between Music and Language. Bloomington: Indiana

University Linguistic Club.

Kaemmer, John E.1993 Music in Human Life: Anthropological Perspectives on Music. Austin:

University of Texas Press.

Kisliuk, Michelle2001 Seize the Dance!: BaAka Musical Life and the Ethnography of Performance.

Oxford: Oxford University Press.

Koskoff, Ellen, ed.,1987 Women and Music in Cross-Cultural Perspective. Westport, CT: Greenwood

Press, Inc.

Kunst, Jaap1959 Ethnomusicology. The Hague: Martinus Nijhoff.

Laderman, Carol and Marina Roseman, ed.s1996 The Performance of Healing. New York and London: Routledge.

Lomax, Alan and the Cantometrics staff1968 Folk Song Style and Culture. Washington: American Society for the

Advancement of Science.

Magrini, Tullia, ed.2003 Music and Gender: Perspectives from the Mediterranean. Chicago and London:

University of Chicago Press.

McAllester, David P.



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1954 Enemy Way Music: A Study of Social and Esthetic Values as Seen in Navaho Music. Cambridge, MA: Peabody Museum of American Archaeology andEthnology, Harvard University vol. XLI, no. 3.

McLeod, Norma and Marcia Herndon

1980 The Ethnography of Musical Performance. Darby: Norwood Editions.

Meintjes, Louse,2003 The Sound of Africa: Making Music Zulu in a South African Studio. Durham

and London: Duke University Press.

Merriam, Alan P.1964 The Anthropology of Music. Evanston: Northwestern University Press. ______ 1967 Ethnomusicology of the Flathead Indians. Chicago: Aldine.

Moisala, Pirkko, and Beverley Diamond, eds.2000 Music and Gender. Urbana and Chicago: University of Illinois Press.

Myers, Helen, ed.1992 Ethnomusicology: an Introduction. NY: W. W. Norton.

Nattiez, Jean-Jacques1990 Music and Discourse: Toward a Semiology of Music. Princeton: Princeton

University Press.

Nettl, Bruno1964 Theory and Method in Ethnomusicology. New York: Free Press. ______ 1983 The Study of Ethnomusicology: Twenty-nine Issues and Concepts. Urbana:

University of Illinois Press. _____ 1985 The Western Impact on World Music. New York: Schirmer Books.

Nettl Bruno and Philip Bohlman1991 Comparative Musicology and Anthropology of Music. Chicago: University of

Chicago Press.

Post, Jennifer C., ed.2006 Ethnomusicology: A Contemporary Reader. New York and London:

Routledge Press.

Roseman, Marina1991 Healing Sounds from the Malaysian Rainforest: Temiar Music and Medicine.



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Berkeley: University of California Press.

Seeger, Anthony1988 Why Suya Sing: A Musical Anthropology of an Amazonian People. Cambridge:

Cambridge University Press.

Seeger, Charles1977 Essays in Musicology, 1935-1975. Berkeley: University of California Press.

Serafine, Mary Louise1988 Music as Cognition: The Development of Thought in Sound. New York:

Columbia University Press.

Shepherd, John1991 Music as Social Text. Cambridge: Polity Press.

Taylor, Timothy D.1997 Global Pop: World Music, World Markets. New York and London:Routledge. ______ 2007 Beyond Exoticism: Western Music and the World. Durham and London: Duke

University Press.

Turnbull, Colin M.1961 The Forest People. New York: Simon and Schuster.

Yost, William A. and Charles S. Watson, eds.1987 Auditory Processing of Complex Sounds. Hillsdale, NJ: Lawrence Erlbaum.



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In addition, readings will be assigned from the following basic bibliography ofarticles and book chapters. These readings cover the literature from the 50‟s, 60‟sand 70‟s concerning the definition, aim, scope of, and varied approaches to thefield; the theoretical debates and issues of the 70‟s and 80‟s; and methods,problems, and styles of being an ethnomusicologist and performing

ethnomusicological research, all prominent topics in the 90s and beyond. It issuggested that each student add to this bibliography those readings in particularthat are germane to her/his interests and studies, and that each student begin tocompile a bibliography of monographs that address her/his own regional areaor theoretical topic of interest.

Babiracki, Carol M.1997 “What‟s the Difference? Reflections on Gender and Research in Village

India.” In Shadows in the Field: New Perspectives for Fieldwork inEthnomusicology. New York: Oxford University Press, Gregory Barz andTimothy Cooley, eds., pp. 121-36.

Baily, John1988 “Anthropological and Psychological Approaches to the Study of Music

Theory and Musical Cognition.” Yearbook for Traditional Music 20: 114-124.

Becker, Judith and Alton Becker1981 “A Musical Icon: Power and Meaning in Javanese Gamelan Music.” In The

Sign in Music and Literature, Austin: University of Texas Press, WendySteiner, ed., pp. 203-215.

Blacking, John1971 “Deep and Surface Structures in Venda Music.” Yearbook of the

International Folk Music Council 3: 91-108. ______ 1977a “Some Problems of Theory and Method in the Study of Musical Change.”

Yearbook of the International Folk Music Council 9: 1-26. _____ 1977b “Can Musical Universals be Heard?” The World of Music 19(1/2): 14-22. ______ 1981 “The Problem of Ethnic Perceptions in the Semiotics of Music.” In The

Sign in Music and Literature, Austin: University of Texas Press, Wendy

Steiner, ed., pp. 184-94. ______ 1986 “Identifying Processes of Musical Change.” The World of Music 28(1):3-12.

Blum, Stephen1975 “Towards a Social History of Musicological Technique.” Ethnomusicology

19(2): 207-231.



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______ 1992 “Theory and Method: Analysis of Musical Style.” In Ethnomusicology: an

Introduction. New York: W. W. Norton, Helen Myers, ed., pp. 165-218.

Boilès, Charles1982 “Processes of Musical Semiosis.” Yearbook for Traditional Music 14: 24-

44.

Bright, William1963 “Language and Music: Areas for Cooperation.” Ethnomusicology 7(1): 23-

32.

Chase, Gilbert1973 “American Musicology and the Social Sciences. In Perspectives in

Musicology. New York: Norton, Barry Brook, Edward Downes, andSherman Van Solkema, eds., pp. 202-226.

Clayton, M., U. Will, and R. Sager2004 “In Time with the Music: The Concept of Entrainment and Its Significance

for Ethnomusicology.” ESEM-Counterpoint, vol. 1[may be accessed at:

http://ethnomusicology.osu.edu/EMW/Will/will.htm]

Deschênes, Bruno1998 “Toward an Anthropology of Music Listening.” International Review of the

Aesthetics and Sociology of Music 29(2): 135-53.

Ellingson, Ter1992 “Theory and Method: Transcription.” In Ethnomusicology: an Introduction.

New York: W. W. Norton, Helen Myers, ed., pp. 110-152.

Emoff, Ron2008 “Truth, Talk, and History in the Non-Nation: Gwo Ka’s Place on

Marie-Galante, French Antilles.” Ethnomusicology Forum (British Journal of Ethnomusicology), 17(2): 203-221.

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2002 “Phantom Nostalgia and Recollecting (from) the Colonial Past inTamatave, Madagascar.” Ethnomusicology 46 (2): 265-283.

–––––– 1998 “A Cajun Poetics of Loss and Longing.” Ethnomusicology, 42(2):283-301.

Erlmann, Veit



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1990 "Migration and Performance: Zulu Migrant Worker's Isicathamiya Performance inSouth Africa, 1890-1950." Ethnomusicology 34(2): 199-220.

Fales, Cornelia1998 “Issues of Timbre: The Inanga Chuchotée. In The Garland Encyclopedia of

World Music Volume 1, Africa, Ruth Stone, ed. New York and London:Garland Publishing, Inc., pp. 164-207.

Feld, Steven1974 “Linguistic Models in Ethnomusicology.” Ethnomusicology 18(2): 197-

217. ______ 1976 “Ethnomusicology and Visual Communication.” Ethnomusicology 20(2):

293-325. ______ 1981 “„Flow Like a Waterfall‟: The Metaphors of Kaluli Musical Theory.”

Yearbook for Traditional Music 13: 22-47. ______ 1984a “Sound Structure as Social structure.” Ethnomusicology 28(3): 383-409. ______ 1984b “Communication, Music, and Speech about Music.” Yearbook for

Traditional Music 16: 1-18. ______ 1994a "Notes on 'World Beat'." In Music Grooves: Essays and Dialogues. Chicago:

University of Chicago Press, Steven Feld and Charles Keil, eds., pp. 238-246.

______ 1994b "From Schizophonia to Schismogenesis: On the Discourses and

Commodification Practices of 'World Music' and 'World Beat'." In MusicGrooves: Essays and Dialogues. Chicago: University of Chicago Press, StevenFeld and Charles Keil, eds., pp. 257-289.

______ 2000 “A Sweet Lullaby for World Music.” Public Culture 12(1): 145-171.

Feld, Steven and Aaron Fox1994 “Music and Language.” Annual Review of Anthropology 23: 25-53.

Frisbee, Charlotte1980 “Vocables in Navajo Ceremonial Music.” Ethnomusicology 24(3): 347-392.

Gourlay, Ken1978 “Towards a Reassessment of the Ethnomusicologist‟s Role in Research.”

Ethnomusicology 22(1): 1-35. ______



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1982 “Towards a Humanizing Ethnomusicology.” Ethnomusicology 26(3): 411-420.

Grame, Theodore C.1963 “An Historical View of Musicology and Performance.” Ethnomusicology

7(3): 201-205.

Harweg, Roland1968 “Language and Music: An Immanent and Sign Theoretic Approach.”

Foundations of Language 4: 270-281.

Harwood, Dane1976 “Universals in Music: A Perspective from Cognitive Psychology.”

Ethnomusicology 20(3): 521-533.

Herndon, Marcia1974 “Analysis: The Herding of Sacred Cows?” Ethnomusicology 18(2): 219-262. ______ 1976 “Reply to Kolinski: Taurus Omicida.” Ethnomusicology 20(2): 217-231.

Herzog, George1934 “Speech Melody and Primitive Music.” Musical Quarterly 20: 452-66.

Hood Mantle1957 “Training and Research Methods in Ethnomusicology.” Ethnomusicology

Newsletter 11: 2-8. ______ 1963 “Musical Significance.” Ethnomusicology 7(3): 187-192. ______ 1969 “Ethnomusicology” in Harvard Dictionary of Music. Cambridge: Harvard

University Press, 2nd edition. Willi Apel, ed., pp. 298-300.

Jakobson, Roman1985 “Poetry of Grammar and Grammar of Poetry.” In Verbal Art, Verbal Sign,

Verbal Time. Oxford: Basil Blackwell, K. Pomorska and S. Rudy, eds., pp.37-46.[also, “Subliminal Verbal Patterning in Poetry” pp. 59-68 in same volume]

Keil, Charles1994a (1985) "People's Music Comparatively: Style and Stereotype, Class and

Hegemony." In Music Grooves: Essays and Dialogue. Chicago: Universityof Chicago Press, Steven Feld and Charles Keil, eds., pp. 197-217 [printedinitially in Dialectical Anthropology 10: 119-130].



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______ 1994b (1987 ) "Participatory Discrepancies and the Power of Music." Music

Grooves: Essays and Dialogue. Chicago: University of Chicago Press, StevenFeld and Charles Keil, eds., pp. 96-108 [printed initially in Cultural Anthropology 2(3): 257-283].

Koetting, James1970 “Analysis and Notation of West African Drum Ensemble Music.” Selected

Reports in Ethnomusicology. 1(3): 116-146.

Kolinski, Mieczyslaw1957 “Ethnomusicology, Its Problems and Methods.” Ethnomusicology

Newsletter 10: 1-7. ______ 1967 “Recent Trends in Ethnomusicology.” Ethnomusicology 11: 1-24. ______ 1976 “Herndon‟s Verdict on Analysis: Tabula Rasa.” Ethnomusicology 20(1): 1-22. ______ 1977 “Final Reply to Herndon.” Ethnomusicology 21(1): 75-83.

Koskoff, Ellen,2002 “Is Female to Male as Postmodern is to Modern?: Implications for a New

Ethno/Musicology.” In Encomium Musicae: Essays in Memory of Robert J.Snow. Hillsdale, NY: Pendragon Press, David Crawford and G. Grayson

Wagstaff, eds., pp. 733- 744.

List, George1963 "The Boundaries of Speech and Song." Ethnomusicology 7(1):1-16. ______ 1971 “On the non-universality of musical perspectives.” Ethnomusicology

15(3): 399-402. ______ 1979 “Ethnomusicology: A Discipline Defined.” Ethnomusicology 23(1): 1-4.

Lomax, Alan1962 “Song Structure and Social Structure.” Ethnology 1: 425-451 [also appears

in Cohen 2005]

Lysloff, René1998 “Mozart in Mirrorshades: Ethnomusicology and the Politics of

Representation.” Ethnomusicology 41(2): 206-19.



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McAllester, David1971 “Some Thoughts on Universals in World Music.” Ethnomusicology 15(3):

379-80.–––––– 1984 “A Problem in Ethics.” In Problems and Solutions, Sydney: Hale and

Iremonger, J.C. Kassler and J. Stubbington, eds., pp. 279-289.

McAllester, David and Roxanne McCollester, et. al.1959 “Whither Ethnomusicology?” Ethnomusicology 3(2): 99-105.

Meintjes, Louise1990 “Paul Simon‟s Graceland, South Africa, and the Mediation of Musical

Meaning.” Ethnomusicology 34 (1): 37-74. ______ 2004 “Shoot the Sergeant, Shatter the Mountain: The Production of Masculinity

in Zulu Ngoma Song and Dance in post-Apartheid South Africa.”Ethnomusicology Forum 13 (2): 173-201.

Merriam, Alan1960 “Ethnomusicology: a discussion and definition of the field.”

Ethnomusicology 4: 107-114. ______ 1963 “The Purposes of Ethnomusicology: An Anthropological View.”

Ethnomusicology 7(3): 206-213. ______ 1969 “Ethnomusicology Revisited.” Ethnomusicology 13: 213-229.

______ 1975 “Ethnomusicology Today.” Current Musicology 20: 50-66. ______ 1977 “Definitions of „Comparative Musicology‟ and „Ethnomusicology‟: An

Historical-theoretical Perspective.” Ethnomusicology 21(2): 189-204. ______ 1982 “On Objections to Comparison in Ethnomusicology.” In Cross-cultural

Perspectives on Music, Toronto: University of Toronto Press, Robert Falkand Timothy Rice, eds., pp. 174-89.

Nattiez, Jean-Jacques1973 “Linguistics: A New Approach for Musical Analysis?” International Review

of Aesthetics and Sociology of Music 4(1): 51-67. ______ 1977 “The Contribution of Musical Semiotics to the Semiotic Discussion in

General.” In A Perfusion of Signs, Bloomington: Indiana University Press,T. A. Sebeok, ed., pp. 121-142.



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Nettl, Bruno1963 “A Technique of Ethnomusicology Applied to Western Culture.”


1975 “The State of Research in Ethnomusicology, and Recent Developments.”Current Musicology 20: 67-78.

Perlman, Alan M. and Daniel Greenblatt1981 “Miles Davis Meets Noam Chomsky: Some Observations on Jazz

Improvisation and Language Structure.” In The Sign in Music andLiterature, Austin: University of Texas Press, Wendy Steiner, ed., pp. 169-83.

Porcello, Thomas1998 “‟Tails Out‟: Social Phenomenology and the Ethnographic Representation

of Technology in Music-Making.” Ethnomusicology 42(3): 485-510.

Post, Jennifer1987 “Professional Women in Indian Music: The Death of the Courtesan

Tradition.” In Women and Music in Cross-Cultural Perspective. Westport, CT:Greenwood Press, Inc., Ellen Koskoff, ed., pp. 97-109.

Powers, Harold1980 “Language Models and Musical Analysis.” Ethnomusicology 24(1): 1-60.

Qureshi, Regula1987 “Musical Sound and Contextual Input: A Performance Model for Musical

Analysis.” Ethnomusicology 31(1): 56-86.

Rhodes, Willard1956a “Towards a Definition of Ethnomusicology.” American Anthropologist

58(3): 457-63. ______ 1956b “On the Subject of Ethnomusicology.” Ethnomusicology Newsletter 7: 1-

9. ______ 1963 “Musicology and Musical Performance.” Ethnomusicology 7(3): 198-200.

Rice, Timothy (et. al./responses)1987 “Toward the Remodeling of Ethnomusicology.” Ethnomusicology 31(3):

469-516.



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Roseman, Marina1984 “The Social Structuring of Sound: the Temiar of Peninsular Malaysia.”


1987 “Inversion and Conjuncture: Male and Female Performance among theTemiar of Peninsular Malaysia.” In Women and Music in Cross-CulturalPerspective. Westport, CT: Greenwood Press, Inc., Ellen Koskoff, ed., pp.131-49.

______ 2000 “The Canned Sardine Spirit Takes the Mic.” The World of Music: Spirit

Practice in a Global Ecumene, Ron Emoff, guest ed, 42(2): 115-136.

Ruwet, Nicholas1967 “Linguistics and Musicology.” International Social Science Journal 19: 79-87.

Scherzinger, Martin1999 “Music, Spirit Possession, and the Copyright Law: Cross-Cultural

Comparisons and Strategic Speculations.” Yearbook for Traditional Music 31:102-25.

Seeger, Anthony1992 “Ethnomusicology and Music Law.” Ethnomusicology 36(3): 345-59. ______ 1996 “Ethnomusicologists, Archives, Professional Organizations, and the

Shifting Ethics of Intellectual Property.” Yearbook for Traditional Music 28:

87-105.

Seeger, Charles1961 “Semantic, Logical, and Political Considerations Bearing upon Research in

Ethnomusicology.” Ethnomusicology 5(2): 77-80. ______ 1963 “On the Tasks of Ethnomusicology.” Ethnomusicology 7(3): 214-15. ______ 1970 “Toward a Unitary Field Theory for Ethnomusicology.” Selected Reports in


______ 1971 “Reflections on a Given Topic: Music in Universal Perspective.”

Ethnomusicology 15(3): 385-98. ______ 1977 “The Musicological Juncture: 1976.” Ethnomusicology 21(2): 179-188.

Serafine, Mary Louise



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1984 “The Development of Cognition in Music.” The Musical Quarterly 70(2):218-33.

Springer, George1956 “Language and Music: Parallels and Divergences.” In For Roman Jakobson.

The Hague: Mouton, pp. 504-513.

Sundberg, Johan and Bjorn Lindblom1976 “Generative Theories in Language and Music Descriptions.” Cognition

4(1): 99-122.

Turino, Thomas1999 “Signs of Imagination, Identity, and Experience: A Peircian Semiotic

Theory for Music.” Ethnomusicology 43(2): 221-55.

Wachsmann, Klaus1969 “Music.” Journal of the Folklore Institute 6: 164-191. ______ 1971 “Universal Perspectives in Music.” Ethnomusicology 15(3): 381-384. _____ 1982 “The Changeability of Musical Experience.” Ethnomusicology 26(2): 197-

215.

Zemp, Hugo1978 “„Are‟are Classification of Musical Types and Instruments.”


______ 1979 “Aspects of „Are‟are Musical Theory.” Ethnomusicology 23(1): 5-48. ______ 1988 “Filming Music and Looking at Music Films.” Ethnomusicology 32(3): 393-

427. ______ 1996 “The/An Ethnomusicologist and the Record Business.” Yearbook for

Traditional Music 28: 36-56.



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Weekly schedule:

Week 1 Jan. 7, 9 Introduction to the course, pre-history of field Required reading:

Hood 1963 (with commentaries), McAllester and McCollester et. al. 1959

Suggested reading:Kunst 1959, McAllester 1954, Rhodes 1956a and 1956b, C. Seeger 1963

––––––––––––– Week 2 Jan. 14, 16 Early conjectures, definitions, modelsRequired reading:

Merriam 1964, Kolinski 1957Suggested reading:

Hood 1969, Merriam 1960, 1963, and 1967, Nettl 1963 and 1964––––––––––––– Week 3 Jan 21, 23 Concepts and arguments in the 1970s–80sFirst short paper due, Friday 1/23: Summary/synthesis of Keil 1994b (1987)Required reading:

Blacking 1973, Gourlay 1978, Keil 1994b (1987), Seeger 1977Suggested reading:

Blacking 1977b, Blum 1975, Chase 1973, Gourlay 1982,Herndon and McLeod 1981 (1979), Hood 1981 (1971), Keil 1994a (1985),List 1979, Merriam 1977, Nettl 1975, Rice 1987, C. Seeger 1970

––––––––––––– Week 4 Jan. 28, Jan. 30 AnalysisRequired reading:

Herndon 1974 and 1976, Kolinski 1976 and 1977, Qureshi 1987

Suggested reading:Blum 1992, Ellingson 1992, Koetting 1970, List 1971, McAllester 1971, C.Seeger 1971, Wachsman 1971

–––––––––––––– Week 5 Feb. 4, 6 Performance ethnography, theory/ethnotheorySecond short paper due, Friday 2/6: Summary/synthesis of Feld 1981 Required reading:

Kisliuk 2006 (2001), Feld 1981, Zemp 1979.Suggested reading:

Barz and Cooley 1997, Béhague 1984 (introduction), Emoff 2009, 2008, and2002, Emoff and Henderson 2002, Erlmann 1990, Feld 1990 (1982), Grame

1963, McLeod and Herndon 1980 , Rhodes 1963, A. Seeger 1988, Turnbull1961, Zemp 1978

––––––––––––––– Week 6 Feb. 11, 13 Student in-class presentations of research paper #1 (fieldproject).Research paper #1 due Friday 2/13–––––––––––––––



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Week 7 Feb. 18, 20 Comparative sociomusicology, the world song style map;cognition and the body

Required reading:Clayton, Will, and Sager 2004, Feld 1984a, Lomax 1962 [in Cohen 2005,chap. 26] and 1968, Roseman 1984, responses to Feld and Roseman 1984

Suggested reading:Baily 1988, Deschênes 1998, Fales 1998, Harwood 1976, Serafine 1984 and1988, Shepherd 1991, Yost and Watson 1987

–––––––––––––––– Week 8: Feb. 25, 27 Linguistic models, musical semiotics, communication, and

changeThird short paper due, Friday 2/27 Summary/synthesis of Feld 1974 Required reading:

Blacking 1971, Feld 1974, Nattiez 1973, C. Seeger 1961,Suggested reading:

Becker and Becker 1981, Blacking 1977a and 1986, Boilès 1982, Bright1963, Feld 1984b, Feld and Fox 1994, Frisbee 1980, Harweg 1968, Herzog1934, Jackendoff Lerdahl, 1980, Jakobson 1985, Nattiez 1977 and 1990,Perlman and Greenblatt 1981, Powers 1980, Ruwet 1967, C. Seeger 1977,Springer 1956, Sundberg and Lindblom 1976, Turino 1999 , Wachsmann1982.

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Week 9 March 4, 6 Women writing ethnomusicologyRequired reading:

Babiracki 1997, Koskoff 1987 (introduction), Roseman 1987Suggested reading:

Bigenho 2002, Hagedorn 2001, Kisliuk 2001, Koskoff 1987 and 2002,Laderman and Roseman 1996, Magrini 2003, Moisala and Diamond 2000,Post 1987, Roseman 1991

Also suggested:–Behar, Ruth and Deborah A. Gordon, eds.1995 Women Writing Culture. Berkeley: University of California Press.

–Visweswaran, Kamala1994 Fictions of Feminist Ethnography. Minneapolis: University of Minnesota

Press.–––––––––––––––––– Week 10 March 11, 13 Musical conception, production, appropriation in a

global ecumene Research paper #2 (grant proposal) due Friday 3/13



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Required reading:Feld 1994b, Meintjes 1990, A. Seeger 1996, Taylor 2007

Suggested reading:Erlmann 1999, Feld 1976, 1994a, and 2000, Frith and Marshall 2004, Lysloff

1998, Porcello 1998, Roseman 2000, Scherzinger 1999, Seeger 1992, Taylor

1997, Zemp 1988 and 1996

Documents

Intro to Ethnomusicology