SYLLABUS – Spring 2016
MUH7938 – Section 1E81
MUSICOLOGY SEMINAR
Applied Fieldwork Towards New (Ethno)musicologies
Thursday’s–7th–9thPeriods(1:55PM–4:55PM)byWelsonA.Tremura,Ph.D
([email protected])-ContactInformation: CenterforLatinAmericanStudies–319Grinter
Hall,#382.Tel.352-273-4728.OfficeHours:MWF4thperiod(10:40–11:30AM)andby
appointment.
Theterm‘fieldwork’isageneraldescriptivetermforthecollectionofrawdata.Thetermis
mainlyusedinthenaturalandsocialsciencesstudies,suchasinanthropology,archaeology,
folklore,biology,ecology,environmentalscience,ethnomusicology,geography,geology,
geophysics,linguistics,paleontology,andsociology.Fieldworkinethnomusicologyreferstothe
gatheringofprimarysourceinformationrelatedtooneormoremusicaleventsforanalysisand
interpretation.Whilethegoalmayseemsimple,theprocessitselfishighlycomplexandinvolves
personalrelationshipsthatareoccasionallydifficultand/orunpredictable.Decisionsaboutwhat
informationtocollectandhowtodocumentitmosteffectivelyrequireadvanceplanningand
evenfairlyexplicitideasabouthowtheresultsmaybeusedlater.But,oncetheprocessis
underway,eventhebest-conceivedplansoftenneedtobechanged.Asnewformsandconcepts
ofdevelopingstructuredresearchmethods,andfindingthefieldandtheinformantswithinthe
new-ethnomusicologies,newmethodologiesandwaysoflookingofinformationmustbe
considered.Therearesomanyvariablesinvolvedthatsomeresearchersquestionwhether
fieldworkcanbetaughtorlearnedatall,exceptthroughexperience.
OBJECTIVESANDGUIDANCE
Thisseminarisdevotedtoanexplorationofcontemporarydirectionsinfieldworkin
ethnomusicologyandthedevelopmentofnewtrendsinethnomusicology.Init,wewillexamine
methodologicalapproaches,theoreticalorientations,interdisciplinarydimensions,and
compellingissuesandconcernsindevelopinganethnomusicologicalresearchdesignthat
addressestheaspectsanddynamicsofgatheringdataandapplyingthatdatatoconstructan
analyticalandtheoreticalbodyofinformationtotheunderstandofaspecificsubjectmatter
‘topic’withinyourownresearchinterestsandproblemsinparticular.
TEXTS
RequiredPurchases
Barz,F.G.&Cooley,T.J.(eds.)2008.ShadowsintheField:NewPerspectivesforFieldworkin
Ethnomusicology.SecondEdition.NewYork:OxfordUniversityPress.
Emerson,Robert;Fretz,Rachel;Shaw,Linda.1995.WritingEthnographicFieldnotes.
Chicago:UniversityofChicagoPress.
Stobart,Henry2008.TheNew(Ethno)musicologies.Lanham:MarylandScarecrowPress,Inc.
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RecommendedPurchases
Aubert,Laurent.2007.TheMusicoftheOther:NewChallengesforEthnomusicologyina
GlobalAge.AshgatePublishingLimited.
Nercessian,Andy.2002.PostmodernismandGlobalizationinEthnomusicology:An
EpistemologicalProblem.TheScarecrowPress,Inc.Lanham,Maryland,andLondon.
Pink,Sarah.2006.DoingVisualEthnography.Paperback:240pages.Publisher:Sage
PublicationsLtd;2ndedition.
Kvale,SteinarandSvendBrinkmann.2008.InterViews:LearningtheCraftofQualitative
ResearchInterviewing.Publisher:SagePublications,Inc.
Stone,RuthM.2008.TheoryforEthnomusicology.NewJersey:PearsonPrenticeHall.
SEMINARORGANIZATION
Theseminarisorganizedaroundaseriesoftopicsfromthetextbooksandfromyourparticular
reading.Inaseminarformateachstudentisexpectedtocometoclasspreparedtolectureand
discusstheassignedtopic(partofyourfinalgrade).Thestudentleadsthediscussion,though
organizedandtimedbytheinstructor.Thegoalistohaveyoutoprepareanopendiscussionof
thecontributiononyourspecificreadingassignment,andyourpersonalinputtotheformation
ofideas,towardstheconstructionofanalyticalviews.
Inthefirsttwoweeksofclasses,youmusttoidentify8-10additionalsourcesminimum
(reference/textbooks)thatwillbeusedtowardswritingathesis/dissertationproposalforthis
seminar.Thesebookswillservetoprovidethedraftforyourfinalpresentation,includingits
methodology,literaturesurvey,theoreticalconstructs,andtheimportanceorcontributionof
yourplannedresearchtothefieldofethnomusicology.
AssignmentsandExpectations
PARTI–Everystudentwillsubmitatwo-pagereportduringourweeklypresentation(FontSize:
TimesNewRoman12/Space:1.5spaced).Theseassignmentswillbeindividualizedandworked
outbetweenthestudentandtheinstructor,buttheoveralltrajectorywillencompasstoidentify
issuesrelatedtoresearchdesignandmethodology;fieldworkrelatedconceptsandits
applicationtowardsyourowntopic;analysisandoperationsperformedonfielddata;history,
philosophy,epistemologyoffieldworkandethnography,andthedevelopmentofthenew
(ethno)musicologies.
PARTII–Lecture/powerpointpresentationandafull-draftthesis/dissertationproposal.This
finalprojectshouldbeofapproximately20pagesinlengths(FontSize:TimesNewRoman12/
Space:2.0spaced)andwillincludealayoutofchapters,whereeachchapterpresentsand
describesabriefofyourmethodologyandresearchintendedproject.Ex.:DefinitionofTopic,
Background,andHistory;Procedures;MaterialCulture;SoundandorVideoInfo;OtherRelevant
Information.
SCHEDULEOFREADINGTOPICSANDASSIGNMENTS(SubjecttoChange)
ShadowsintheField(Book1)
WritingEthnographicFieldnotes(Book2)
TheNew(Ethno)musicologies(Book3)
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PostmodernismandGlobalizationinEthnomusicology(Book4)
TheMusicoftheOther(Book5)
***AdditionalReadingspertinenttoeachindividualresearchwillbeassigned
PARTIASSIGNMENTS
Week1(Jan.7)
Thursday:(Book1)1.Foreword,Contributors,CastingShadows:FieldworkisDead!LongLive
Fieldwork!2.KnowingFieldwork.(Book2)1:FieldnotesinEthnographicResearch.(Book3)
Foreword,Introduction–7.E-Fieldwork:AParadigmfortheTwenty-firstCentury?
Week2(Jan.14)
Thursday:(Book1)3.TowardsaMediationofFieldMethodsandFieldExperiencein
Ethnomusicology,TimothyRice;4.PhenomenologyandtheEthnographyofPopularMusic:
EthnomusicologyattheJunctureofCulturalStudiesandFolklore.(Book2)2:IntheField:
Participating,Observing,andJottingNotes.(Book3)1.PerspectivesonEthnomusicology.
Week3(Jan.21)
Thursday:(Book1)5.Moving:FromPerformancetoPerformativeEthnographyandBackAgain,
6.VirtualFieldwork.(Book2)3:WritingUpFieldnotesI:FromFieldtoDesk.(Book3)2.WeAre
All(Ethno)musicologistsNow.
Week4(Jan.28)
Thursday:(Book1)7.FieldworkatHome:AsianandEuropeanPerspectives.
8.WorkingwiththeMasters.(Book2)4:WritingUpFieldnotesII:CreatingScenesonthePage.
(Book3)3.ExorcisingtheAncestors?
Week5(Feb.4)
Thursday:(Book1)9.TheEthnomusicologist,EthnographicMethod,andtheTransmissionof
Tradition,KayKaufmanShelemay;10.ShadowsintheClassroom:EncounteringtheSyrian
JewishResearchProjectTwentyYearsLater.(Book2)5:Pursuing:Members'Meanings.(Book3)
4.OtherEthnomusicologies,AnotherMusicology:TheSeriousPlayofDisciplinaryAlterity.
Week6(Feb.11)
Thursday:(Book1)11.What'stheDifference?ReflectionsonGenderandResearchinVillage
India,12.(Un)doingFieldwork:SharingSongs,SharingLives.(Book2)6:ProcessingFieldnotes:
CodingandMemoing.(Book3)5.Ethnomusicology,Intermusability,andPerformancePractice.
Week7(Feb.18)–VISITINGSCHOLAR(Prof.CarlosSandroni)
Thursday:(Book1)13.ConfrontingtheField(note)InandOutoftheField:Music,Voice,Texts
andExperiencesinDialogue,14.TheChallengesofHumanRelationsinEthnographicInquiry:
ExamplesinArcticandSubarcticFieldwork.(Book2)7:WritinganEthnography.(Book3)
TowardanEthnomusicologyofSoundExperience.
Week8(Feb.25)
Thursday:(Book1)15.ReturningtheEthnomusicologicalPast,PhilipV.Bohlman
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16.TheoriesForgedintheCrucibleofAction:TheJoys,Dangers,andPotentialsofAdvocacyand
Fieldwork.(Book2)8:Conclusion.(Book3)8.NewDirectionsinEthnomusicology:Seven
ThemestowardDisciplinaryRenewal–9.Afterword.
Week9(March3)–SPRINGBREAK!!!SEMSECMEETING(MARCH4th–6th)–Trinidadand
Tobago
Week10(March10)–MIDTERM&DRAFTTURNINOFFINALPROJECTPROPOSAL
PRESENTATION
Week11(March17)
Thursday:(Book4)Pgs.1–46.Part1:Preliminaries(IntroductionandATemporaryOutlineof
Postmodernism(AsManifestedintheFirstSetofAssumptionsandItsProblems).Part2:
PostmodernismandItsPositionintheWesternIntellectualTradition.(Book5)Vii–XiForeword
byAnthonySeeger,Preface,andChapters1–6(Pgs.1–46).
Week12(March24)
Thursday:(Book4)Pgs.47–77.Chapter4:Bourdieu,andChapter5:TheMusicMeaning
Debate.(Book5)Chapters7–11(Pgs.47–89).
Week13(March31)
Thursday:(Book4)Pgs.79–132.Chapter6:AMusicalMeaningTest,Chapter7:ATheoretical
ModelforExplainingtheResultsofaTest,Chapter8:ObjectionstotheEpistemologicalValidity
oftheTest,Chatper9:ATheory,Chapter10:WhatisMusic.
PARTIIPRESENTATIONASSIGNMENT
Week14(April7)
Thursday:StudentLectureandPowerPointPresentation
Week15(April14)-LastDayofClass
Thursday:StudentLectureandPowerPointPresentation
StudentLectureandPowerPointPresentation.
TURNINYOURFINALDOCUMENT(HardandElectroniccopiesofFinalPaperandPowerPoint)
Week16(April21)ReadingDays
GRADING
Gradeswillbebasedonyourclassparticipation,writtenwork,homeworkassignments,and
oralpresentationswithinthefollowingpercentages:
Attendance,participation,andpresentationinclassdiscussionsrelatedtoclassreading
assignments______________________________________________________
13%
Homeworkassignments____________________________________________11X3%33%
MidtermProjectDraftDue___________________________________________14%
Finalpresentation(powerpoint)______________________________________10%
FinalPaper________________________________________________________30%
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A93-100%
B-80-82%
D65-69%
A-90-93%
C+77-79%
E64%orbelow
B+87-89%
C73-76%
B83-86%
C-70-72%
PRELIMINARYDUEDATES
ReadingandHomeworkAssignments
Everyclassmeeting
MidtermProject
Thursday,March
th
10 LectureResearchPresentationApril7an14(Weeks14and15)
FinalPaperdeadline(electronicandhardcopy)LastdayofClass(Thursday,April14)
FinalPresentationisalectureandPowerPointprojectpresentation(.ppt)intendedtodiscuss
yourthesis/dissertationresearchprojectandthepotentialproblemfinding.Thepresentation
shouldreflectyourabilitytoproposeideas,concepts,andanall-analyticalandtheoretical
approachassociatedwithyourindividualprojectresearch.
GENERALPOLICIES
Attendanceisrequired.Pleaseshowuptoclassontime.Classsessionswillbeconductedas
seminarsandyourparticipationincriticallydiscussingthetopicsisessential.Assignments
arepartofyourgrade,ifyoudonotcometoclassprepared—i.e.,havingcompletedthe
readings—theclasswillsufferfromlackofdiverseperspectives.Donothesitateto
challengeideasfoundinthereadingsandexpressedinclass.Youareallowedatotalofone
unexcusedabsencesduringthesemester.Eachadditionalunexcusedabsencewillresultina
loweringofyoursemestercoursetotalbysixpoints.Thecriteriaforofficiallyexcused
absencesare(1)medicalreasonsaccompaniedbyasignedstatementfromyourdoctor,(2)
unanticipatedfamilyemergenciesaccompaniedbyasignedstatementfromyourparentor
guardian,(3)areligiousholidayconflict,or(4)anofficialUniversityofFloridaconflict
accompaniedbyasignedstatementfromthefacultysponsorandapre-arrangedagreement
withtheinstructor.Forconflictsoftype(3)or(4)above,youmustnotifytheinstructorat
leastoneweekinadvanceoftheanticipatedabsence.Extrathreepointswillbeawardedfor
aperfectattendance.Alatearrival(5ormoreminutes)isanabsence!
(SCHOLASTICDISHONESTY)athttps://www.dso.ufl.edu/sccr/process/student-conduct-honorcode/ (TheDeanofStudentsOffice)Cheatingonexamsandusingsomeoneelse'sideasina
writtenpaperwithoutprovidingproperrecognitionofthesource(plagiarizing)areserious
matters.AnyonecaughtcheatingorplagiarizingissubjecttoanautomaticEforthecourseand
furtherdisciplinaryactionbytheStudentHonorCourt.
Forstudentswithdisabilities—torequestclassroomaccommodations,contacttheAssistant
DeanofStudents/DirectoroftheDisabilityResourcesProgramatP202PeabodyHallorcall
392-1261(V),392-3008(TDD).
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BIBLIOGRAPHY
Abraham,Otto,andErichM.VonHornbostel.1994.“SuggestedMethodsfortheTranscription
ofExoticMusic.”Ethnomusicology38:3.pp425-456.
AudioFieldRecordingEquipmentGuide.WebPublicationoftheVermontFolklifeCenter.
http://www.vermontfolklifecenter.org/res_audioequip.htm
AudioRecordingTermsGlossary.
http://www.recordingeq.com/glossary/glosae.htm#sectA
Bruner,Edward.1986.“EthnographyasNarrative.”InTheAnthropologyofExperience.Edited
byVictorTurnerandEdwardBruner.Chicago:UniversityofIllinoisPress.pp139-154.
Cope,Peter.2005.CreativeDigitalPhotography:APracticalGuidetoImageEnhancement
Techniques.CarltonBooksLTD).
Emerson,Robert;Fretz,Rachel;Shaw,Linda.1995.WritingEthnographicFieldnotes.Chicago:
UniversityofChicagoPress.
Hood,Mantle.1970.“TranscriptionandNotation.”InTheEthnomusicologist
KentState.pp50-63.
Jairazbhoy,Nazir.A.“TheObjectiveandSubjectiveViewinMusicTranscription.”
EthnomusicologyMay1977.pp263-277.
Muller,CarolA.2002."ArchivingAfricannessinSacredSong".Ethnomusicology46(3):409-431.
Post,JenniferC.MaryRussellBucknum,andLaurelSercombe.1994.AManualfor
Documentation,FieldworkandPreservationforEthnomusicologists.Bloomington,Indiana:The
SocietyforEthnomusicology.
Schneider,Albrecht.2001.“Sound,Pitch,&Scale:From‘ToneMeasurements’toSonological
AnalysisinEthnomusicology.”Ethnomusicology45:3pp489-519.
Schroeppel,Tom.1991.TheBareBonesCameraCourseforFilmandVideo.Tampa:Self
Published).
Seeger,Anthony.2001.“IntellectualPropertyandAudiovisualArchivesandCollections”InFolk
HeritageCollectionsinCrisis.32-50.TheLibraryofCongress,AmericanFolklifeCenter
http://www.loc.gov/folklife/fhcc/propertykey.html
Seeger,Charles.1958.“PrescriptiveandDescriptiveMusicWriting.”InMusicalQuarterly.Vol
XLIV#2.pp184-195.
SoundandVideoAnalysisandInstructionLaboratory(SAVAIL)WorkingPapers.1997.
http://www.indiana.edu/~savail/workingpapers/
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Spradley,James.1979.TheEthnographicInterview.WadsworthPublishing.
Stone,Ruth.M.2008.TheoryforEthnomusicology.Pearson/PrenticeHall.
“ThreatSeentoOralHistory.”http://www.insidehighered.com/news/2008/01/03/history
Tyler,Stephen.1986.“PostModernEthnography:FromDocumentoftheOcculttoOccult
Document.”InWritingCulture:ThePoeticsandPoliticsofEthnography.JamesCliffordand
GeorgeMarcus,editors.Berkeley:UniversityofCaliforniaPress.
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