Pub Date : 2022-01-02DOI: 10.1080/17411912.2021.2025120
Cassandre Balosso-Bardin
ABSTRACT This article explores the position of ethnomusicologists approaching the field with the prior lived experience of being a working/proficient musician, meeting other fellow musicians in all the complexity of each person’s multi-layered background. Within these layers, musical practice and the experience of musicking are central to the relationships created between these individuals. The various case studies put forward in the paper bring to the fore how proficient musician-researchers have used their musical skills to negotiate fieldwork, integrating it as a central part of their process. Musical ability, central to their identity as an individual, becomes an additional layer that has arguably enabled musician-ethnomusicologists to access communities on a level where the latter are able to actively work with them, assigning them roles that can satisfy both parties and lead to what is presented as ‘applied relationships’. The article makes the case that the musician-ethnomusicologist’s creative practice, while not directly leading to REF outputs and therefore remaining an unspoken activity, is intricately entwined with their research activity.
{"title":"‘You are part of the club’: negotiating the field as a musician–ethnomusicologist","authors":"Cassandre Balosso-Bardin","doi":"10.1080/17411912.2021.2025120","DOIUrl":"https://doi.org/10.1080/17411912.2021.2025120","url":null,"abstract":"ABSTRACT This article explores the position of ethnomusicologists approaching the field with the prior lived experience of being a working/proficient musician, meeting other fellow musicians in all the complexity of each person’s multi-layered background. Within these layers, musical practice and the experience of musicking are central to the relationships created between these individuals. The various case studies put forward in the paper bring to the fore how proficient musician-researchers have used their musical skills to negotiate fieldwork, integrating it as a central part of their process. Musical ability, central to their identity as an individual, becomes an additional layer that has arguably enabled musician-ethnomusicologists to access communities on a level where the latter are able to actively work with them, assigning them roles that can satisfy both parties and lead to what is presented as ‘applied relationships’. The article makes the case that the musician-ethnomusicologist’s creative practice, while not directly leading to REF outputs and therefore remaining an unspoken activity, is intricately entwined with their research activity.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"124 - 142"},"PeriodicalIF":0.8,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45209040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/17411912.2021.2018233
A. Balandina
{"title":"Musicians in crisis: working and playing in the Greek popular music industry","authors":"A. Balandina","doi":"10.1080/17411912.2021.2018233","DOIUrl":"https://doi.org/10.1080/17411912.2021.2018233","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"183 - 185"},"PeriodicalIF":0.8,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44999546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/17411912.2021.2025121
Kiku Day
ABSTRACT This article describes a practice research project investigating how the practice of meditation may be integrated into the playing of shakuhachi, an instrument utilised during the Edo period (1603–1867) as a tool for spiritual practice by monks of the Fuke sect and later becoming part of the hōgaku (Japanese traditional music) world as a stage instrument. Although we cannot know how the monks were trained to use the shakuhachi in meditation, I have combined my own shakuhachi and meditation experiences, in order to investigate how a shakuhachi player today may approach the incorporation of meditation in their musical practice. In transforming my experience into words, I here employ auto-elicitation, a micro-phenomenological interview technique developed by Claire Petitmengin to describe the subtle and fine-grained experiences of meditation while playing. The project here is regarded as a practice research within the field of ethnomusicology and challenges the narrow kind of scholarship in academia, which overshadows the practice research—the research of the act of playing music.
{"title":"Mindful playing: a practice research investigation into shakuhachi playing and meditation","authors":"Kiku Day","doi":"10.1080/17411912.2021.2025121","DOIUrl":"https://doi.org/10.1080/17411912.2021.2025121","url":null,"abstract":"ABSTRACT This article describes a practice research project investigating how the practice of meditation may be integrated into the playing of shakuhachi, an instrument utilised during the Edo period (1603–1867) as a tool for spiritual practice by monks of the Fuke sect and later becoming part of the hōgaku (Japanese traditional music) world as a stage instrument. Although we cannot know how the monks were trained to use the shakuhachi in meditation, I have combined my own shakuhachi and meditation experiences, in order to investigate how a shakuhachi player today may approach the incorporation of meditation in their musical practice. In transforming my experience into words, I here employ auto-elicitation, a micro-phenomenological interview technique developed by Claire Petitmengin to describe the subtle and fine-grained experiences of meditation while playing. The project here is regarded as a practice research within the field of ethnomusicology and challenges the narrow kind of scholarship in academia, which overshadows the practice research—the research of the act of playing music.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"143 - 159"},"PeriodicalIF":0.8,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42553010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/17411912.2022.2059772
Muriel E. Swijghuisen Reigersberg, S. McKerrell, A. Corn
ABSTRACT In this article, we argue that ethnomusicology holds valuable epistemic insights for considering how to measure and evaluate research for academics, as well as for research policy and management professionals. We focus on two notable instances of standardised national research assessment frameworks: the UK’s Research Excellence Framework (REF), and Excellence in Research for Australia (ERA) and identify the advantages of practice as research models for music research by considering the benefits of ethnomusicology’s reflexive and relativist methodologies to formal research assessment processes. To support our argument, we refer to published case studies of ethnomusicological research that reach beyond Western practice and thought to highlight the advantages recognising practice as research as a more inclusive modality of original knowledge production. We call upon ethnomusicologists to pro-actively engage with the formal processes of research assessment to make them more equitable and representative of our discipline’s broad commitment to decolonising academic practice.
{"title":"Valuing and evaluating musical practice as research in ethnomusicology and its implications for research assessment","authors":"Muriel E. Swijghuisen Reigersberg, S. McKerrell, A. Corn","doi":"10.1080/17411912.2022.2059772","DOIUrl":"https://doi.org/10.1080/17411912.2022.2059772","url":null,"abstract":"ABSTRACT In this article, we argue that ethnomusicology holds valuable epistemic insights for considering how to measure and evaluate research for academics, as well as for research policy and management professionals. We focus on two notable instances of standardised national research assessment frameworks: the UK’s Research Excellence Framework (REF), and Excellence in Research for Australia (ERA) and identify the advantages of practice as research models for music research by considering the benefits of ethnomusicology’s reflexive and relativist methodologies to formal research assessment processes. To support our argument, we refer to published case studies of ethnomusicological research that reach beyond Western practice and thought to highlight the advantages recognising practice as research as a more inclusive modality of original knowledge production. We call upon ethnomusicologists to pro-actively engage with the formal processes of research assessment to make them more equitable and representative of our discipline’s broad commitment to decolonising academic practice.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"43 3-4","pages":"28 - 49"},"PeriodicalIF":0.8,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41288558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/17411912.2022.2055600
Boyu Zhang, C. Lam
ABSTRACT The trend of pursuing higher education abroad in China has resulted in many Chinese musicians immigrating to the United States, Europe, and other Western countries. Among them is a Chinese traditional instrument pipa player, Wu Man, who has achieved great fame. This article analyses the creative life of Wu Man’s and her artistic outputs and thinking from two vantage points: as that of a famous and respected performer of the pipa and as that of a reflective practitioner whose work might be labelled practice as research, or as we term it ‘research for practice’. We draw on contextual analyses of the social and artistic environments that have shaped Wu Man’s career and her ability to integrate ‘authentic’ musical elements and world musics into new compositional and performative techniques. This article foregrounds Wu Man’s voice through personal interviews to showcase the reflexive approach she uses to shape her artistic practice.
{"title":"The making of a successful Chinese instrumentalist in the West: a case study of the pipa player Wu Man","authors":"Boyu Zhang, C. Lam","doi":"10.1080/17411912.2022.2055600","DOIUrl":"https://doi.org/10.1080/17411912.2022.2055600","url":null,"abstract":"ABSTRACT The trend of pursuing higher education abroad in China has resulted in many Chinese musicians immigrating to the United States, Europe, and other Western countries. Among them is a Chinese traditional instrument pipa player, Wu Man, who has achieved great fame. This article analyses the creative life of Wu Man’s and her artistic outputs and thinking from two vantage points: as that of a famous and respected performer of the pipa and as that of a reflective practitioner whose work might be labelled practice as research, or as we term it ‘research for practice’. We draw on contextual analyses of the social and artistic environments that have shaped Wu Man’s career and her ability to integrate ‘authentic’ musical elements and world musics into new compositional and performative techniques. This article foregrounds Wu Man’s voice through personal interviews to showcase the reflexive approach she uses to shape her artistic practice.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"101 - 123"},"PeriodicalIF":0.8,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41594059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/17411912.2022.2050274
Kgomotso Moshugi, Evans Netshivhambe, Brett Pyper
ABSTRACT The two recent doctoral projects compared in this essay explore the affordances of centring the authors’ respective musical practices against the backdrop of the ongoing quest for African (ethno)musicological approaches. Foregrounding the life-long embodied perspectives of the authors as musicians/dancers, they report on seeking out less canonised disciplinary reference points on which to ground these understandings, and share the approaches found to be conducive (viz., creative systems theory and creative musicology). Despite attending to different practice registers and repertoires (musical arrangements within African hymnody compared with art music composition derived from traditional dance principles), they demonstrate how starting from, and centring, their respective practices has allowed local specificity to bring distinctive, new insights to their research in ways that may be of interest to a wider academic community.
{"title":"Centring embodied practice in African music studies: creative alternatives","authors":"Kgomotso Moshugi, Evans Netshivhambe, Brett Pyper","doi":"10.1080/17411912.2022.2050274","DOIUrl":"https://doi.org/10.1080/17411912.2022.2050274","url":null,"abstract":"ABSTRACT The two recent doctoral projects compared in this essay explore the affordances of centring the authors’ respective musical practices against the backdrop of the ongoing quest for African (ethno)musicological approaches. Foregrounding the life-long embodied perspectives of the authors as musicians/dancers, they report on seeking out less canonised disciplinary reference points on which to ground these understandings, and share the approaches found to be conducive (viz., creative systems theory and creative musicology). Despite attending to different practice registers and repertoires (musical arrangements within African hymnody compared with art music composition derived from traditional dance principles), they demonstrate how starting from, and centring, their respective practices has allowed local specificity to bring distinctive, new insights to their research in ways that may be of interest to a wider academic community.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"70 - 100"},"PeriodicalIF":0.8,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45511390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-07DOI: 10.1080/17411912.2021.2010227
Isabel Frey
craze that emerged in the mid-60s: Latin Bugalú: blending African-American Soul with Cuban dance music. Although popular among the younger Nuyorican musicians, older musicians were more motivated by the commercial success and resultant better pay they could get for Bugalú gigs. In Chapter 9, Miller moves forward to later developments. She focuses on another innovative Nuyorican musician, Ray Barretto and the flute players who worked with him. Here she notes the emergence of female musicians and includes their voices in her research. Miller concludes by arguing that in New York while cubanía thrived, a new, unique and urban performance aesthetic emerged driven by the Cuban and non-Cuban flautists. The city embraced the broader range of approaches to charanga performance with New York bands developing their own signature sounds. There are many ways in which the reader can approach this book. Musicians and Cuban music scholars can learn a great deal from the detailed transcriptions and analysis of which there are many. I thoroughly enjoyed studying these, stopping to play bits and flicking back and forth from one to the next making various comparisons. Miller’s careful, measured explanations directed the reader to notable features of the different players’ approaches to playing. There is a lot of knowledge here that warrants study and re-examination, not just by flute players hoping to embrace the style but all instrumentalists and vocalists who wish to expand their Cuban music vocabulary. It is interesting to see how Miller approaches the task of analysing the music in a way that will provide pertinent information to all readers. She provides a wealth of musical detail with insights into performance practice and techniques. I imagine some of it would be fairly heavy going for non-musicians but throughout there is clarity of thought and careful explanation. Miller weaves together a vast amount of information and detail, keeping the musicians’ voices in the foreground throughout. There is a lot to take in but the book is carefully crafted with reminders of salient points so that the reader does not lose their way. Improvising Sabor is a great example of how to approach a study of musical transformation and identity in a manner which engages both academics and practitioners. Miller has put aside commonly held opinions about performance aesthetic in New York and, from the perspective of the flute within the charanga tradition she has considered the wider world of Cuban music and transformation in New York.
{"title":"Sounding Jewish in Berlin: klezmer music and the contemporary city","authors":"Isabel Frey","doi":"10.1080/17411912.2021.2010227","DOIUrl":"https://doi.org/10.1080/17411912.2021.2010227","url":null,"abstract":"craze that emerged in the mid-60s: Latin Bugalú: blending African-American Soul with Cuban dance music. Although popular among the younger Nuyorican musicians, older musicians were more motivated by the commercial success and resultant better pay they could get for Bugalú gigs. In Chapter 9, Miller moves forward to later developments. She focuses on another innovative Nuyorican musician, Ray Barretto and the flute players who worked with him. Here she notes the emergence of female musicians and includes their voices in her research. Miller concludes by arguing that in New York while cubanía thrived, a new, unique and urban performance aesthetic emerged driven by the Cuban and non-Cuban flautists. The city embraced the broader range of approaches to charanga performance with New York bands developing their own signature sounds. There are many ways in which the reader can approach this book. Musicians and Cuban music scholars can learn a great deal from the detailed transcriptions and analysis of which there are many. I thoroughly enjoyed studying these, stopping to play bits and flicking back and forth from one to the next making various comparisons. Miller’s careful, measured explanations directed the reader to notable features of the different players’ approaches to playing. There is a lot of knowledge here that warrants study and re-examination, not just by flute players hoping to embrace the style but all instrumentalists and vocalists who wish to expand their Cuban music vocabulary. It is interesting to see how Miller approaches the task of analysing the music in a way that will provide pertinent information to all readers. She provides a wealth of musical detail with insights into performance practice and techniques. I imagine some of it would be fairly heavy going for non-musicians but throughout there is clarity of thought and careful explanation. Miller weaves together a vast amount of information and detail, keeping the musicians’ voices in the foreground throughout. There is a lot to take in but the book is carefully crafted with reminders of salient points so that the reader does not lose their way. Improvising Sabor is a great example of how to approach a study of musical transformation and identity in a manner which engages both academics and practitioners. Miller has put aside commonly held opinions about performance aesthetic in New York and, from the perspective of the flute within the charanga tradition she has considered the wider world of Cuban music and transformation in New York.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"306 - 310"},"PeriodicalIF":0.8,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44340338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-21DOI: 10.1080/17411912.2021.1989174
Sara Mcguinness
{"title":"Improvising sabor: Cuban dance music in New York","authors":"Sara Mcguinness","doi":"10.1080/17411912.2021.1989174","DOIUrl":"https://doi.org/10.1080/17411912.2021.1989174","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"304 - 306"},"PeriodicalIF":0.8,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49147783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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