Download Shadows in the Field: New Perspectives for Fieldwork in by Gregory F. Barz, Timothy J. Cooley PDF

By Gregory F. Barz, Timothy J. Cooley

Ethnomusicological fieldwork has considerably replaced because the finish of the the 20 th century. Ethnomusicology is in a serious second that calls for new perspecitves on fieldwork - views that aren't addressed within the average courses to ethnomusicological or anthropological technique. the point of interest in ethnomusicological writing and instructing has generally founded round analyses and ethnographic representations of musical cultures, instead of at the own international of knowing, event, figuring out, and doing fieldwork. Shadows within the Field intentionally shifts the point of interest of ethnomusicology and of ethnography more often than not from illustration (text) to adventure (fieldwork). The ''new fieldwork'' strikes past mere info assortment and has turn into a defining attribute of ethnomusicology that engages the student in significant human contexts. during this new version of Shadows within the Field, well known ethnomusicologists discover the jobs they themselves act out whereas acting fieldwork and pose major questions for the sector: What are the hot instructions in ethnomusicological fieldwork? the place does fieldwork of ''the past'' healthy into those theories? And specially, what will we see after we recognize the shadows we solid within the box? the second one version of Shadows within the Field comprises updates of all present chapters, a brand new preface by means of Bruno Nettl, and 7 new chapters addressing serious matters and issues that experience turn into more and more correct because the first version.

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Additional info for Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology

Sample text

The influence of these different gender identities and roles is manifest both when doing fieldwork in India and when writing in an American academic setting. In his new essay, Harris Berger approaches the significant issue of fieldwork and rock by offering a perspective on what ethnomusicological ethnography can offer popular music studies. By focusing on ethnography (old and new forms), he demonstrates a dialogic approach to his field research with ‘‘extreme metal’’ in Ohio rock communities. By offering a critical phenomenological approach, he concludes that practice and experience are the most significant study objects of ethnomusicology.

The influence of these different gender identities and roles is manifest both when doing fieldwork in India and when writing in an American academic setting. In his new essay, Harris Berger approaches the significant issue of fieldwork and rock by offering a perspective on what ethnomusicological ethnography can offer popular music studies. By focusing on ethnography (old and new forms), he demonstrates a dialogic approach to his field research with ‘‘extreme metal’’ in Ohio rock communities. By offering a critical phenomenological approach, he concludes that practice and experience are the most significant study objects of ethnomusicology.

Each author acknowledges and approaches an understanding of the agency of the individual field researcher both in and out of the field, chasing whatever is hidden 24 Shadows in the Field behind the shadows he or she casts in the field. Ideally, ethnomusicologists will be encouraged to take these ideas, thoughts, and methodologies into classrooms, seminars, and conversations with colleagues at home and in field research situations, and explore them in ethnographic writing. If globalization theories have taught us anything, it is that we already are social actors within just about any cultural phenomena that we might wish to study.

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