Abstract

Abstract In a critical appraisal and expansion of the historical methodology championed by ethnomusicologist and anthropologist Richard Waterman, this essay reconsiders the historicity of musical performance and demonstrates ways in which treating ethnography genealogically may serve as a means of doing what Thomas Solomon calls "postcolonial music history." This essay is broadly divided into three parts: a review of Waterman’s work, a theoretical revamping and an abbreviated case study taken from my own research on Catholic patron saint rituals in Bahia, Brazil.

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call

Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.