Applied Ethnomusicology Research Articles

Banding Together in Cape Town and Lagos: Engaging Reciprocity as Applied Ethnomusicology

AbstractThis article discusses reciprocity in research as engaged scholarship and, more specifically, applied ethnomusicology. It draws on two ethnographic studies and their associated activism in Cape Town, South Africa and Lagos, Nigeria. The article investigates the histories of engaged scholarship and applied ethnomusicology and suggests that each community requires a method of engagement based on its contextual specifics. Hence, the case studies may be seen to animate workable approaches in different socio-cultural contexts. The paper concludes that these methods may serve as frameworks for developing site-specific strategies of engaged scholarship in other parts of Africa.

The Change of Concept: the Formation and Reflection of Applied Ethnomusicology

If the study of Jesse Fewkes and Frances Densmore in the late 19th century is taken into account, western Applied Ethnomusicology is entering its second century. After more than one hundred years of development, Applied Ethnomusicology has basically become a relatively mature research path in the West, which not only provides scholars with a new research perspective but also enriches the subject connotation of Ethnomusicology to a certain extent with its research philosophy and value pursuit. In China, Applied Ethnomusicology has attracted more and more attention. Therefore, reviewing the development history of the discipline is not only conducive to clarifying the development context of the discipline but also conducive to reflecting on the current problems and better grasping the development trend of the discipline. In the first part of this paper, the factors influencing the birth and development of applied ethnomusicology are further discussed from within and outside the discipline, respectively based on consulting relevant literature and briefly summarizing the existing discussions of scholars. The second part mainly discusses the research characteristics of Applied Ethnomusicology, such as "pragmatic orientation", "change of researcher's identity", and "emphasis on intervention and intervention". The third part of the Applied Ethnomusicology on the "intervention", "the definition of" discipline "and the edge of two issues are discussed.

Miteinander musizieren

This article critically reflects a week-long music project that involved students of the music pedagogy master's programme at the Lucerne University of Applied Sciences and Arts and unaccompanied minor refugees of the nearby transit center. The project highlights the potential of musical activities, such as playing music, listening to and talking about music, dancing and building instruments, in the transcultural context of refugee work and points to the need for further research in this area. The evaluation of the project focuses on the benefits for the Swiss music students and the impact on their pedagogic practice and transcultural understanding, rather than the young asylum seekers. Particularly in the context of cultural education, where unequal power relations and dependencies exist, contents and representations must be carefully examined. Ethnomusicologists, through their academic training and practical activities, are sensitized to recognize and dismantle neocolonial structures and approaches. Applied ethnomusicology, which is actively involved in solving concrete problems faced by minority individuals and groups, has developed the necessary tools and is therefore particularly suitable for informing the training and challenging the pedagogic practices of prospective music teachers and educators.

Possibilities of ethnomusicology applied to the field of public health.

This article analyses methodological possibilities of ethnomusicology in the field of public health, starting from an experience that triangulated ethnomusicological theories with discourse analysis (DA). After an introduction to applied ethnomusicology, it is followed by a description of methodological aspects of the experience in question. Subsequently, the conduction of the ethnomusicological step and the triangulation process was described. Results show that the musical systems are situated in power structures, influencing the construction of subjectivities. Applied ethnomusicology emerges, therefore, as a possibility for analyzing the structures on which the music is rooted in. From a research on the relations between forró and the perception of young people's perception about sexual violence, ethnomusicology presented itself as a theoretical possibility for the study of violent social performances and about the effects of music in identity building, besides providing elements for the confrontation of violence inside the cultural system itself. Its triangulation with DA contributes for an ethnographic-discursive research, as possibility of analysis of social practices.

Call and Response: SEM President’s Roundtable 2018, “Humanities’ Responses to the Anthropocene”

Call and Response: SEM President’s Roundtable 2018, “Humanities’ Responses to the Anthropocene”

At the nexus of ethnomusicology and music education: pathways to diversity, equity, and inclusion

The unique and shared visions of dynamic activist-musicians in Ethnomusicology and Music Education have resulted in changes to curricular content and instructional processes in schools and on university campuses. Teachers in a wide variety of venues, including university professors, who seek a multicultural-intercultural-global array of songs, instrumental pieces, dance, and listening selections are locating them online, where they are finding the results of fieldwork by ethnomusicologists that apply to their curricular practices and programs. The significant overlap of ethnomusicology and education historically and in continuing the diversity movement in education at all levels and venues, however, conceals the fact that the fields are uniquely focused on goals particular to their specializations of “pure” and “applied” scholarship. Ethnomusicology continues its earnest interest in interdisciplinary questions of music and cultural anthropology, folklore, performance studies, politics, religion and ritual, gender studies, race or ethnic studies, while music educators remain focused on honing the multiple dimensions of excellence in music teaching and learning. Attention to the two coinciding yet distinctive fields, along with a glance at the emerging studies in Community Music and Applied Ethnomusicology, provide insights leading to policies on pathways to diversity, equity, and inclusion in and through music.

Bilingual Hip Hop from Community to Classroom and Back: A Study in Decolonial Applied Ethnomusicology

AbstractEducation research often examines popular music as a tool for achieving classroom learning outcomes. Approaching pedagogical uses of music through applied ethnomusicology reveals even more useful conclusions about the social context and pedagogical applications of bilingual popular music. Research with musicians and teachers in Minnesota and Manitoba indicates that Anishinaabemowin/English popular music encourages revernacularization by extending language use and cultural knowledge beyond the classroom. Rather than working solely through the English language, this educational approach strategically uses bilingual hip hop music in Indigenous languages and offers opportunities for students to form their own critical decolonial consciousness.

The Music and Memory Project: Understanding Music and Dementia through Applied Ethnomusicology and Experiential Filmmaking

“Music lifts my spirits, I'm not the same guy leaving as when I come to begin with. It's kind of a floating feeling, I feel good, I feel drunk with fun!”- Daryl, participant of the Music and Memory Project“Music is like medicine… No, music is better than medicine!”- Martha, participant of the Music and Memory ProjectIn Spring 2017, I designed and taught a filmmaking and service-learning course in the Indiana University (IU) Bloomington Department of Folklore and Ethnomusicology called “Music and Memory: Studying Music & Alzheimer's Through Film.” This ongoing project is set in nursing homes, long-term care facilities, and adult day programmes for individuals with age-related neurocognitive disorder, commonly referred to as dementia. In the course, undergraduate students learn to make personalized iPod music playlists for older adults living with Alzheimer's and other related dementias, and to document their experiences through short films intended for online public circulation; At a time when dementia has been flagged as one of the fastest growing global health priorities, applied ethnomusicology courses about music and aging provide dynamic interdisciplinary spaces where college students can gain knowledge, experience, and skills to creatively address these challenges in their families, communities, and careers.

W stronę etnomuzykologii stosowanej - Pracownia Muzyki Tradycyjnej IMiT

The text describes the activities of Traditional Music Laboratory of the Institute of Music and Dance, which was established on 17 June 2015 in Warsaw. The main objective of the Laboratory’s programs is to support traditional music transmission in a direct „master-apprentice” relationship and to facilitate an interdisciplinary, long-term collaboration between animators, researchers, scholars, artists, pedagogues and civil servants under subsidy of Polish Ministry of Culture and National Heritage. Ideas discussed in this paper arise from the content of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003) as well as the assumptions of applied ethnomusicology (the International Council for Traditional Music, Study Group on Applied Ethnomusicology). The question that needs to be asked in the context of the above-mentioned perspectives is how to describe the problem of the continuity of the traditional forms of musical practices in the context of new phenomena, such as the “revival”, “return”, “revitalization” or “reconstruction”, in Poland. The paper focuses on a brief overview of educational and cultural actions taken by chosen NGOs, foundations and associations organized in an informal initiative known as the Forum of Traditional Music.

The Oxford Handbook of Applied Ethnomusicology

In July 2015, Oxford University Press published a substantial volume titled The Oxford Handbook of Applied Ethnomusicology, co-edited by two eminent ethnomusicologists, Svanibor Pettan and Jeff Todd Titon. The book is an impressive collection of different approaches in applied ethnomusicology, developed through a combination of ethnographic research (personal experiences and fieldwork in different parts of the world) and contemporary scholarship.

APPLIED ETHNOMUSICOLOGY IN THE PROCESS OF THE POLITICAL RECOGNITION OF A MINORITY: A CASE STUDY OF THE AUSTRIAN ROMA

Applied ethnomusicology has a special relevance for studies on music and minori ties.' What constitutes this relevance in particular cases was the focus of a ple nary panel discussion at the 38th World Conference of the ICTM in Sheffield in 2005, which explored cultural, social, political, and economic issues pertinent to the musical life of minority groups within the context of a larger (majority) soci ety. Panel participants addressed the topic from the perspective of their individual research fields and the different minority groups they have worked with: Adelaida Reyes provided the example of refugee camps, Stephen Wild of the Rom ceremony of Australian Aborigines, and John O'Connell of a Song for Peace by a Kurdish singer. The aim was to contribute to discourses on applied ethnomusicology in the light of theoretical and methodological insights gained through studies of music and minorities. My discussion here focuses on Roma with whom I have been conducting a long term research project.2 In this article, I look particularly at the role of ethnomusi cological research on Romani music as it related to the Austrian political arena. First, though, in order to clarify the specific situation of Romani music research in European music studies, one shaped by a mainly derogatory approach in the past and by new strategies of empowerment in the present, I will briefly outline some aspects of applied ethnomusicology in Romani music studies. I believe that reflection on the results of our work is an important aspect of ethnomusicology, especially in research on the music of minorities, and I also want to address through these reflections the problems that can arise in the application of ethnomusicologi cal findings. In the process initiated in 1989 of claiming political recognition in Austria, the public presentation of Romani traditional music contributed enormously to prov ing that a group of people who had been discriminated against and who formerly were merely seen as a social minority were in fact an ethnic one, with a distinct cultural heritage of their own. Several research projects by Austrian scholars on the music of the Roma formed the basis for activities in the broadly conceived field of applied ethnomusicology, yielding results in the areas of cultural mediation, politi

The Sevdalinka in Exile, Revisited: Young Bosnian Refugees’ Music-Making in Ljubljana in the 1990s (A Note on Applied Ethnomusicology)

Scholars perceived the sevdalinka in exile as an evident expression of refugees’ Bosnian identity. Although this aspect might be important, we think that the identity dimension of the sevdalinka was overemphasised. That is why we point to the appearance of the sevdalinka in Slovenia as a complex process of experiencing uncertainty and trauma of forced migration on the one hand, and youth creativity or a search for expressive freedom on the other. Hence, we aim to move the focus from the refugees’ music life as collective experience to personal, highly individualised narratives. In addition, we argue that musical activities were organised in many aspects. An ethnomusicologist participated in these activities, therefore the work of applied ethnomusicology, together with its practice of strategic essentialisation of music, should be discussed as an integral part of the refugees’ music-making process.

Applied ethnomusicology in Serbia: Politics and policies of Serbian ethnomusicological Society

This paper deals with ethnomusicological research methodologies, the application of ethnomusicological knowledge outside academic institutions and ideologies which have contributed to ethnomusicological discourses in Serbia. Furthermore, state policy on ethnomusicology and folk music is analyzed. The recent institutionalisation of applied ethnomusicology, i.e. direct ethnomusicological engagement in society, which represents a turning point in the development of ethnomusicology, is particularly emphasized. The difference between contemporary applied ethnomusicology and ethnomusicology is in direct engagement: goals are changed, new strategies of (field-) work are introduced, folk music as a political tool is adopted, neutrality of research positions is destabilized, resulting in the emergence of the greatest problem of the discipline - ethics. Applied ethnomusicology in Serbia is especially interesting not only because of local cultural characteristics, but also because of the specific position of Serbian ethnomusicology in the scientific world map. The activities of the Serbian Ethnomusiclogical Society are analyzed as a representative example of successful public engagement. The projects of the Society are classified according to the type of animation (cultural and scientific). The promotion of Serbian folk music, folk music of national minorities and bagpipe-playing revitalization fall into the first category, whereas the second one comprises scientific round tables and the projects dealing with the preservation of Serbian folk music heritage.

Applied Ethnomusicology and HIV and AIDS: Responsibility, Ability, and Action

Applied Ethnomusicology and HIV and AIDS: Responsibility, Ability, and Action

“But what if they call the police?” Applied Ethnomusicology and Urban Activism in the United States

This article explores the difficulties and necessities of applied ethnomusicological research in an urban American neighborhood. A theory of method for activist centered work which connects academia with local, grassroots communities is discussed as well as the challenges of positioning oneself as an applied ethnomusicologist in the field.

Applied Ethnomusicology and Empowerment Strategies: Views from across the Atlantic

The article consists of three parts. The first part presents an outline of the historical developments of applied ethnomusicology in Europe and USA, from the public sector activities of comparative musicologists in the early 20th c. all the way to the announcement of the first conference of newly-established ICTM’s study group in Ljubljana in 2008. The second part is dedicated to the issues of definition and classification of approaches. The third part features five categories of subjects (minorities, diasporas, ethnic groups, immigrants, refugees) and based on selected examples from the territories of what was Yugoslavia presents ethnomusicological interventions that exceed the obvious academic goals of broadening and deepening of scholarly knowledge.

Canada Research Chair in Ethnomusicology

Like most Canada Research Chairs, I have been involved with an array of curricular and community initiatives, as well as new research and new reflective / interpretive work. The primary work in each of these areas is described below. Space In order to have the studio facilities, meeting and resources to undertake a wide array of projects, I established the Research Centre for the Study of Music, Media and Place (MMaP) at Memorial University (www.mun.ca/music/mmap/). The MMaP Centre was officially constituted in January 2003 and, after several years of operating in rather cramped quarters, it has recently moved into new facilities in the Arts and Culture Centre of St. John's. We now have, in addition to office a multimedia library, audio restoration facility, multimedia production studio with excellent video as well as audio capability, and a gallery space that we use for workshops, media training sessions, small performances, and guest lectures. The MMaP Research Centre is now viewed within the province as an interface between the university and local communities, a mobilizer of Applied Ethnomusicology projects, and a collaborator in the organization of numerous conferences, concerts and festivals. Our space, then, operates with a philosophy that differs from myspace: it is responsible to the community (with community representation on the executive board as well as a committee of regional representatives) and is prepared to serve their interests wherever possible. Reaching Out A major initiative that ties directly to the research program described below has been to enable better public access to archival resources at Memorial University, particularly the large audio collection of MUNFLA, the Folklore and Language Archive of Memorial University. We initiated production of an archival CD series in 2004. Each CD is packaged in a DVD case to allow sufficient space for extensive print documentation (usually a booklet of approximately 50 pages). Furthermore, each CD has developed a specific theme that represents a shared concern of academics and practitioners: diverse definitions of tradition and modernity, for instance, or the nature of the Newfoundland song canon. first two releases, It's Time for Another One: Folk Songs from the South Coast of Newfoundland and Folklore of Newfoundland and Labrador: A Sampler of Songs, Narrations, and Tunes, are distributed nationally by Landwash Distribution (www. landwashdistribution.com). Three more CDs are in various stages of planning or preparation: one is a re-release of a popular local radio program, Saturday Nite Jamboree, packaged with a booklet on the history of early radio in the province; a second is a Canada-wide anthology of traditional fiddling and related instrumental practices, with an emphasis on cultural diversity and little known archival sources; the third will feature archival recordings of Atlantic Canadian Mi'kmaw song. Most of the CDs have had guest producers and several have been collaborations. The fiddle anthology, for instance, is being produced with support from Folkways Alive and the Canadian Museum of Civilization. In addition to the CD series, the MMaP Centre has developed a website with the earliest audio recordings made in Atlantic Canada. MacEdward Leach and the Songs of Atlantic Canada (www.mun.ca/folklore/ leach) was launched in 2004 with over 300 audio clips, community profiles, biographies of artists and considerable historical and contextual material. Both English and Gaelic language material is included. It was expanded and updated for a relaunch in 2006 and will shortly migrate to the Digital Archive Initiative of the Memorial University libraries. The website has served both as a source of information about songs and a key to university holdings that are of interest to Newfoundland and Labrador families. With much appreciated cooperation of MUNFLA, the MMaP Research Centre has made copies of archival recordings for family members who contact us--over four dozen to date. …

Applied Ethnomusicology in the Process of the Political Recognition of a Minority: A Case Study of the Austrian Roma

Applied ethnomusicology has a special relevance for studies on music and minorities. What constitutes this relevance in particular cases was the focus of a plenary panel discussion at the 38th World Conference of the ICTM in Sheffield in 2005, which explored cultural, social, political, and economic issues pertinent to the musical life of minority groups within the context of a larger (majority) society. Panel participants addressed the topic from the perspective of their individual research fields and the different minority groups they have worked with: Adelaida Reyes provided the example of refugee camps, Stephen Wild of the Rom ceremony of Australian Aborigines, and John O'Connell of a Song for Peace by a Kurdish singer. The aim was to contribute to discourses on applied ethnomusicology in the light of theoretical and methodological insights gained through studies of music and minorities.

A Few Notions about Philosophy and Strategy in Applied Ethnomusicology

n recent years, applied ethnomusicology has been promoted as a career option (though usually from an if you've got the job, I've got the point of view). It has been praised as an avenue to benefit humanity in ways that the academy has not. It has been talked about in terms of an ethical responsibility to pay back those whose music and lives we study and make our livings from. It has been defined by the kinds of activities that often result from it, such as recordings, festivals, exhibits, and so forth. Applied ethnomusicology is all of these things, but it is something even more basic. If ethnomusicology is an approach to the study of the music of the world's peoples, then applied ethnomusicology is an approach to the approach to the study of the music of the world's peoples. It is a larger frame of reference, a state of mind, something more fundamental that informs all one's actions as an ethnomusicologist. I believe that all ethnomusicologists have at one time or another been applied ethnomusicologists. What ethnomusicologist has never gone out of his or her way to act for the benefit of an informant or a community they have studied? Are teaching and writing not ways of applying ethnomusicological knowledge? Much of this occurs, however, in an ad hoc fashion as a way of reciprocating friendships and fulfilling the professional expectations of academic careers or as something unavoidable, rather than as a result of an approach to the field. Applied ethnomusicology as a conscious practice is much greater than this. It begins with a sense of purpose, a purpose larger than the advancement of knowledge about the music of the world's peoples; a purpose that answers the next question, To what end?; a purpose that shapes

HIV/AIDS Research and the Social Sciences

Previous articleNext article No AccessReportsHIV/AIDS Research and the Social SciencesRichard K. HerrellRichard K. Herrell Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Current Anthropology Volume 32, Number 2Apr., 1991 Sponsored by the Wenner-Gren Foundation for Anthropological Research Article DOIhttps://doi.org/10.1086/203941 Views: 9Total views on this site Citations: 6Citations are reported from Crossref Copyright 1991 The Wenner-Gren Foundation for Anthropological ResearchPDF download Crossref reports the following articles citing this article:Keletso Makofane, Elise M Elst, Jeffrey Walimbwa, Steave Nemande, Stefan D Baral From general to specific: moving past the general population in the HIV response across sub‐Saharan Africa, Journal of the International AIDS Society 23, no.S6S6 (Oct 2020).https://doi.org/10.1002/jia2.25605Kathleen J. Van Buren Applied Ethnomusicology and HIV and AIDS: Responsibility, Ability, and Action, Ethnomusicology 54, no.22 (Jul 2010): 202–223.https://doi.org/10.5406/ethnomusicology.54.2.0202Ernestina Coast Local understandings of, and responses to, HIV: Rural–urban migrants in Tanzania, Social Science & Medicine 63, no.44 (Aug 2006): 1000–1010.https://doi.org/10.1016/j.socscimed.2006.03.009Gilbert Elbaz Measuring AIDS Activism, Humanity & Society 20, no.33 (Aug 1996): 44–60.https://doi.org/10.1177/016059769602000305G. Boulogne AIDS: a social science perspective with special reference to anthropology, South African Journal of Sociology 26, no.22 (May 1995): 39–46.https://doi.org/10.1080/02580144.1995.10432921Chris Lyttleton Knowledge and meaning: The AIDS education campaign in rural Northeast Thailand, Social Science & Medicine 38, no.11 (Jan 1994): 135–146.https://doi.org/10.1016/0277-9536(94)90308-5