-"what is usually considered is the meaning of a musical genre to its culture and the value of a musical activity to its society"

*ethnography

* not admired for insight into music as aesthetics

*historian

*anthropology alignment

*theorists: 2 phases:

1) right before First World War

----Debussy, Stravinsky, Shoenberg

2) after Second World War

----Boulez, Stockhausen, Cage

“Study of music”—> defining music as high-art Western music

-excluding social contexts & emotional contexts

-couldn’t explore the beyond these boundaries

-“there are no generally accepted names for students of Western popular musics such as jazz, rock, or reggae…”(13)

“Have value & history” “everyone else has culture”

No where for students Black students to study, designated areas to study

Didn’t want women to sing

Sexuality, body development into adulthood

Sex symbols, virtuosic, couldn’t get women pregnant but they are basically pop stars, not seen as feminine

17th-20th Century

Italy, Spain, Germany

Most important singer

THE ⭐️

Widespread practice: Byzantine, Greek, Roman, Chinese, Islamic origin

Italian courts & churches, boys longevity is limited, women are sexual by nature and therefore problematic

Sexual & Economic costs

Social problem, training these boys to sing but then they go through puberty

Situates music within the social, political, and economic

Make the past familiar and the present strange

Movie actors changed their bodies for their jobs

Ballerinas dancing feet are wrecked

*It’s easy to judge the past but we have to consider today’s practices and realize that we don’t judge the current circumstances

Exists on a continuum, everything has some sort of engagement

Donna Haraway- organic and technical fused—>castrato, manipulation of the body

*Change over time

Fusion of technology & humans like pace makers-ability to put body over natural time

-looking at the patterns in the music to draw connections, to genre, time period, and extra details

-

—>evolves to the study of the world’s music

Person at the box office- that is a musical interaction

-“Ethnomusicologists still need (1) to make sure that we are consistently engaged in the practice of critical ethnography and (2) to focus explicitly on creating performative ethnographies while acknowledging the place of auto-ethnography in our methodologies.” (77)

-“Ethnomusicologists offer a particular take on ethnography that redirects postmodern and post structural critical methods. I call this performative ethnography.”(78)

Audience for ethnography- people aren’t familiar with taiko

The action of playing and social aspect-unique experience for each performers

Not belonging-she inserted herself as a taiko player, Japanese culture, she’s generalizing Asian culture as Wasian, Asian American, doesn’t acknowledge it that much

2) Leaving out nuances, social studies are complex and always changing—> empiricism/positivism-pure logic/reason/understanding

3) criticism needs to be implemented in music studies

4) race and culture in music intersection in music studies

-Situate between the social and political and economic

Wong and Andrews talk about personal experiences

-Wong & Gordon: bodies(music), making(Gordon) versus experiencing(Wong)

-Andrews: artist, descriptive commentary (week 3 slides/video LE)

-Wong: personal, first person narrative

-intellectual histories

Claims! Narrative styles

Archives and materials

Methodological oritentation

Voice should be analytical

Chicago in text/ author date (Wong 2008, 28).

Looking at music, sound and how people interact

Project, acoustic, space, architecture, economics history

Criticism

Annie Oakley

-height of technology-moving images-no sound

The Voice from the Screen

Vitaphone demonstration

Enclosure around the machine

Vinyl record on turntable

Hear a lot of noise, small signal, voice and guitar is recording in different ways

Playing differently for the purpose of the recording

Sense of discomfort, pressure to get it right, not used to be in front of the camera

Classical music:

Pianist was sharing his attention between himself and violinist, visually,Violinist was pretty stiff

Sound overall is clearer, part of that is due to the instrumentation, audible thuds of piano, doesn’t sound as glissando as it might today

Orchestra:

Sound is choppy, faint, muffled, sporadic pops/phrases of sound

Concert music:

Consumers of culture, high class culture, accessibility

1st popular form of entertainment: black face

P.246 vitaphone-meant to be watched

Music in the early Vitaphone- not theatre/cinematics

Wanted to include images in sound

Blackface and sound/image technology

Tech of phonograph: primarily recording music, expectation to equivalence to live music quality

Today, we have different expectations of how music should sound in a recording

Tech of concert hall: electroacoustic technologies/recordings

Natural/Built Environment

Reverberation free outdoors (1926) p.254

Want it to sound as if you are in a different space that it was actually set in

-movement, can’t perform without movement

-Connection between performance and the body

** this is the opposite of Berman in what can be included in music studies bc from a music note on the page, you cannot make a claim about what is going on with the body