Ethnomusicology: Introduction - 1st semester


a)To frame Ethnomusicology within the theory of Humanities and Social Sciences. To provide knowledge of the most relevant aspects of the intellectual tradition of Ethnomusicology;
b)To be familiar with main authors and publications that have determined theories and methodologies in Ethnomusicology;
c)To be familiar, and able to apply main theoretical tools related to Humanities and Social Sciences’ thought to the history of Ethnomusicology;
d)To acquire conceptual and analytical tools for the analysis of musical processes;
e)To discuss recent problems that frame recent trends in the discipline, such as: Identity, Nationalism, Post-colonialism, popular Music Studies, Music Industries, Globalization, among others;
f)To know the history of Ethnomusicology in Portugal, and to discuss its main scope, literature and projects.

General characterization





Responsible teacher

João Soeiro de Carvalho


Weekly - 4

Total - Available soon

Teaching language





Blacking, J. (1973). How Musical is Man? Seattle: U. Washington Press.
Carvalho, J. S. (1995). A Nação Folclórica: projecção nacional, política cultural e etnicidade em Portugal, Trans online.
Castelo-Branco, S. (Ed.) 2010). Enciclopédia da Música em Portugal no Século XX. Lisboa: Círculo de Leitores.
Côrte-Real, M. S. J. (Ed) (2010). Música e Migração. Migrações 7. Lisboa: Observatório da Imigração.
Merriam, A. (1964). The Anthropology of Music. Evanston: Northwestern University Press.
Miller, K. (2007). Jacking the Dial: Radio, Race, and Place in Grand Theft Auto. Ethnomusicology 51 (3): 402-38.
Nettl, B. (1989). Mozart and the Ethnomusicological Study of W. Culture. Yearbook for Traditional Music, 21, 1-16.
Nettl, B. (2005). The Study of Ethnnomusicology: 31 Issues and Concepts. Urbana: U. Illinois Press.

Teaching method

Class dynamics articulate practical (40%) and theoretic (60%) approaches in a dynamic plan throughout the term. The topics are introduced by a Youtube Moment in which a short related video, directly musical or not, promotes a discussion of practical character. Teacher presentations of selected topics use virtual visual and audio information. Critic presentations of selected readings, with discussion, follow a plan by weekly designated students. Listening and discussion of musical examples are main strategies within the class work. Resources are at the Moodle platform.

Evaluation method

Grading results from two written tests (50% + 50%). Class attendance and participation, namely presentation and discussion of selected readings modifies optionally the score for tests (40% + 40%) and class and homework (10% + 10%).

Subject matter

A)INTRODUCTION: MUSIC AND CULTURE: 1. Domain and definitions of Ethnomusicology; 2. Ethnomusicology within the frame of Social Sciences and Humanities; 3. Music: universal phenomenon; 4. “How Musical is Man” – John Blacking; 5. “The Anthropology of Music” - Alan Merriam.
B)THE HISTORY OF ETHNOMUSICOLOGY: 1. Events of late 19th century; 2. Berlin School and Compared Musicology; 3. Folklore and Folklorism: Eastern Europe; 4. North-American Indians; 5. Post-war Ethnomusicology; 6. Bi-musicality vs. Anthropology of Music; 7. Musical change; 8. The study of urban musics.
C)RECENT TRENDS IN ETHNOMUSICOLOGY: 1. Music and identity; 2. Identity and nationalism; 3. Colonial and post-colonial studies; 4. Socio-musical practice; 5. Music industries; 6. Popular music studies; 7. The study of western art music; 8. Migration and diasporas; 9. World Musics and globalization.
D)ETHNOMUSICOLOGY IN PORTUGAL: 1. Ethnomusicology and music recollection; 2. Traditional music and social history; 3. Fields of exploration, literature and projects.
E)INSTITUTIONS, PUBLICATIONS AND ETHICAL QUESTIONS: 1. Publications, periodicals, and institutions in Ethnomusicology; 2. The Ethnomusicologist in society.


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