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.
João Filipe Soutelo Soeiro de Carvalho
Weekly - 4
Total - 168
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.
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.
homework(20%), written test(40%), written test(40%)
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.
Programs where the course is taught: