History of Ethnomusicology
Objectives
a) To identify the major research questions, concepts, theoretical frameworks, methods, techniques, authors and publications thatmarked the history of Ethnomusicology and other similar disciplines/approaches (Folklore Studies, Comparative Musicology andhistorical safeguard of audio/musical heritage) from the second half of the 19th century until the 1980s;
b) To acquire the conceptual tools for developing a critical and historically informed perspective on the literature analysed ;
c) To develop the ability to relate historical, political, social and musical processes;
d) To acquire tools to analyse oral music traditions;
e) To apply the knowledge acquired in the preparation of academic outputs, including an annotated thematic bibliography, a book reviewand an essay.
General characterization
Code
722021018
Credits
10.0
Responsible teacher
João Filipe Soutelo Soeiro de Carvalho
Hours
Weekly - 3
Total - 280
Teaching language
Portuguese
Prerequisites
N/A
Bibliography
- Blacking, J. (1995). Music, culture and experience: Selected writings of John Blacking. Chicago UP.
- Castelo-Branco, S. (2010). Ethnomusicologia. In S. Castelo-Branco (Ed.), Enciclopédia de música em Portugal no século XX. Círculo dosLeitores.
- Malm, K., & Wallis, R. (1984). Big sounds from small peoples: The music industry in small countries. Constable.
- Merriam, A. (1964). Anthropology of music. University of Illinois P.
- Nettl, B. (2010). Nettl's elephant: On the history of Ethnomusicology. Illinois UP.
- Nettl, B., & Bohlman, P. (Eds.) (1991). Comparative Musicology and Anthropology of music: Essays on the history of Ethnomusicology.Chicago UP.
- Porter, J. (2000). The collection and study of traditional European music. In T. Rice, J. Porter & C. Goertzen (Eds.), The Garlandencyclopedia of world music (pp. 16-27), Garland.
- Stone, R. (2008). Theory for Ethnomusicology. Prentice Hall.
Teaching method
The curricular unit is taught in a seminar format (3h) + individual tutorials (1h).
Each session has a tripartite structure:
-OPENING (15-20m): Analysis of an audio/audiovisual sample to introduce the session's topic or to summarize previous sessions;
-EXPOSITION (c.60-90m): Presentation of contents by the teacher;
-DISCUSSION (c.40-60m): Students' presentations of selected articles and book chapters related to the session's topic.
Evaluation method
Continuous assessment - Annotated bibliography (10 journal articles) on the same topic (1 page per publication)(20%), Essay synthesizing the contents previously developed in elements 1, 2 and 3 (3000 words).(30%), In-class presentations (25%) + Book/monograph review on a topic ideally related to the student's M.A. dissertation (25%, 1500 words)(50%)
Subject matter
1. Ethnomusicology: an introduction
PART I - COMPARATIVE MUSICOLOGY
2. Background and technical-scientific developments (c. 1870-1900)
3. The "Berlin School" (1900-1945)
PART II - HERITAGE SAFEGUARD
4. The study of Native Americans' heritage and the institutionalization of Anthropology in the U.S.A. (1890-C.1955)
5. Musical areas and acculturation
PART III - FOLKLORISM
6. Musical nationalism and research traditions in Europe (c.1850-1990)
7. Musical nationalism and research traditions in Portugal (c.1850-1990)
PART IV - MODERN ETHNOMUSICOLOGY
8. Ethnomusicology in the 1960s: one discipline, two different approaches?
9. The 1960s-70s: Anthropology of Music, Cantometrics and linguistic models
10. The Ethnomusicology of John Blacking
11. The 1970s and the enlargement of the study object: urban music, migration, music industries and the study of popular music
12. Ethnographic studies: classic ethnomusicological monographs (1975-1990)