"Historical Ethnomusicology": Reconstructing Falasha Liturgical History

1980 ◽  
Vol 24 (2) ◽  
pp. 233 ◽  
Author(s):  
Kay Kaufman Shelemay
Keyword(s):  
Historical Ethnomusicology

Theory and method in historical ethnomusicology

2016 ◽  
Vol 25 (3) ◽  
pp. 377-380
Author(s):  
Jonathan P. J. Stock
Keyword(s):  
Historical Ethnomusicology

scholarly journals Performance and Autoethnography in Historical Ethnomusicology: Differentiating the Viola and the Violão

Per Musi ◽  
2016 ◽  
pp. 35-61
Author(s):  
Renato Moreira Varoni de Castro
Keyword(s):  
Alternative Methods ◽  
Embodied Knowledge ◽  
Musical Scores ◽  
Historical Ethnomusicology

Abstract This article proposes the combination of performance and autoethnography as alternative methods to make use of musical scores concerning the viola (five-course guitar) and the violão (six-course guitar) in historical ethnomusicology. The author performs and records the same set of songs on the viola and the violão, and based on the multidimensionality of the interaction performer/instrument, writes an autoethnography differentiating his experiences in playing at both chordophones. This approach strives for overcoming the duality body/mind in academic musical research and comprises the embodied knowledge that arises from experience as a complementary epistemology to the corpus of knowledge about these instruments. Moreover, it is added the professional viewpoint of the virtuoso viola player Ivan Vilela who, interviewed by the author, gives his impressions about the differences in ergonomics and playing technics between those chordophones.

scholarly journals Musik Popular Bali 1950-1965 dalam Dinamika Kebudayaan Nasional

2020 ◽  
Vol 3 (2) ◽  
pp. 147-166
Author(s):  
Ni Wayan Ardini ◽  
I Komang Darmayuda ◽  
Ricky Irawan
Keyword(s):  
Popular Music ◽  
Research Methods ◽  
Theoretical Framework ◽  
Cultural Issues ◽  
Historical Ethnomusicology ◽  
Aesthetic Expression

Purpose: This research discusses the development of popular music in Bali and its relation to national cultural issues in the 1950-1965 period. Research methods: This research uses the theoretical framework of historical ethnomusicology and emphasizes the verstehen method to understand the meaning of music. Beside the documentary study, the collecting technique of this research uses some interviews with the musical practitioner, historian, and cultural expert. Results and discussion: Keroncong, which popular during that period, was not only an aesthetic expression in the realm of music but it is also a manifesto of Indonesianess, that they are part of Indonesian society. Implication: How to become Indonesian in the realm of music was interpreted differently in that period.

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