Titubanda (Providence, RI)

HonkFest (Somerville, MA)

Titubanda (Providence, RI)

Honk! (Somerville, MA)

Honk! (Somerville, MA)

Response to Comments

Original Challenge Question Response - http://jbengson.blogspot.com/2008/11/challenge-question-response.html
Leen’s Comments - http://leenrhee.blogspot.com/2008/11/response-to-challenge-question_12.html

With regard to your question about how an ethnographic scholar is to circumvent inaccuracy and bias, you propose an intriguing method of surveying the fans of the band and maybe even the band itself. As far as accuracy is concerned, can it really exist without bias? How does one define accuracy? Accuracy seems to be subjective in this case, as say for example, Lamb and Lynx Gaede might view an “accurate” depiction of themselves as one that characterizes their pure, separatist ideologies while ABC’s view of an “accurate” characterization of the girls might be one of racism and white supremacy. In this context, I feel like accuracy and bias work in relative opposition, and this is where I think one has to be careful with the method of surveying the fans or the band. Especially for controversial bands like Prussian Blue, although it may seem like direct access to the band and its fan base may prove to be the purest, most accurate source of information, one must consider the alternative viewpoints and the social implications of utilizing information from the primary source. In this context, a primary source may not be as useful as multiple sources. That is to say quantity over quality. Thus, the polyphonic ethnography approach is one way of not only minimizing ethical repercussions relating to racially charged images, but it is also useful for minimizing bias, since the images are perceived from several viewpoints, not from one source of media. You are absolutely right that the media’s influence is not always degrading or controversial, as Prussian Blue is merely an extreme case where the media may have a more influential role due to the increased sensitivity of the issues brought out by the girls’ beliefs.

Critical Review #10

Robert Neustadt’s compares and contrasts two of Cuba’s most famous music groups, Buena Vista Social Club and La Charanga Habanera, and considers the two very different perspectives both groups produce regarding Cuban identity. Buena Vista Social Club, comprised mainly of older musicians that have been held back from international audiences thanks to political and social implications surrounding Cuba, have made a name for themselves by playing relatively simple, yet traditional Cuban songs. Ironically, their newfound popularity around the world had not translated to similar fame and success within their own country. Those within Cuba saw Buena Vista Social Club as having lost their novel appeal, and instead tended to favor the younger, more progressive Charanga Habanera, whose markedly distinct style of electric music, called timba, seemed to serve as a better representation of present Cuban culture. Neustadt also addresses more subtle differences between the BVSC and La Charanga Habanera, namely both groups’ song lyrics and the album artwork of both groups’ CDs. He claims that sexual innuendo runs rampant in both groups’ song lyrics, with the difference lying in the salience of the sexual references in La Charanga Habanera’s lyrics. According to Neustadt, each group’s album art also reflected each group’s identity and roots in that La Charanga Habanera’s Tremendo delirio portrays a more contemporary, progressive image while BVSC’s album portrays Cuba as a country stagnant and held back, much like the Buena Vista Social Club was prior to the Cuban Revolution.

Discussion Question: Is it possible to consider a broader definition of authenticity, one that can be applied to both Buena Vista Social Club and La Charanga Habanera and possibly attempt to resolve differing beliefs with regard to identity formation and political representation in Cuba?

Comments on Leen’s Response to Challenge Question #2

http://leenrhee.blogspot.com/2008/11/response-to-challenge-question.html

Leen,

You present a well-organized and thoughtful response to the types of present-day musical transmission methods and their subsequent effect on how we interpret a music-culture’s character. Regarding your thoughts on the oral and aural aspect of musical transmission, you bring up a great point when you mention that the aura of live performances is not reproducible, and the raw emotions and power behind live performances are things that you have to experience firsthand. I am curious as to what you think about recordings of live performances versus studio recordings. Making the connection between the oral/aural media and recorded media form of transmission, even though some may argue that live recordings are the closest you can get to being there, there are still crucial things, aside from the obvious visual component that is missing, that are left out in terms of the sound of a live recording. Just as taking a picture of a towering building does not seem to come out on paper as immense as you had seen it with your own eyes, so to does music lack the same quality once it is collected on a roll of tape or a piece of vinyl.
When you acknowledge the fact that recordings hinder the conception of music, denying listeners the freedom of imagination and creativity, I feel like you could look at this both ways. Sure, excessive editing can destroy a recording’s genuineness, but can some editing cause one to appreciate a certain piece in a different way, thereby enhancing the imagination and creativity of the listener? Taking all of the critiques into account, could you not then make the argument that the oral/aural form of transmission is the ultimate form of musical transmission, being the purest, most direct path from performer to listener? (I couldn’t agree with you more that variety is key, but I just offered this up as a possible counter-argument.) On the other hand, to what extent then does accessibility override quality as a determining factor for understanding a music-culture? That is, it would be impossible for an ethnomusicologist to attend every live performance of the music-culture he or she is studying, but at the same time is it ever okay to practice armchair ethnomusicology out of convenience? How does one achieve the ideal balance?

Challenge Question Response

Please write a 2-3 essay regarding the inconstant and often fluctuating nature (tradition) of certain musical performances. Include examples that are specifically tied to and/or tainted by their representations found in the media. How should the ethnographic scholar approach writing about this? What methods of fieldwork will help give the most accurate and unbiased account on this topic?

The inconstant and fluctuating nature of certain musical performances and traditions can be attributed to several factors including the performers themselves and the audience (those witnessing the performance firsthand and those to whom the ethnographies are directed). Only in such instances where a re-evaluation of a specific music tradition does the influence from within a music-group (performers) really come into play. For example, in the case of the Sacred Harp singing tradition, the controversy over whether or not to preserve the long-held tradition of 4-note shape singing or progress to a more modern 7-note gospel influenced tradition is a prime of example of the actual performers of the tradition having a direct influence on the fluctuation and evolution of the tradition. Those outside of the Sacred Harp tradition have little influence on whether or not a four or seven shape tradition is adopted.
Oftentimes, however, the audience for which a musical tradition is performed plays an even greater role in the way the specific musical tradition is transmitted and consequently interpreted. More specifically, the connections created between performers, ethnomusicologists, their transcriptions and ethnographies, and finally the audience, are ones that are exposed to several influences. That is to say that before any information about a specific music tradition can reach its respective audience, the channels linking these different aspects may have already been modulated. This is evident in the ethnographies of many ethnomusicologists who must pay careful attention in their utilization of the channel between them and the audience for whom their ethnographies are directed. For example, in order to enhance the comparison between Mozart and Beethoven and their respective place in the culture of music-schools, Nettl utilizes Anthony Burgess’s novel “A Clockwork Orange” and the corresponding film by Stanley Kubrick establish the metaphor of Beethoven being the “peak of worldly achievement” and Mozart being “the gift of the otherworldly”. Nettl’s description of the dichotomy between Mozart and Beethoven ultimately becomes more engaging and familiar, due to the relative accessibility of the media to which it is being compared. This is one of many specific examples when the media through which musical traditions are communicated plays a large role in the way certain musical traditions are interpreted.
Whether it is through television, motion pictures, or the internet, the media has played a crucial role in the transmission and progression of musical traditions by allowing them to reach out to a greater audience. Technology has also played a major role in increasing the accessibility of countless music cultures and serves as an effective means for the progression of tradition. Unfortunately, by exposing a specific musical tradition to a greater audience, one also opens up the possibility of more diverse interpretations. Consequently, the way a musical tradition is portrayed in the media must be carefully thought out or the music-culture’s reputation and representation may be permanently tainted.
One current controversy over media representation of a specific music-culture involves the white supremacist duo, Lamb and Lynx Gaede, better known as “Prussian Blue”. ABC’s portrayal of the duo as singers spreading racist hate contain undertones of the slight biases associated with the networks own personal attitudes towards the group. As a result, supporters of Prussian Blue would contend that the duo was not characterized in a positive light, the band’s message altered by the clash of personal beliefs. From a more applicable viewpoint, how would an ethnomusicologist who is researching this specific music-culture, deal with such a band whose disturbing lyrics intertwined with pop melodies render their style attractive to many? Many believe that it is an ethnomusicologist’s job, similar to a journalist or reporter, to simply report the news. However, being an ethnomusicologist is very distinct from being merely a reporter of music. There is a great deal of personal commitment involved in the selection of ethnographic fieldwork projects, and if it is obvious that a clash of ideals is bound to occur, there should be no reason for ethnomusicologists to feel pressured to research something they know just does not suit well with their own personal beliefs.
In terms of fieldwork and ethnography ethics, it is crucial for ethnomusicologists to deliver the most accurate and unbiased account of the music-culture being studied. The polyphonic ethnography approach, a sharing of ethnographic authority and utilizing multiple informants, is a useful method for increasing the accuracy of an ethnography and eliminating or at the very least reducing the bias that may accompany researching a controversial music-culture.
Musical traditions are always evolving, which can be attributed to several influential factors including intramusic-culture decision making as well as outside perspectives and interpretations of that specific group. The media through which a music culture is portrayed plays a significant role in outsiders’ perceptions of a group; thus, it is imperative that ethnomusicologists take precautionary measures when immersing themselves in research projects involving controversial music-cultures that may lead to a conflict of ideals, as the music-culture’s progression or preservation of tradition depends on it.

Critical Review #9

Questions for Kiri:

When you “first sang the notes”, how would you describe your personal experience trying to incorporate this unique style of musical text while at the same time attuning yourself to the subtleties of the tradition? For me, it was a little intimidating at first when I first sat down, cracked open the book, and tried to sing the shapes at the rehearsal a few nights ago, but it was actually quite liberating once everyone started singing. The sheer power behind everyone’s voices was surprisingly comforting to me because it made me realize that I did not have to worry so much about singing the wrong syllable or pitch.

Is someone who was not born into a Southern singing family, and came to become a part of the tradition later on permanently disadvantaged when it comes to integrating oneself within the tradition? That is to say, if Sacred Harp singing is not in your blood, can you still achieve tradition to a point where you can adopt it as if it had been a part of you all your life?

Discussion Question:

How is the “veneration” of the Lee family to Sacred Harp sining similar to music schools’ veneration of Mozart and Beethoven?

Challenge Questions

1. In an age when technology facilitates the accessibility of countless music cultures, to what extent does the overall quality of research suffer within a specific music culture, due to the increased quantity of music cultures now available to us? Is there a threat of ethnographers being spread too thin wanting to take on numerous projects? Technology is an effective means for progression of a tradition, but does it come at a cost (i.e. loss of authenticity)? Examine the past, present, and/or future roles of technology in ethnomusicology and its inherent advantages and drawbacks. Feel free to include specific examples when technology has enhanced or held back the process of gathering information and producing an ethnography.

2. Bruno Nettl claims that “how a society transmits its culture, how a musical system transmits itself, is of enormous importance for understanding the society’s character” (37). From there he lists four ways in which a musical system is transmitted, namely oral or aural, written, printed, and recorded. Is there any one method that stands out as being the most informative? Offer critiques and criticisms of each method, and analyze the role of transcription and transmission in ethnographies. With a significant emphasis placed on Western music notation as a means of transcription, are we obliged to find alternative ways to visually represent a music-culture that does not necessarily adopt Western music tradition? Consider the ethical implications of doing so.

Critical Review #8

Questions for Kiri:
You mentioned that you had an emotional connection with Sacred Harp tradition during the “memorial lesson”. Were there any other interesting personal connections to your Sacred Harp fieldwork that you may have omitted simply because they did not fit the “flow” of your ethnography?

How does an observer with an “essentializing ear” hear an acquired Southern accent (or a loss of a Southern accent in the case of a Southerner)? Does the observer view this adaptation the same way as the practitioner of the tradition?

Discussion Question:
Technology is an effective means for progression of a tradition, but does it come at a cost (i.e. loss of authenticity)? Additionally, if a tradition is adopted by a new group of people and the original pioneers of that tradition die out, does ownership of the tradition transfer over to the new group or is it permanently associated with the pioneer?

Critical Review #7

Kay Shelemay’s “Thoughts on Bridging Disciplines and Musical Worlds” is concerned with the need to rid ourselves of the distinction between “Western Music and “Non-Western Music” if we are to successfully link historical musicology, ethnomusicology, and anthropology. She acknowledges the fact that the present division between the two musics has not been challenged, especially by ethnomusicologists, who seek to “preserve their own pursuits and identity” in the presence of Western music institutions. However, she does claim that boundaries are beginning to crumble/blur due to the international influence on even the most Western of musics. This leads into the rest of her paper which examines the advantages and disadvantages of studying Western music and how ethnomusicologists can continue to push towards progression. For example, she explores the ideas of “early music” and its possible connection (or disconnection) from Western music and she even touches on the aspect of authenticity. In the end, she stresses what seems to be glimpses into the “new fieldwork” and ethnography, in that she feels like ethnomusicologists should “participate in joint ethnographic ventures”; that is to say, strive to present a more intersubjective perspective.

Discussion Question: Is authenticity better described temporally or qualitatively? That is to say is it the first performance of a piece that makes it authentic or the best performance?

Interview Documentation

This is a partial transcript from an interview with Marcello Jatosti, a member of the Italian activist street band "Titubanda".

Where does the name “Titubanda” originate from?

Titubanda comes from the verb “titubar” in Italian, which means when we waver, when we hesistate, when we’re not certain, and when we cannot decide. So it is true that we are a wavering band, always on the verge of doing it or not doing it. This is also our handicap sometimes. We cannot decide, but maybe at the end, if somebody insists very much, like I did insist a lot, we came finally to the festival here.

Along those lines, how did Titubanda originate?

It started in May of 1998. The first day of May, which is not a casual date. It is an important date because it is a holiday for the workers. So I don’t know if in America it is the same, but May 1st is a very important day. It is the worker holiday, a holiday and celebration for the workers always associated with demonstrations with get-togethers and rallies of originally workers, Communist parties, anarchists on the left. It is just a special day to celebrate, and there was this was a theatre performance and they wanted a group of musicians to play with them, so in a few weeks, a group of maybe seven men was built up to go and play for this occasion, so this was the beginning of Titubanda.

Is everyone from the city of Rome or do they come from all over Italy?

Yes, mostly from Rome and some possibly live around Rome, in the countryside, to people who live far from Rome. Also, there are people joining us, for example, students who are French, Spanish, or from Germany, European students that come to Rome for some exchange. They stay for one year, they play with us, learn the repertoire. They are usually good and can learn quickly, and then on great occasions like trips or festivals, we invite them to be with us. We have here a German girl here playing with us, a French girl from Paris playing with us so we like to become more and more international.

Is anyone in the band from the United States?

(Name) is a guy who invited us to the festival in Somerville. He is a good musician as you saw. He was invited to play with us. There is another trombonist from Seattle who plays with us, and we invite him to play solos. If you are a good musician, you don’t need to rehearse too much, maybe after two or three days you can learn the easy parts. Everyone does a small easy part and then when we come together, we build an arrangement.

It seems like everyone knows when the soloist is supposed to come in. How do you plan that out with such a big group?

We sometimes have structures to the songs, but it helps that a few of us at the right moment give a signal just to have and to understand we are going to specific parts of the song. We are going to the bridge. We are going to the refrain and so forth.

And a lot of it is improv?

Yeah, yes, improv and we love to make happenings, be spontaneous, especially when we are very happy, when we are feeling excited because we are playing here in the United States. So, it gives us a push and we can have brilliance being spontaneous, sometimes even involving the audience.

Is this your first time playing in the United States and how has the experience been so far?

Yes, for the band it is our first time and so far it has been really great. We have really enjoyed it and we met many bands at the festival. Of course it is an enrichment for everyone to exchange their music and their experiences. We get together because we share the same values and show some feelings and the same pleasure of playing in the street, so its always a great experience.

Is there something you can take out of your experiences here and possibly utilize back in Italy?

Yes, we will go back as a new band. We will be totally transformed by this experience. We already, for example, the American bands, they have costumes and a show. They have dancers, and normally we do not dress up for demonstration or for our concerts, and so we already have some influence from the other American bands. They are more visual and more color-graphic.

I heard that you were going to do a rally at Wall Street. What rally is this?

We heard about this. It is not clear because we discovered that this is actually a campaign rally for Ralph Nader. So, when there are such proposals, when you have to play for someone in a political campaign, we tend to be careful how to choose where we go. We discussed it a little bit, and the band isn’t so clear if we want to support Ralph Nader because we think that in these elections, if Ralph Nader takes votes, it will take votes from Barack Obama, so we would rather give a chance of him getting all the possible votes, so probably, we won’t go to this rally.

What are some of the core values or attitudes of Titubanda?

For ourselves, for example, everyone has freedom of ideas. There is no one line official that everyone must respect, but everyone is allowed to have his or her own liberty of thought, and it is true that we are a bit individualistic. Normally, a band is more like a mass. We are many individuals that come together to build up a whole musical ensemble. First off, there are no hierarchies in the band. So everyone is equal and everyone tries to help and contribute as much as he or she can to our activities. Yeah, I already described how we choose where we are going to play. We choose democratically and we discuss it and lately we found it is a very good way to discuss between us. Everyone has a goal and we sit in a circle and everyone speaks in turn, so everyone can say what he or she thinks.

Critical Review #6

Bruno Nettl’s Heartland Excursions is a reflection on the way groups of people in schools of music, or in this specific case, a fictitious Heartland U., interact. He presents four possible perspectives for viewing schools of music: the first being the view that a music school is “like a religious system or social system in which both living and deceased participate” (5); the second perspective divides specific aspects of music and examines the similarities and contrasts between the two parts; the third attempts to create a universal forum, so to speak, for the interaction of musics and cultures; finally, the fourth examines how the people of music schools explicate the music they study. He spends the entire first chapter on the theoretical view of music schools being like a religious system, comparing the musical deism of Mozart and Beethoven, and their relationship to other not-so-well-known composers (i.e. Wagner, Bach, Chopin, etc.). Within this view, Nettl makes a clear distinction, however, between composers (i.e. Mozart) as historical figures and composers as “heroes” in present light.

Discussion Question: With regard to the idea that the creator and inherent authenticity of his or her creation deeply impact the interpretation of the work, (i.e. Wagner’s Meistersinger would not be the same had it been discovered that it was actually not written by him) how is one to to achieve such a status in the first place? Is it by sheer volume or quality of work that distinguishes a composer as being great?

Critical Review #5

In Chapter 13, Gregory Barz focuses on the role of fieldnotes in the process of field research. He makes a distinction between two models of the position of fieldnotes in the process of field research. In one, the linear approach, fieldnotes are essentially a transition phase from experience to interpretation, with no real opportunity to re-evaluate the field research, or the fieldnote. That is to say the ultimate goal of field research is the ethnography. On the other hand, however, he proposes a more integrative model, one that metaphorically utilizes the fieldnote as a fulcrum supporting both the experience and the interpretation. In my opinion, a more representative framework, the fulcrum model allows for retrospective re-evaluation of the experience and more importantly, the fieldnote. Barz comments on this notion, exemplified by Titon as “backward glances”, saying that there are some advantages and disadvantages to being able to look back on the experience and what one has jotted down. He mentions that the one main disadvantage is the temporal aspect of a fieldnote, the fact that a fieldnote is time-sensitive, saying, “time seems to become the enemy of fieldnotes, creating an awkward distance between inscription and event” (218). There are, however, benefits to retrospective analysis specifically being able to critically question what one has written down, which could ultimately lead to formulating new ideas for future research. As an aside, I am a bit confused about the term field research. It seems to be used as a broad, overarching term for the process of experiencing an event, writing fieldnotes, and interpreting the experience through a written ethnography, but at the same time, the term also seems to represent only the experiential aspect of the process (as indicated in the model). Is their a secondary definition for the term “field research”?


Discussion Question: Looking from a more extreme angle, with regard to Barz's proposal that "a more interactive model, one that locates fieldnotes in a position straddling the ranges of both field research action and ethnographic production", what would the consequences be to placing fieldnotes in a position of greater impact where, say, the reader does most of the interpretation, and how would this relate to Mjema's belief that we must "listen with our ears, and not with our pencils"?

Fieldnotes #1

For my fieldwork project, I plan on researching a 35-piece brass band from Rome, Italy called “Titubanda” that will be performing here in Providence on October 13-14. Prior to coming here however, they will be performing in Somerville, Massachusetts (Davis Square) for this year’s third annual Honk! Festival. I have contacted one of the band members and have an interview scheduled. Unfortunately, the interview and the performances are scheduled after the due date of this assignment, so instead of writing my fieldnotes on an actual performance and interview, my current fieldnotes will consist of my impressions on the band’s website and a few of their songs I managed to obtain through iTunes.
The first song entitled “Mra” begins with a steady snare beat with voices and whistles intermittently interrupting in the background. From the sound of it, it seems like this was a live performance being recorded. It is difficult to pick out the source of the yells and whistles, whether it is the band members or the stirred up crowd, but nevertheless, the isolated shouts of encouragement and cat-like calls elicit comparisons to the kakagoe of taiko players. Within a few seconds a trumpeter joins the scene and begins to solo over the drumline. One by one, each of the band members joins in, adding to the accompaniment and filling out the overall sound. About 00:54 seconds into the song, after everyone sounds like they have joined in on the song, the entire band breaks into the song’s main catchy riff, which continues on for the next four minutes or so with very little variation on the main line. What strikes me the most is the fact that although the song began with an improvisational solo, there were no apparent breaks in between the main riffs of the song for solos. Even though in another song the band seems to dedicate parts of the song to improvisation, I am curious to find out whether the band has a specific reason for doing this and whether it highlights any striking ethics of the band. They seem to favor unison over individual improvisation; however, when the time comes and the band opens up for solos, it always seems to veer towards dissonance and cacophany. A band that prides itself on stirring up crowds and just plain having fun, Titubanda surely has the audible aspect going for itself. Now, I am curious to see them live to see if the their performance aesthetic contains the same amount of energy and eccentricities as their music.
Almost on cue, four minutes into the song, the entire band diverges from the main melodious riff and completely transitions into a slower, more dissonant sounding ending with a drum fill that draws out more cries and yells. In an attempt at musical humor, after the quick and final burst of a chord, amidst the applause and cheers from the crowd, some of the band members extend the ending with random outbursts of trumpet and horn, almost teasing the audience into guessing when the actual ending of the song is. It seems to have generated the desired effect as a few of the crowd members chuckle in amusement. This bring about the theme of connection between the street honk bands and their audience or crowd. Unlike several other musical performances, this type of performance seems to be more interactive and arousing. How does this work towards the band’s ultimate goal of making their ideologies known/heard? Do we hear them through the music? Or is the music merely an accent to their pre and post-performance message?
Taking a step back from the musical aspect of Titubanda’s performances, I think it is equally if not more important to discover why this band decided to make the trip all the way from Rome, Italy to participate in this “grassroots, non-profit event” dubbed Honk!Fest. What is most intriguing is that none of the bands performing in the festival will be making any money off their performances. Locals from all over Cambridge and Somerville are generous enough to provide these musicians with places to stay and food to eat, and the fact that all of these performers are making this great personal sacrifice to come together to “honk their horns” in rousing unison to support their causes, speaks volumes about the strength of their convictions. I hope to uncover what their convictions are and how they intend to make them known, when I participate in Honk!Fest this weekend and attend their performance here in Providence.

Critical Review #4

Chapter 6 of “Shadows in the Field” focuses on the effect new advances in technology have had on the processes of fieldwork, stressing this relatively new concept of virtuality, defined as “the technological mediation of human interaction, and also technologically communicated and constituted realities” (90). Katherine Meizel tells of her experience collecting field-notes regarding her research on the television show “American Idol”. She admits that she had unknowingly been consumed by the virtual field, utilizing websites, message boards, and forums to facilitate her work. Though she did not condone it as a replacement to physical fieldwork, she did realize that virtual field, so to speak, kept her in check and “allowed her to gauge” what she discovered in the physical field. Timothy Cooley seems a bit hesitant to utilize much of the virtual field, but one form of “mediated communication technology” he seems to be more lenient with is the telephone. He believes that the telephone provides easy access to international interviews, though cannot substitute for face-to-face conversation. An interesting point that Nasir Syed brings up is that this new virtual world allows us to learn virtually as well, “virtually learning face-to-face from one specific guru at a time from any number of masters--online” (103). He admits that these online videos have greatly augmented his study of the sitar, yet does not believe that it replaces “the traditional master-apprentice relationship”. One aspect of fieldwork that all three authors can agree on is that technology provides new openings and enhancements to the metaphorical field, but they also agree that accessibility does not always constitute reliability.

Discussion Question: In an age when technology facilitates the accessibility of countless music cultures, to what extent does the overall quality of research suffer within a specific music culture, due to the increased quantity of music cultures now available to us? Is there a threat of ethnographers being spread too thin?

SEM History Post: Understanding Origins

After reading the first newsletter from December 1953, it is evident that the principles of comparative musicology were still present and that many of the reports of research involve the recording of several forms of music from around the world. In somewhat of an archivist mindset, the main thrust of the journal seems to be a mere collection of reports for reference. After examining later reports, however, much more emphasis seems to be placed on ethnomusicological training and research methods, in addition to more detailed and thoughtful field reports.

Focusing in on the second newsletter, the purpose of the journal begins to take shape as “the present mailing was to go to 364 persons and institutions--227 in the United States and 137 in other countries.” What is striking to me the the subtle disconnect in the mailings. What does it say when a distinction must be made between the mailings staying within the United States and those going to other countries? From the vantage-point of a young periodical designed to provide a written forum for “the exchange of ideas and opinions, news and information among the widely scattered members of our field of study,” it is hard to say anything, but that the initial core of this effort is fairly localized. It is in this same newsletter however, that ideas from Detroit and Arizona all the way to Belgium and Spain have made their way to the forefront. I can only speculate about the written language of the first few entries as being French and the reports conveying novel ethnomusicological progress being made around the world, but who is to say that actual progress is being made? At the time, ethnomusicology was too new.

For example, Jaap Kunst writes from Holland confirming that “only a very few persons are working in this field and that the financial position of the Institute seems to be such that it cannot afford more expenses for its ethno-musicological section than a single salary and the money for a few small publications” (Vol.1, No.2). In the midst of an apparent transitional phase, Jaap Kunst has had to take on a jack-of-all-trades role in an attempt to foster the growth of a budding discipline.

The emergence of the journal Ethnomusicology may have been a direct result of the skepticism surrounding the lack of progress within comparative musicology as F.A. Kuttner writes, “I have come to believe that the whole system of comparative methods is obsolete and inadequate, and that something else and much better will have to replace it if we are going to expect any significant progress in the future” (Vol.1, No.2)

One hypothesis, I believe, can be universally applied to explain the driving force behind this new discipline called ethnomusicology. Dr. Merriam, after examining several ethnomusicological papers at the 52nd Annual Meeting of the American Anthropological Association, theorized, “when two human groups which are in sustained contact have a number of characteristics in common in a particular aspect of culture, exchange of ideas therein will be much more frequent than if the characteristics of those aspects differ markedly from one another” (Vol.1, No.2). By actively participating in the music-culture of study, one can then open the floodgates for the knowledge of cultural ideas to flow between the informant and the ethnomusicologist. That is to say participant-observation was a step up from mere recordings in the field, and another progressional aspect of ethnomusicology.

In comparing the subsequent newsletter, it is apparent that this journal is beginning to catch on as the number of mailings immediately increased from 364 persons to 437 persons in the span of one mailing. By the time the first annual meeting was scheduled in 1956, the society had already picked up steam and was looking to make an impact.

After skimming a later issue from 1957, it is apparent that ethnomusicology is not trying to mar the footprint of comparative musicology entirely, especially when Mieczyslaw Kolinski mentions that “the tendency of Western ethnomusicology to deal with the musical styles of the world’s peoples without including those of the European countries as an essential facet of the overall picture is not justified, though historically understandable” (Vol. 1, No. 10). This realization was a big step in the advancement of ethnomusicology because it shows that ethnomusicologists were not only willing to break away from comparative musicology, but they were willing and able to understand its origins and learn from them. I believe that this very notion is a resounding theme that keeps ethnomusicology progressing forward as a “multimusicultural” discipline.

Critical Review #3

Clifford’s “On Ethnographic Authority” attempts to differentiate between several forms of authority namely “experiential, interpretive, dialogical, and polyphonic” (54). He begins, however, by examining the distinction between anthropology and ethnography tracing back to 1900-1960, when field research became an established ideal in American anthropology. The transition period that involved the so-called “intermediate generation of ethnographers” was characterized by an almost lab-based approach of maintaining an etic perspective on the culture being studied. By 1920, a new theory arose, a more emic approach, one that established the notion of participant observation as a key feature of ethnography. Despite the apparent transition from an etic to an emic approach, Clifford stresses the synergy of both perspectives, “on one hand grasping the sense of specific occurences and gestures empathetically, on the other stepping back to situate these meanings in wider contexts” (34). Similar to the collaborative effect of emic and etic perspectives, Clifford tries to discover a link between experiential (sense or feel of a particular culture or place), interpretive (finding clarity and meaning), dialogical (interacting with informants), and polyphonic (obtaining different “voices” or perspectives) authority, but ends up finding that each one seems to counteract the process of the other.

Roland Barthes is quoted as saying, “a text’s unity lies not in its origin but in its destination” (52). Does this same concept apply to the model of dialogue? Does this ultimately detract from authority in that the more people read it, the less control the researcher has over interpretation?

Fieldwork Project

For my fieldwork project, I plan on researching a 35-piece brass band from Rome, Italy called “Titubanda” that will be performing here in Providence on October 13-14. They are described as “playing everything from traditional Italian village songs to avant-guard jazz via Latin American rhythms and Arabic melodies; it’s a musical journey from Cuba to Bombay, through Cairo and the Balkans, reinterpreting classics and inspiring original compositions.”

Prior to coming here however, they will be performing in Cambridge, Massachusetts (Davis Square) for this year’s third annual Honk! Festival. Many large street bands from all over the world will gather at Davis Square to engage in a music street party where who knows what will happen. A band that prides itself on stirring up crowds and having a great time, Titubanda is one of many bands that is sure to make a bold and enlivening impression. There is, however, a “method to their madness”, so to speak. That is to say, despite the seemingly chaotic portrayal of large street bands, many of them, including Titubanda, perform to emphasize the causes they support. Many believe that their performances are “the best way they know how to protest a world of violence and oppression.” I am most interested in not only finding out about the inspiration that drives these diverse street bands, but how music plays a role in communicating their beliefs.

I had originally decided that I would study the Brown University Jazz Band; however, when Professor McGarrell mentioned this unique opportunity, I thought this was too novel of an experience to pass up. I have very little experience and knowledge of Italian culture and the ideology of this band, but through interviews, concerts, and hopefully being able to spend some time with the band members during the Columbus Day weekend, I hope to learn much about not just Italian culture, but what it is that makes this band “honk its horns”.

Critical Review #2

Shelemay explores the participant-observation aspect of ethnomusicology, proposing to discuss the role of the ethnomusicologist in the field and not get caught up in trying to explain the tangible aspects of tradition. He places a specific emphasis on the process of tradition transmission, suggesting that ethnomusicologists inevitably (and unknowingly) become consumed first-hand in the process of passing down a tradition. Out of this examination comes the issue of “authenticity versus creativity in the act of musical reconstruction and performance practice” (142). He highlights three important ways in which they are involved: “preserving tradition, memorializing tradition, and mediating tradition” (149). What struck me the most was the distinction he makes between an anthropologically-trained ethnomusicologist and an ethnomusicologist without primary training in anthropology. He highlights the idea of reciprocity, a key concept in ethnomusicologists understanding of their respective study, defined as the ability to take what one has learned and apply it (in performance or composition) within traditional constraints. Additionally, he stresses the importance of bi-musicality in the preservation of tradition, claiming that it is essential for the genuine recreation of an act. Whether their involvement spurs change or continuity, ethnomusicologists engage in subliminal acts, blurring the line between what is study and what is life. 

Discussion Question: In relation to anthropologically-trained ethnomusicologists who "ensure reciprocity and/or test their understanding of musical data they have gathered" (143), how does one achieve a healthy balance between being immersed enough first-hand in a music culture, with the intention of becoming "bi-musical", and the possibility that one may become too involved, trying to exercise reciprocity, to the point of it becoming a colonistic approach? 

Critical Review #1

Handler and Linnekin’s article on tradition examines the idea that “tradition cannot be defined in terms of boundedness, giveness, or essence” (273). In a sense, the are trying to prevent us from falling into a presumptive state of mind, where we interpret tradition as a group of customs merely passed on, unchanged, from past to present. Instead they define tradition as being one of symbolic process rather than a collection of tangible objects. They explore the cultures of Quebecois and Hawaiians hoping to gain insight into “one of the major paradoxes of the ideology of tradition, that attempts at cultural preservation inevitably alter, reconstruct, or invent the traditions that they are intended to fix” (288). What they discovered was that both cultures believe that identity is created through tradition as evidenced by the Quebecois struggle to preserve any nationalist sentiment with time-honored heritage,  despite differing views on the concept of nationalism. The Hawaiians on the other hand place an emphasis on the rural villagers when attempting to preserve notions of tradition. What is interesting to note is the comparison of the Quebecois nation as being a “natural, living species”, which brings about contradictory view of tradition when comparing it to Handler and Linnekin’s definition of tradition as being “an unbounded, interpretive process” (273).

Discussion Question: Comparing Kroeber’s characterization of tradition as one of “long, unchanging temporal continuity” and Shils’ contention that tradition must continually change, where is the limit when too much change alters the identity behind a tradition and how does this relate to the major paradox of the ideology of tradition that Handler and Linnekin present?  Also, Shils’ distinction between tradition and fashion relies on the fact that a tradition has to last over three generations. Does tradition have to be an well-established norm before it can be considered a tradition and how does this relate to the connection between the traditions of the past and the traditions of the present? 

24-Hour Log

24-Hour Log (9/13/08-9/14/08)

10:30 pm - Stop by the BTS Nightmarket and am immediately drawn to the Filipino Association’s booth where quite a crowd has gathered. Why? Karaoke. Before I can make my way over to see the TV screen, a chorus of Jasmines and Alladins breaks out singing “A Whole New World”. 

10:35 pm - After pandemonium ensues upon receiving a collective score of 94, the crowd selects “Hey Jude” by the Beatles. Before I know it, I’m quickly consumed by the “NAAA NA NA NANANA NAAAAA NANANA NAAAAAA Hey Jude” for the next 10 minutes or so...

10:45 pm - I finally snap out of the daze “Hey Jude” lulled me into and walk over to sample some food while Usher’s “Love in the Club: Part I” blasts over the BTS soundsystem. To be honest, I’m a a bit partial to Part II. 

3:00 am - My suitemate shows me some of his new Fusion choreography to Mya’s “Walker Not a Talker”

3:15 pm - Put on some Elton John (“Tiny Dancer” and “Your Song”) from my iTunes before drifting off to sleep…

zzzZZZzzzZZZzzzZZZzzzZZZzzzZZZzzz

8:50 am - Woke up to Jason Mraz’s “Make it Mine”

(Jason singing): “Wake up everyone, how can you sleep at a time like this unless the dreamer is the real you?”

9:20 am Walked to church humming and intermittently singing the wrong lyrics to Shai’s “If I Ever Fall in Love”. Not exactly sure how that song sprang into my head...

9:30 - 11:30 am - Rehearsed and performed violin at Sunday Mass in Manning Chapel with the choir, along with two guitarists, a bassist, a pianist, and a clarinetist.

Here was the Mass Music Schedule:

Opening Song

               "Take Up Your Cross"  GC #698

Responsorial Psalm

               Psalm 78  (Psalm booklet page 198)

Gospel Acclamation

              "Celtic Alleluia" # 258

Presentation

             "Only This I Want" #695

Mass Parts

            Sanctus GC   #166

            Memorial Acclamation   GC #167  

            Amen   GC #168

            Lamb of God   GC #171

Communion

            "Unless a Grain of Wheat"   GC #697

***Someone’s monophonic cell phone ringtone goes off. (I’ve come to realize that I can count on at least one cell phone ringing during mass, and it’s always during the quietest part)

Closing Song

            "Lift High the Cross"  GC #791

12:19 pm - Went back to my room and listened to “If I Ever Fall in Love”. Again. This time trying to sing the right words.

12:21 pm - Fiddle around with the new iTunes 8 and the new Genius feature. I pick a song (Dispatch - “The General”) and iTunes automatically finds songs by the same artist that I am missing, while at the same time giving recommendations to songs similar in style. How cool!

12:25 pm - Lil Wayne ft. Robin Thicke - “Tie My Hands” through iTunes.

12:30 - Decide that I need some instrumental music to prevent me from singing along while writing a paper. So I put on Jim “Kimo” West’s album Hawaiian Slack Key Guitar: Kimo Style. The first song that comes up is “Itoshi No Kimi Ni”. (Not exactly sure what the title means)

“Hanalei Morning”

“Na Hali’a Aloha”

“The Hawaiian Wedding Song”

12:44 pm - I am easily distracted and see one of the top songs on iTunes being M.I.A.’s “Paper Planes”. Immediately, feelings of regret arise as I am disappointed that I did not go to this concert last Spring Weekend...

“All I wanna do is *POW*, *POw*, *Pow*, *pOW*!”

12:45 pm - Put on Lupe Fiasco’s “The Instrumental” from my iTunes to make me feel better. This is my favorite Lupe song and it was even better live.

12:50 pm - I put on Girl Talk’s newest album “Feed the Animals”, and my favorite song “Here’s the Thing”. I’m going to spare you from the listing of songs mashed together in this song because there are too many and some of them I don’t even know =)

2:05 pm - While in CitySports looking for a football, Jack Johnson’s “Taylor” and “Sitting, Waiting, Wishing” play over the store’s system.

3:05 pm - I can hear faint sounds of acoustic guitar coming from my suitemate’s room across the hall. 

4:15 pm - Another one of my suitemates joins him in an acoustic “Canon in D” round, followed by “By the Way” by the Red Hot Chili Peppers, followed by the Temptations’ classic “My Girl”. 

7:00 pm- Ballroom Club. Music for merengue, waltz, rhumba, cha-cha, tango, samba, and foxtrot. Not sure about the exact artists or songtitles.

8:30 pm - Walked down Thayer Street singing The Fugees “Killing Me Softly” and Boyz II Men “In the Still of the Night” with a friend on the way to the SciLi

1:00 am - End the night with the “ESPN Sportscenter” theme song watching highlights from today’s NFL Games.