Tuesday, November 25, 2008
Thursday, November 20, 2008
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.
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.
Wednesday, November 12, 2008
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?
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?
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?
Friday, November 7, 2008
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.
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.
Wednesday, November 5, 2008
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?
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?
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