A Century of Change in the Folk Music of an African Tribe

Wachsmann, Klaus P.

doi:10.2307/835975

Cited by 3 publications

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“…These remarks were widely shared in ethnomusicology -one might even say that they contributed to establish the difference between (Western) art music on the one hand, and popular music on the otheruntil the current of ethnotheories in the 1970s brought about the emergence of a musical discourse and thought about orality. The work of Steven Feld (1981, 1982 on the Kaluli of New Guinea and of Hugo Zemp (1978 on the Are Are of the Solomon Islands significantly contributed to this current, by uncovering the richness and singularity of the semantic field of these musics, and by gathering numerous narratives of musical genesis.…”

Section: About the Supposed Difficulty Of Ethnomusicology In Dealing ...mentioning

confidence: 99%

“…For Blacking, being interested in change meant rather to "locate when [it] takes place" (Blacking 1977: 13), that is to apprehend societies in the long-term scale of history and identify the moments that herald the emergence of a new form. Though not entering the field of creative process studies, nor announcing it, Blacking thus takes a pioneering interest in change in terms of genesis, drawing on the work of Irvine andSapir (1976) andWachsmann (1958). From the 1980s onwards, it is therefore not surprising that the issue of change became part of the "historical ethnomusicology" current, which consists in studying the historical sources, written and oral, of musical practices that are part of strong social dynamics (see Blum, Bohlman and Neuman 1991).…”

Section: Continuity and Changementioning

confidence: 99%

“…Indeed, one of the arguments put forward was that the status of the composer as a specialist or professional does not exist in many societies. Some researchers, such as Nash (1961aNash ( , 1961b, Merriam (1964), Blacking (1976, 1987), Wachsmann (1982, Nettl (1983) or Feld (1984) had already advocated an approach that would have included the study of individuals and their creative imagination. But many ethnomusicological works focusing on the analysis of musical language have for a long time made individuals invisible and anonymous, considering them as passive receptacles of a culture that had been elevated to the rank of a self-regulating system (see also Stock 2010 for a critical analysis).…”

Section: Figures Of Creationmentioning

confidence: 99%

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Ethnomusicology of the Creative Process

Olivier

2021

The Oxford Handbook of the Creative Process in Music

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This chapter provides a critical history of ethnomusicology of the creative process, from the first works on oral-tradition societies and their “instinct of variation” to the most recent reflections on transcultural music and digital audio production. It shows that the question of creative process extends throughout the history of ethnomusicology and reflects the vitality of debate within the discipline. The chapter includes references from different ethnomusicological currents or schools of thought, both English- and French-speaking, from countries of the North as well as countries of the South. All these references are situated within the major social science research paradigms that have nourished ethnomusicology throughout its history.

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Section: About the Supposed Difficulty Of Ethnomusicology In Dealing ...mentioning

confidence: 99%

Section: Continuity and Changementioning

confidence: 99%

Section: Figures Of Creationmentioning

confidence: 99%

See 1 more Smart Citation

Ethnomusicology of the Creative Process

Olivier

2021

The Oxford Handbook of the Creative Process in Music

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A selected bibliography of periodical articles on the music of the native peoples of Sub-Saharan Africa

Thieme

1962

AMJ

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Music under the Ground: Ethnomusicological Research on the Ground-Bow in Africa

Kyker

2021

Ethnomusicology

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This article places ethnographic fieldwork in Zimbabwe into dialogue with over a century of literature on the ground-bow throughout sub-Saharan Africa. I begin by arguing that the term “ground harp,” which is technically correct according to the rigid demands of Western organology, has obscured the instrument’s multivalent relationships to other African musical bows. I proceed to illustrate how the ground-bow’s reach extends far beyond the equatorial region commonly identified as its historic distribution zone. I argue that several specific disciplinary orientations have contributed to obscuring the actual extent of the ground-bow’s distribution. Among them, I discuss ethnomusicology’s long-standing bias against the study of children’s music and an unevenly applied discourse of “ethnomusicology at home” that risks consolidating European and American perspectives while further marginalizing non-Western—and particularly African—voices. I conclude by discussing the social dimensions of the ground-bow, which is nearly universally described as a children’s instrument.

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A Century of Change in the Folk Music of an African Tribe

Cited by 3 publications

References 0 publications

Ethnomusicology of the Creative Process

Ethnomusicology of the Creative Process

A selected bibliography of periodical articles on the music of the native peoples of Sub-Saharan Africa

Music under the Ground: Ethnomusicological Research on the Ground-Bow in Africa

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