Performing in the Shadows
Learning and Making Music as Ethnomusicological Practice and Theory
Bibliographic Data
| ID | 3183240 |
|---|---|
| Authors | J Lawrence Witzleben (corresponding author) |
| Year | 2010 |
| Volume | 42 |
| Pages | 135-166 |
| Publication date | 2010-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Yearbook for Traditional Music (JOURNAL) |
| Journal identifiers | ISSN: 0740-1558 • E-ISSN: 2304-3857 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0740155800012698 |
| OpenAlex | W2887121787 |
| Language | EN |
| Citations received | 11 |
| References cited | 20 |
In this article, I am concerned with the ways in which engagement with performance has shaped-and continues to shape-the ideas and theoretical perspectives of ethnomusicologists. In many ethnomusicology programmes (including several I have been in as a student or teacher), graduate students are required to participate in performing ensembles, take lessons both at home and in the field, and participate in performance as part of their thesis or dissertation research, yet the rationale for these widespread practices is not easy to decipher from contemporary definitions or overviews of the field. While my formal studies of ethnomusicology took place in the United States, and much of the literature discussed here is an outgrowth of North American practices, my perspectives are also shaped by more than two decades of teaching, research, and interaction with scholars and performers in East Asia. Although I will make reference to researchers and developments in Hong Kong, mainland China, Japan, and Korea, the stories of ethnomusicology and performance in those locales deserve articles of their own, and I do not even pretend to speak for practices and issues elsewhere in Asia or in Europe, Latin American, Africa, or Oceania. Nevertheless, I believe that the issues raised here are of at least potential interest to all those involved in the intersection of music and ethnography, and I hope that these preliminary ideas will inspire comparative perspectives from scholars elsewhere
Aesthetics · Art · China · Ethnography · Ethnomusicology · Mainland · Mainland China · Media studies · Musical · Political science · Social science · Sociology · Visual arts · Anthropology · Diverse Music Education Insights · Diverse Musicological Studies · History · Law · Music History and Culture
SamBop NYC
Music and Sound in Toyama City Up-close and from Afar
Talking about Mode in Malang, East Java
Experience and Meaning in Music Performance Taking Part in Music
Heritage and Festivals in Europe
“Paying Dues” and “Carrying Flags”
Relationality, the relational, and the curricular value of ‘Performing Bolivian Music’
Towards practice research in ethnomusicology
Everywhere and Nowhere
Thoughts on an Interdiscipline
Riff Culture
What’s the Difference? Reflections on Gender and Research in Village India
Casting Shadows in the Field
(Un)Doing Fieldwork
Representing African Music
Shadows in the Field
Ethnomusicology with Chinese Characteristics
Competition as a New Context for the Performance of BalineseGender Wayang
Sundanese Music in the Cianjuran Style
"Silk and Bamboo" Music in Shanghai. The Jiangnan Sizhu Instrumental Ensemble Tradition
Knowing Music, Making Music
Learning to perform as a research technique in ethnomusicology
Between Theater and Anthropology
"The Challenge of "Bi-Musicality
Whose Ethnomusicology? Western Ethnomusicology and the Study of Asian Music
The Fieldworker as Performer
In Honor of Our Principal Teachers
Aesthetics as Iconicity of Style, or 'Lift-up-over Sounding
D'Albuquerque's Children
| Unique citing works | 11 |
|---|---|
| Citations per year | 0,79 |
| Citation span | 2012 - 2026 (15) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 7 |