By Timothy Rice
Designed as a tribute to ethnomusicologist Robert Garfias, who has carried out box paintings in additional cultures than the other residing ethnomusicologist, this quantity explores the originating come across in box paintings of ethnomusicologists with the musicians and musical traditions they research. the 19 participants offer case experiences from approximately each nook of the area, together with biographies of vital musicians from the Philippines, Turkey, Lapland, and Korea; interviews with, and stories of studying from, musicians from eire, Bulgaria, Burma, and India; and, analyses of the way conventional musicians adapt to the come upon with modernity in Japan, India, China, Turkey, Afghanistan, Morocco, and the U.S.. The ebook additionally offers a window into the historical past of ethnomusicology, due to the fact the entire individuals have had a dating with the college of Washington, domestic to at least one of the oldest courses in ethnomusicology within the usa. encouraged through the instance of Robert Garfias, they're all indefatigable box researchers and one of the best experts on this planet on their specific musical cultures. The contributions illustrate the center of their method of the self-discipline of ethnomusicology while that they take care of a remarkably wide selection of views, subject matters, concerns, and theoretical questions. Readers should still locate this selection of essays a desirable, certainly fantastic, glimpse into a massive element of the background of ethnomusicology.
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Additional info for Ethnomusicological Encounters with Music and Musicians: Essays in Honor of Robert Garfias
Rather than thinking of them as performing groups as they had been at UCLA, I saw these groups as a means of helping to break down preconceptions about what might come up in the field. The first steps of learning someone else’s music begin naturally with a view and approach growing out of that particular cultural context, one very different from initial expectations. While there is no way to prepare one for all of the many different approaches to music that exist in the world, the experience of learning new musics would at least help in breaking down some preconceptions and thus better prepare the ethnomusicologist for study in the field.
Thus, the 2008 annual conference of the British Forum for Ethnomusicology at Cardiff University was held on the theme of “The Art of Music”—an intentionally ambiguous title that was designed to encompass the representation of music in visual art and a range of derivative concepts such as artifice, artifacts, and artisanship, but that did elicit a number of papers explicitly focusing on musical art or artists from an ethnomusicological perspective. As a contribution to such discussions, I would like to explore some of the issues that are involved in applying a Western-derived concept of musical art to a non-Western context—even one where Western musical norms and values have to a great extent been adopted.
It takes great confidence and knowledge of modulating possibilities to pull off a stunning coup like this. 1 Necdet Yaşar’s stunning modulation from Acemaşîrân to Evcârâ I once asked Yaşar if he could create a taksim in a makam he had never before heard, say, a historical composition from the Cantemir collection (Feldman 1988). He said that he would only need to study the score a little to grasp the character of the makam. Walter Feldman reports a similar story about Yaşar’s ability to recreate any historical makam.
Ethnomusicological Encounters with Music and Musicians: Essays in Honor of Robert Garfias by Timothy Rice