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Grazer Beiträge zur Ethnomusikologie / Graz Studies in Ethnomusicology - 25: Ethnomusicology and Popular Music Studies

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  • 293 strony
  • 11 godzin czytania

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If ethnomusicology is primarily defined by its research methods rather than by focusing on certain conventional objects of study labeled as “traditional” musics, an ethnomusicologically informed investigation of popular musics might yield new insights into phenomena that have so far been approached mainly from other perspectives, such as music sociology or the study of popular culture in general. If the study of popular musics is viewed as legitimate and necessary for contemporary ethnomusicology does it present any specific challenges? Are there substantial differences between Western and non- Western popular musics that would affect research questions and/or methodology? After a general introduction by the editor these issues are addressed in ten contributions. The respective authors draw on their extensive experience with various musical cultures of the world, from which they take their examples to illustrate and discuss more general theoretical questions.

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Grazer Beiträge zur Ethnomusikologie / Graz Studies in Ethnomusicology - 25: Ethnomusicology and Popular Music Studies, Gerd Grupe

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Tytuł
Grazer Beiträge zur Ethnomusikologie / Graz Studies in Ethnomusicology - 25: Ethnomusicology and Popular Music Studies
Język
angielski
Autorzy
Gerd Grupe
Wydawca
Shaker
Rok wydania
2013
Oprawa
twarda
Liczba stron
293
ISBN10
3844023895
ISBN13
9783844023893
Seria
Opis
If ethnomusicology is primarily defined by its research methods rather than by focusing on certain conventional objects of study labeled as “traditional” musics, an ethnomusicologically informed investigation of popular musics might yield new insights into phenomena that have so far been approached mainly from other perspectives, such as music sociology or the study of popular culture in general. If the study of popular musics is viewed as legitimate and necessary for contemporary ethnomusicology does it present any specific challenges? Are there substantial differences between Western and non- Western popular musics that would affect research questions and/or methodology? After a general introduction by the editor these issues are addressed in ten contributions. The respective authors draw on their extensive experience with various musical cultures of the world, from which they take their examples to illustrate and discuss more general theoretical questions.