Kommentar |
The aim of this seminar series is to introduce students to the techniques and methods necessary for fieldwork in ethno/transcultural musicology, ranging from remote tribes in Papua New Guinea all the way to urban settings in the Berlin nightclub scene. Conceptual, ethical, and methodological issues are discussed, and a substantial practical component is included.
On this course, we seek to bridge the gap between theoretical methodological approaches and practice-based research in the field by placing focus on the experiential, tangible, and subjective dimension of music ethnography. We emphasize on the dialogue between theory and practice of qualitative fieldwork research in contemporary settings, where all genres of music are created, performed, and consumed. Past projects include fieldwork reports on student orchestras, live electronic music, the role of pop music in everyday life, and the relationship between spirituality and music. The course includes both theoretical seminars as well as workshops whose aim is to introduce students to issues related to observation, interview techniques, listening practices, social skills for conducting qualitative research, and analysis techniques of qualitative data. The general principles governing ethics in ethnomusicological research (e.g., consent, and the role of the researcher with the participants s/he studies) and audiovisual recordings are also presented.
At the end of the seminar series, students are expected to (a) be aware of the main ethical and theoretical issues raised in fieldwork research in transcultural (ethno)musicology, (b) be able to set up a fieldwork project in transcultural (ethno)musicology, using participant observation, interviews, and guided discussions, and (c) have a full grasp of qualitative data encoding and analysis |
Literatur |
Cronin-Furman, K., & Lake, M. (2018). Ethics abroad: Fieldwork in fragile and violent contexts. PS: Political Science & Politics, 51(3), 607-614.
Barz, G. F., & Cooley, T. J. (Eds.). (2008). Shadows in the field: New perspectives for fieldwork in ethnomusicology. Oxford University Press.
Bayley, A. (2011). Ethnographic research into contemporary string quartet rehearsal. In Ethnomusicology Forum (Vol. 20, No. 3, pp. 385-411). Taylor & Francis Group.
Berg, M. L., & Sigona, N. (2013). Ethnography, diversity, and urban space. Identities, 20(4), 347-360.
Emerson, R. M., Fretz, R. I., & Shaw, L. L. (2011). Writing ethnographic fieldnotes. University of Chicago Press.
Fenn, J., & Gilman, L. (2019). Handbook for Folklore and Ethnomusicology Fieldwork. Indiana University Press.
Glesne, C. (2016). Becoming qualitative researchers: An introduction. Pearson. One Lake Street, Upper Saddle River, New Jersey 07458.
Hammersley, M., & Atkinson, P. (2019). Ethnography: Principles in practice. Routledge. Chapter 5: Insider Accounts – listening and asking questions.
Hegelund, A. (2005). Objectivity and subjectivity in the ethnographic method. Qualitative health research, 15(5), 647-668.
Liamputtong, P. (2009). Qualitative data analysis: conceptual and practical considerations. Health promotion journal of Australia, 20(2), 133-139.
Stock, J. P. (2004). Documenting the musical event: observation, participation, representation. Empirical musicology: Aims, methods, prospects, 15-34.
Yin, R. K. (2015). Qualitative research from start to finish. Guilford publications. Chapter 6: data collection methods |