Abstract
Ethnomusicologists who participate in musical performance as a research methodology gain unique perspectives on aesthetics, cognition, social relations, identity, and social structure. This chapter surveys the benefits and challenges of performance as a mode of research in North American ethnomusicology in the twentieth and twenty-first centuries.1
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Notes
For an overview of specific contributions from these fields, see Gerard Béhague, “Introduction,” in Performance Practice: Ethnomusicological Perspectives, ed. Gerard Béhague (Westport, CT: Greenwood Press, 1984); Ruth Stone, Theory for Ethnomusicology (Upper Saddle River, NJ: Pearson/Prentice Hall, 2008).
Carol Silverman, “Learning to Perform, Performing to Learn,” Journal of American Folklore 108, no. 429 (1995): 309.
Alan P. Merriam, The Anthropology of Music (Evanston, IL: Northwestern University Press, 1964).
John Blacking, “Field Work in African Music,” in Reflections in Afro-American Music, ed. Dominique-René de Lerma (Kent, OH: Kent State University Press, 1973), 214.
Quoted in Keith Howard, “John Blacking: An Interview,” Ethnomusicology 35, no. 1 (1991): 60.
Marcia Herndon and Norma McLeod, eds, The Ethnography of Musical Performance (Norwood, PA: Norwood Editions, 1980).
Timothy Rice, May It Fill Your Soul: Experiencing Bulgarian Music (Chicago: University of Chicago Press, 1994), 98.
Deborah Wong, Speak It Louder: Asian Americans Making Music (New York and London: Routledge, 2004), 229.
Katherine J. Hagedorn, Divine Utterances: The Performance of Afro-Cuban Santeria (Washington, DC: Smithsonian Institution Press, 2001), 57–8.
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© 2009 Sandra Jean Graham
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Graham, S.J. (2009). Performance as Research (PAR) in North American Ethnomusicology. In: Riley, S.R., Hunter, L. (eds) Mapping Landscapes for Performance as Research. Palgrave Macmillan, London. https://doi.org/10.1057/9780230244481_12
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DOI: https://doi.org/10.1057/9780230244481_12
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-30772-2
Online ISBN: 978-0-230-24448-1
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