Communication, Music, and Speech about Music

Feld, Steven

doi:10.2307/768199

Cited by 172 publications

(68 citation statements)

References 7 publications

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“…It is often difficult to express thoughts about music in words (Feld 1984;Monson 1996). We should expect that it is similarly difficult for people to talk about a variety of interactions by using words, particularly interactions such as music, sport, or automobile driving that are carried out in a medium other than language.…”

Section: Limitationsmentioning

confidence: 97%

Stimulated Recall Interviews in Ethnography

2010

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This article describes the use of stimulated recall interviews as a technique for investigating how people approach interactions in a number of different situations. In general, the technique I describe involves interviewing individuals by playing them audio or audiovisual recordings of their own behavior in social situations and discussing different aspects of those recorded interactions. Doing so can help us to understand what signals interactants understand as important, what signals they try to convey to others, and how they choose from various options to act upon the information they receive in interactions. Using the example of jazz jam sessions, I ask why it is that interactions can sometimes go smoothly and uneventfully, or sometimes break down completely. The stimulated recall interviews provide a valuable tool in helping the ethnographer to answer these kinds of questions.Keywords Ethnographic methods . Interviewing . Interaction . Jazz This article describes the use of stimulated recall interviews (SRI) as a technique for investigating how people coordinate their interactions in a number of different situations. In general, the technique I describe involves interviewing individuals while playing them audio or audiovisual recordings of their own behavior in social situations. Through participant-observation, ethnographers are able to gain unique insights into why people choose to act in certain ways in various situations. Traditional interviews and even autoethnographic techniques can help us to gain further understanding of the motivations and strategies underlying interactions and practices. But the ethnographer may be somewhat frustrated by the problems of memory and perspective inherent in these techniques. Motivations and rationales that informants describe retrospectively may not conform to those that they actually held in the moment of the experience. The technique of SRI brings informants a step closer to the moments in which they actually produce action. It gives

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Section: Limitationsmentioning

confidence: 97%

Stimulated Recall Interviews in Ethnography

2010

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“…That a piece of music is not an autonomous entity whose meaning is derived solely from its musical structure or lyric content is widely understood by contemporary music scholars (Feld 1984;DeNora 1995;Cook (2001; to name a few). Music is always received in a discursive context: "It is through the interaction of music and interpreter, text and context, that meaning is constructed" (Cook 2001:180).…”

Section: Figure 2 a Phrase From Composer Deng Yuxian's Sketch Of "A mentioning

confidence: 97%

Feeling a Shared History through Song: “A Flower in the Rainy Night” as a Key Cultural Symbol in Taiwan

Guy¹

2008

TDR/The Drama Review

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Released in 1934, “A Flower in the Rainy Night” (U iā hoe) is often considered one of the most heart-rending of old Taiwanese songs. On the eve of the 2002 Taipei mayoral election, Taiwan's former president, Lee Teng-hui, closed the rally for the underdog candidate by leading a crowd of 50,000 in singing the song. An analysis of ethnographic, literary, and media sources indicates that the song serves as an elaborating symbol and aids in conceptualizing the order of the world, making ties between the past and present, and offering visions of alternative futures.

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“…Blacking, 1983;Feld, 1984). Como señala Feld, el proceso de significado musical depende de la interacción dialéctica entre 1 De acuerdo con el censo nacional de 2000, la población de Río Grande do Sul es de alrededor de diez millones de habitantes.…”

Section: Acerca De Canciones Ejecución Musical Y Su Contextounclassified

“Brasilhana”: la creación de un signo musical transcultural

Lucas

2014

Desacatos

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Este artículo trata un caso específico de regionalismo musical dentro de las múltiples expresiones contemporáneas de la música popular brasileña; a saber, el repertorio de canciones de músi-ca gaucho/nativista producidas en el flujo de un movimiento de revitalización que nació en la década de 1970 en el sur de Brasil. Partiendo de un análisis musicobiográfico de una canción específica, el texto presenta el carácter contextual de los signos musicales empleados como marcadores de identidad transnacional/nacional/regional, la agencia de los creadores de música en la construcción de identidad social y la cuestión del esencialismo en los sistemas de clasificación musical, sobre todo respecto a temas de tradición/autenticidad. This article focuses on a specific case of music regionalism within the multiple contemporary idioms of Brazilian popular music, namely the song repertoire of Gaucho/Nativist music, which has been produced in the stream of a revivalist movement in southern Brazil born in the 1970s. Departing from a music-biographic analysis of a specific song, the text brings forward the contextual character of music signs used as transnational/national/regional identity markers, the agency of music creators in social identity construction and the question of essentialism in music classificatory systems, especially in relation to matters of tradition/authenticity. maria elizabeth lucas: Universidade do Río Grande do Sul, Brasil. , núm. 12, otoño 2003, pp. 62-77. Desacatos

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Communication, Music, and Speech about Music

Cited by 172 publications

References 7 publications

Stimulated Recall Interviews in Ethnography

Stimulated Recall Interviews in Ethnography

Feeling a Shared History through Song: “A Flower in the Rainy Night” as a Key Cultural Symbol in Taiwan

“Brasilhana”: la creación de un signo musical transcultural

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