Towards practice research in ethnomusicology

Abstract

This paper argues for ethnomusicologists to begin using performance not just as a tool to understand the social and cultural field, but to use music and dance as methods in 'translational' ethnomusicology that focuses upon the translation and communication of artistic performance aesthetics and to theorise a space for research outcomes that are sited in original performative knowledge, explored, produced and delivered through performance itself. The paper briefly surveys some of the key historical discussions of musical performance in/as research and the epistemological challenges that surround a methodologically defined field such as ethnomusicology where there is no central musical canon. The paper introduces the concept of 'emic resistance' where the researcher-performer resists translating their non-verbal, somatic aesthetic musical knowledge into text. The paper concludes by drawing on some of the most recent developments in both ethnomusicological and closely related performance-analytical scholarship to propose a translational model for practice research in ethnomusicology.

Ethnodoxological Reflection on the Choral Arrangement ‘Zamina Mina Yeako Aba’: The Arranger’s Perspective

“…This innovation could occur in the original cultural context or by integrating improvisational elements into a particular musical tradition. 11 In this case, the choral arrangement can honor the song's origins through improvisation and introduce innovative elements while retaining its essence and original flavor. Performers can experiment with improvisations to add unique qualities to the arrangement and adapt it to choral contexts.…”

Exploring the Multidimensional Construction of Cultural Identity through Music Elements of Chinese Suzhou Pingtan

“…The study of ethnomusicology delves into the connections between traditional music and cultural identity, offering valuable insights into music within its cultural contexts (McKerrell, 2021;Chappell & Varelas, 2019). McKerrell (2021); Chappell and Varelas (2019) stress the importance of perceiving music as a "situated human practice" deeply intertwined with specific socio-cultural contexts and shaped by practitioners' lived experiences. Shelemay (2011);McKerrell (2021) similarly highlight the significance of viewing music ethnographically as a cultural practice.…”

“…McKerrell (2021); Chappell and Varelas (2019) stress the importance of perceiving music as a "situated human practice" deeply intertwined with specific socio-cultural contexts and shaped by practitioners' lived experiences. Shelemay (2011);McKerrell (2021) similarly highlight the significance of viewing music ethnographically as a cultural practice. Furthermore, research indicates that engaging in musical activities fosters a sense of belonging within one's culture and community and plays a crucial role in identity formation, promoting cultural cohesion and identity (Perkins et al, 2020;Chappell & Varelas, 2019).…”