Some useful subject headings:
Ethnomusicology.
Ethnomusicology -- Fieldwork.
MUSIC -- Ethnomusicology.
Folk music.
World music.
Listen to thousands of CDs and music tracks through music streaming services purchased by Earlham Libraries.
You can listen to individual tracks, entire CDs, and create custom playlists.
These resources are available both on and off campus, but access is limited to a few simultaneous users, so please be sure to log out when you are finished so others can use it.
If you have any difficulties please contact a reference librarian.
The Garland Encyclopedia of World Music by 
Ethnomusicology: A Very Short Introduction by
Ethnomusicologists believe that all humans, not just those we call musicians, are musical, and that musicality is one of the essential touchstones of the human experience. This insight raises big questions about the nature of music and the nature of humankind, and ethnomusicologists argue that to properly address these questions, we must study music in all its geographical and historical diversity. In this Very Short Introduction, one of the foremost ethnomusicologists, Timothy Rice, offers a compact and illuminating account of this growing discipline, showing how modern researchers go about studying music from around the world, looking for insights into both music and humanity. The reader discovers that ethnomusicologists today not only examine traditional forms of music-such as Japanese gagaku, Bulgarian folk music, Javanese gamelan, or Native American drumming and singing-but also explore more contemporary musical forms, from rap and reggae to Tex-Mex, Serbian turbofolk, and even the piped-in music at the Mall of America. To investigate these diverse musical forms, Rice shows, ethnomusicologists typically live in a community, participate in and observe and record musical events, interview the musicians, their patrons, and the audience, and learn to sing, play, and dance. It's important to establish rapport with musicians and community members, and obtain the permission of those they will work with closely over the course of many months and years. We see how the researcher analyzes the data to understand how a particular musical tradition works, what is distinctive about it, and how it bears the personal, social, and cultural meanings attributed to it. Rice also discusses how researchers may apply theories from anthropology and other social sciences, to shed further light on the nature of music as a human behavior and cultural practice. About the Series: Oxford's Very Short Introductions series offers concise and original introductions to a wide range of subjects--from Islam to Sociology, Politics to Classics, Literary Theory to History, and Archaeology to the Bible. Not simply a textbook of definitions, each volume in this series provides trenchant and provocative--yet always balanced and complete--discussions of the central issues in a given discipline or field. Every Very Short Introduction gives a readable evolution of the subject in question, demonstrating how the subject has developed and how it has influenced society. Eventually, the series will encompass every major academic discipline, offering all students an accessible and abundant reference library. Whatever the area of study that one deems important or appealing, whatever the topic that fascinates the general reader, the Very Short Introductions series has a handy and affordable guide that will likely prove indispensable.
Oxford Global Music Series
The Oxford Handbook of Applied Ethnomusicology by
Applied studies scholarship has triggered a not-so-quiet revolution in the discipline of ethnomusicology. The current generation of applied ethnomusicologists has moved toward participatory action research, involving themselves in musical communities and working directly on their behalf. Theessays in The Oxford Handbook of Applied Ethnomusicology, edited by Svanibor Pettan and Jeff Todd Titon, theorize applied ethnomusicology, offer histories, and detail practical examples with the goal of stimulating further development in the field.The essays in the book, all newly commissioned for the volume, reflect scholarship and data gleaned from eleven countries by over twenty contributors. Themes and locations of the research discussed encompass all world continents. The authors present case studies encompassing multiple places; otherthat discuss circumstances within a geopolitical unit, either near or far. Many of the authors consider marginalized peoples and communities; others argue for participatory action research. All are united in their interest in overarching themes such as conflict, education, archives, and the statusof indigenous peoples and immigrants. A volume that at once defines its field, advances it, and even acts as a large-scale applied ethnomusicology project in the way it connects ideas and methodology, The Oxford Handbook of Applied Ethnomusicology is a seminal contribution to the study of ethnomusicology, theoretical and applied.
Ethnomusicology: A Guide to Research by
Ethnomusicology: A Research and Information Guide is an annotated bibliography of books, recordings, videos, and websites in the field of ethnomusicology. The book is divided into two parts; Part One is organised by resource type in catagories of greatest concern to students and scholars. This includes handbooks and guides; encyclopedias and dictionaries; indexes and bibliographies; journals; media sources; and archives. It also offers annotated entries on the basic literature of ethnomusicological history and research. Part Two provides a list of current publications in the field that are widely used by ethnomusicologists. Multiply indexed, this book serves as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared in the field over the past decades.
Shadows in the Field by
Preface Bruno Nettl. 1. Casting Shadows in the Field: Introduction, Timothy J. Cooley and Gregory Barz. 2. Knowing Fieldwork, Jeff Todd Titon. 3. Transformations of the Self in Fieldwork, Timothy Rice. 4. Phenomenology and the Ethnography of Popular Music: Ethnomusicology at the Juncture of Cultural Studies and Folklore, Harris M. Berger. 5. Moving: From Performance to Performative Ethnography and Back Again, Deborah Wong. 6. Virtual Fieldwork, Timothy J. Cooley, Katherine Meizel, and Nasir Syed. 7. Fieldwork at Home: Asian and European Perspectives, Jonathan Stock and Chou Chiener. 8. Working with the Masters, James Kippen. 9. The Ethnomusicologist, Ethnographic Method, and the Transmission of Tradition, Kay Kaufman Shelemay. 10. Shadows in the Classroom: Encountering the Syrian Jewish Research Project Twenty Years Later, Judah Cohen. 11. What's the Difference? Reflections on Gender and Research in Village India, Carol Babiracki. 12. (Un)doing Fieldwork: Sharing Songs, Sharing Lives, Michelle Kisliuk. 13. Confronting the Fieldwork Journal in the Field: Sounds, Music, Voices, and Texts in Dialogue, Gregory Barz. 14. The Challenges of Human Relations in Ethnographic Inquiry: Examples in Arctic and Subarctic Fieldwork, Nicole Beaudry. 15. Returning the the Ethnomusicological Past, Philip V. Bohlman. 16. Theories Forged in the Crucible of Action: The Joys, Dangers, and Potentials of Advocacy and Fieldwork, Anthony Seeger. References. Index
A Feminist Ethnomusicology by
One of the pioneers of gender studies in music, Ellen Koskoff edited the foundational text Women and Music in Cross Cultural Perspective, and her career evolved in tandem with the emergence and development of the field. In this intellectual memoir, Koskoff describes her journey through the maze of social history and scholarship related to her work examining the intersection of music and gender. Koskoff collects new, revised, and hard-to-find published material from mid-1970s through 2010 to trace the evolution of ethnomusicological thinking about women, gender, and music, offering a perspective of how questions emerged and changed in those years, as well as Koskoff's reassessment of the early years and development of the field. Her goal: a personal map of the different paths to understanding she took over the decades, and how each inspired, informed, and clarified her scholarship. For example, Koskoff shows how a preference for face-to-face interactions with living people served her best in her research, and how her now-classic work within Brooklyn's Hasidic community inflamed her feminist consciousness while leading her into ethnomusicological studies. An uncommon merging of retrospective and rumination, A Feminist Ethnomusicology: Writings on Music and Gender offers a witty and disarmingly frank tour through the formative decades of the field and will be of interest to ethnomusicologists, anthropologists, scholars of the history and development of feminist thought, and those engaged in fieldwork. Includes a foreword by Suzanne Cusick framing Koskoff's career and an extensive bibliography provided by the author.
Hungry Listening by
WInner of the Best First Book from the Native American and Indigenous Studies Association Winner of the Labriola Center American Indian National Book Award Winner of the ;Ann Saddlemyer Award from the Canadian Association for Theatre Research Reimagining how we understand and write about the Indigenous listening experience, Hungry Listening is the first book to consider listening from both Indigenous and settler-colonial perspectives. A critical response to what has been called the "whiteness of sound studies," Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality. This, he argues, involves identifying habits of settler-colonial perception and contending with settler colonialism's "tin ear" that renders silent the epistemic foundations of Indigenous song as history, law, and medicine. With case studies on Indigenous participation in classical music, musicals, and popular music, Hungry Listening examines structures of inclusion that reinforce Western musical values. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, Hungry Listening offers examples of "doing sovereignty" in Indigenous performance art, museum exhibition, and gatherings that support an Indigenous listening resurgence. Throughout the book, Robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. Through event scores, dialogic improvisation, and forms of poetic response and refusal, he demands a reorientation toward the act of reading as a way of listening. Indigenous relationships to the life of song are here sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space.
Earlham College • 801 National Road West • Richmond, Indiana 47374-4095
