This work, written by ethnomusicologists, considers fieldwork as an issue-laden practice, rather than as a methodology requiring a prescriptive manual. The contributors to this volume challenge the notion of fieldwork: its goals, the nature of knowledge gained in fieldwork and the place of fieldwork in historical studies. The book ranges widely through the history of the discipline of ethnomusicology and the key theoretical issues to be addressed including ethics, politics, gender and relations with the people studied in the contemporary fieldwork environment. It represents the most significant aspects of the new ethnography, shifting the balance away from the data-collecting model of fieldwork toward an approach that is reflexive, humanistic and experiential.
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"Shadows in the Field should be required reading in all such courses because the essays represent a sustained effort by ethnomusicologists to grapple with experimental and representational issues that are central to contemporary research and writing practices in the discipline....a welcome--and essential--addition to the ethnomusicology syllabus and bookshelf."--Ethnomusicology"The essays in Shadows in the Field address one of the key facets of ethnomusicological research, providing a stimulating set of reflections on fieldwork as experienced in a number of different settings."--The World of Music "Shadows in the Field should be required reading in all such courses because the essays represent a sustained effort by ethnomusicologists to grapple with experimental and representational issues that are central to contemporary research and writing practices in the discipline....a welcome--and essential--addition to the ethnomusicology syllabus and bookshelf."--Ethnomusicology "The essays in Shadows in the Field address one of the key facets of ethnomusicological research, providing a stimulating set of reflections on fieldwork as experienced in a number of different settings."--The World of Music "Shadows in the Field should be required reading in all such courses because the essays represent a sustained effort by ethnomusicologists to grapple with experimental and representational issues that are central to contemporary research and writing practices in the discipline....a welcome--and essential--addition to the ethnomusicology syllabus and bookshelf."--Ethnomusicology "The essays in Shadows in the Field address one of the key facets of ethnomusicological research, providing a stimulating set of reflections on fieldwork as experienced in a number of different settings."--The World of Music "Shadows in the Field should be required reading in all such courses because the essays represent a sustained effort by ethnomusicologists to grapple with experimental and representational issues that are central to contemporary research and writing practices in the discipline....a welcome--andessential--addition to the ethnomusicology syllabus and bookshelf."--Ethnomusicology"The essays in Shadows in the Field address one of the key facets of ethnomusicological research, providing a stimulating set of reflections on fieldwork as experienced in a number of different settings."--The World of Music
Timothy J. Cooley is Associate Professor of Ethnomusicology at the University of California, Santa Barbara, and is the author of Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians. He serves as the editor of Ethnomusicology, the journal of the Society for Ethnomusicology, and is the president of the Society for Ethnomusicology, Southern California Chapter. Gregory Barz is Associate Professor of Ethnomusicology and Anthropology at the Blair School of Music at Vanderbuilt University, and the general editor of the African Soundscapes book series. He serves as African Music editor for the New Grove Dictionary of Music and Musicians and is the author of Singing for Life: HIV/AIDS and Music in Uganda, and Music in East Africa: Experiencing Music, Expressing Culture.
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