Short Description of Ethnomusicology
By Edi Nasution
MieczyslawKolinski occupy a special place in the field of ethnomusicology studies in
America as a living in the music world. He developed a classification of tonal
structure and the methods of analysis of the structure of melodic movement, all
can be used for music of non-European. But on the other hand, Seeger(1951:242) warns that : " ... between forecast distortion in music may be
expected in the maintenance arkaif discuss music ... a large number of analysis
as above as opposed to synthetic, as opposed to process events, as a result of
the above tradition, as opposed to the structure function, a static as opposed
to dynamic".51
Through a
variety of writing and discussion, he made American ethnomusicology experts
wary of static analysis of musical events (for example see Herndon,1974), and
there have recently she has been trying to work out an approach to musical
knowledge within a culture, which seems totally at odds with the leaders,
opposing what is done by Kolinski.52
Around 1970,
the attention devoted to music as a form of communication or a communication
system, which seems to be growing and is called ‘Semiotics’ or ‘Semiologie
Musicale’. Among the field definitions mentioned by Natties (1974) is a
discipline which tries to use linguistic models in the analysis of music, or
studying music as a system of signs, with two types of research, namely the
system of notation (semiografi), and the other is intended to propose a ‘musical
phenomenon’ (musical semantics), as an example see Boiles (1967 and 1973).
Certainty of the concepts, principles, and methods of linguistic structure can
be applied, and the investigation of generative grammar publish musical
interest from experts in ethnomusicology (for example see Blacking, 1971;
Field, 1974). In connection with the symbolism of music, as noted above, are
also specifically investigated by the German scholar Marius Schneider and
Werner Danckert, in conjunction with magic, worship and ceremonies ritual.53
More
intensively studied music in culture or in a social context will be guided
towards society or lead to non-literature or tribal, village farmers or rural
border areas ( urban ). American-Indian tribal monographs (see McAllester
1954; Merriam 1967; Nettl 1967-8) describe the behavior patterns of the native
peoples of music, music functions, data collection by the missionaries and the
writings of others in the form of a report on the history of tribal and
community life, and incorporate transcription - transcription of music, a music
that seems formal analysis, and multiple comparisons with the style of music
other Indian - Americans. McAllester gave special attention to the cultural
values obtained
from the Navajo informants, as confirmed in their music. In Europe, they have a
good study of the music of peasant villages: in Romania (Brailoiu 1960 , first
before the war ) , Belo Russia (Mozheyko 1971), West Germany (Klusen 1941 and 1970 ), and
of the characteristics areas, such as in the Northeast Germany Stockmann, 1962) and in Slovenia (Kumer,
1968). Moreover, Brailoiu specifically interested in data-sociology of
repertoire repertoire, different age groups in the music repertoire in conjunction
with work (office), and so on. Stockmann studying an area, Altmark, which is a
remarkable accuracy in the collection were made a century earlier,
in the dish synchronic and diachronic analysis of the combination; book is a
model for Mozheyko and Kumer.54
For Africa,
Hugo Zemp (1971) work on communities ‘and’ Ivory coast as a place of
instrumental music performance, music and ideas in the social life of the
community, but it was ‘not music’. In contrast, in the book of John Blacking on
‘Venda’ (1967) in the northern Transvaal contains some text and music as well
as incredible detail about how the children's relationships with singing.
Elsewhere blacking advocated description of the background music and music
culture itself as related parts of a system in total; in his opinion, unless
they connect, ethnomusicology will be left a bit of the ‘meeting area’ to be
attentive field of anthropology and music from cultures different.55
An approach
contrasts rather sharply in the community, Lomax set up in the project ‘Cantometrics’.
Stimulation in the study of this style of singing performances, recording songs
of the analyzed sample of more than 200 culture, and after analyzed were coded
with a computer, where the data used are ethnographic facts from these cultures
to a computerized study that attempts to connect between properties of musicaland cultural properties, in particular investigate whether the patterns of
music was definitely related to the stage on a regular basis is certainly a
very complex culture. Indeed it shows some properties of the singing
performances, shows a strong relationship to the privilege of the social
structures that govern interactions within the entire culture (Lomax, 1968). ‘Cantometrics
Project’ doing more extensive systematic comparison to traditional music from
all parts of the world. But it uses a simple restriction of the music, and the
arbitrary juxtaposition of cultural data and the data dimension of musical
without the participation of field work, so it means is an invention that
requires further testing.56
Seeger
emphasized the importance of learning the standard criticism of other people
and approach the music with their own canon, not the other (EM, iii, 1959:102).
By using this principle, Hood as a pioneer of ethnomusicology program at the
University of California at Los Angeles (1954-74) emphasizes practical training
of students in a variety of styles and performances of non-Western music,
including Gamelan ensembles of Java, Bali, China, Japan, Ghanaian and other
instruments. All the teachers are artists (artists) from non-western
countries are. Hood himself is an expert plays fiddle Java (spike fiddle).
With the breaking barriers between musicians and coach the West 's non-Western
music, Hood filed a couple of ways to intense interest in the non-Western
music. Among the Western listener to mitigate contention, as indicated Hood,
is pitch perfect West, which is "in the world of sound mikrotone ...
reality is a sense of pitch imperpect" (1960; 56). Emphasis on the show
has been criticized as unnecessary guided by superior skill in music analysis.
But goodness is, in contradiction with the proposed odyssey studying a special
musical differences through language but should not be guided from the original
artists (native). The classes in the non-western music performances now
proposed at any American university, the proposed ethnomusicology and the
students showed a passionate interest in their learning.57
New
categories of interest in ethnomusicology experts relative is a change or
acculturation, which is several times approached sociology and some time in
history. One important principle that the traditional, always without writing music, which with its authenticity, is change.58
This
principle suggests that music is connected with a community isolation, associate
music with ritual or magic, is not automatically assumed to go back to
thousands of years ago, to be ‘pure’), without change, without being
influenced by other cultures or communities. Ethnomusicology Soviet experts,
Zemtsovsky, look at it as follows: "in every era of history, music older
or younger living with the music changed, along with new music creation on two
types of basic forms. In one form, the form they are also called traditional
folk music" (1974; 272). With this more flexible attitude towards change ,
and interest in music as a process, a study was also paid to the so-called ‘
urban Ethnomusicology’, which may carry out a study on urban and rural
relationships (for example, in the Near East) and the strong influence of
adaptation and transformation of certain foreign influences (eg High life in
Ghana). This section tends to represent a return to the history of music, with
the expansion of the sociological dimension. And on the other hand, the
variation of the study, or variations of the traditional music, may be
appreciated as a greater emphasis in musicology attention (although beginning
fieldwork requires extensive skill). Studying the variation can be developed
with extensive improvements by Brailoui (1973).59
Historical
dimension is fundamental for some scholars in the study of folk music
(specifically for the German scholar Walter Wiora, and coupled to the experts
in the special European folk music and ethnomusicology experts). The questions
primarily about the evolution of music experts especially interested experts
Comparative Musicology earlier, like Stumpf and Hornbostel. The evolution of
musical instruments, such as the rise and evolution of the music, never stops
dazzling Curt Sachs. In an out line by Wiora ( MGG ) of sub-division of
ethnomusicology (a term which he refused, instead using the term ‘musikaliche
Volks und Völkerkunde’, ‘musical folk lore’ and ‘musical ethnology‘), he
always discussed in the perspective of history, kateori music under
non-literary society, in which the music may be more primitive and more
advanced , when he noted that the music of high culture oriental collapse among
the non-literary and ethnographic history of music, there is for palaces
growing literature, some of them can be recorded , and oriental music is linked
also to the musical heritage of Rome and Yunani.60
Since the
advent of ethnomusicology as a discipline of science, the field of
ethnomusicology field studies have been debated by experts in a fairly long
time span. Some experts argue that the field of ethnomusicology study is: ‘ethnic music’; ‘traditional music’; ‘music as culture’; ‘man-made music’; ‘music
of a human society’ who lived from ancient times to the present, and so on.
Likewise, they agreed that the discipline of ethnomusicology is a science that
studies the .music’, and even the definition of "music itself” is still
debated, but agreed that the ‘music’ contains some basic elements include: tone
(pitch) and/or cadence (rhythm). In this case, because of the fundamental
concepts of the ‘tone’ and ‘rhythm’ is likely to differ from one community to
other communities, then ideally the ‘music’ that is created as a result of the
creativity of a community group that was supposed to be studied in the context
of culture of the people concerned in a holistic manner.
In line with
some of the main ideas in the above description, and connection with the
existence of a formal institution in the field of ethnomusicology studies
established in Indonesia, such as in University of North Sumatra (USU in Medan)
- of course institutions (ethnomusicology) it has a role and position are very
important because Indonesia has hundreds of tribal (among others, such as Mandailing, Minangkabau, Aceh, Pakpak, Karo, Simalungun, Jawa, Bali, Sunda, Betawi, Toraja, etc.) that have each
musical tradition as a legacy of their ancestors. But now, the tradition of
music in general is on the verge of extinction as a result of the strong
influence globalization (the modern world). In this case, Ethnomusicology is
not only useful for documenting the music of the tradition, but they also can
develop it so that it later can be widely known, enjoyed and appreciated by
the international community.[EN]
Gandoang, January 12, 2011
End Note
1. Sadit Stanley (ed), Grove Dictionary of Music and
Musicians, (Macmillon, 1980).
2. Bruno Nettl defines 'folk music' as a living
oral tradition of music in the area dominated by the "high culture".
In other words , not just folk music live in Europe and America, but also the
music of Asian high culture whose existence has been recognized. See Bruno
Nettl, Chapter I: Theory and Method in Ethnomusicology, (New York: The Free
Press, 1964), p. 7
3. Sadit Stanley, Op.Cit. It can be added that at
the beginning of its development , ethnomusicology is a discipline that emerged
in Europe in the early 20th century. Expansion of European nations around the
world have been surprised that it turned their attention to the nations which
he regarded as a primitive nation outside of Europe, it also has a culture.
However, the narrowness of perception and attitude of superiority, they looked
at the culture outside themselves nations categorized as non - European
cultures, which is only interesting to learn from the standpoint of
anthropology, sociology, ethnology, and so on so it is not interesting to be
recognized at the level of culture and science. Furthermore, the new science
was originally given by various names, such as musical anthropology, ethnology
music, and folklore music or even just folklore. See in Usman Suhana,
"Ethnomusicology and Contribution", 1 September 2007.
4. Sadit Stanley, Ibid.
5.
Mantle Hood said that: "one point is clear : the subject of
ethnomusicology fieldwork is music". Mantle Hood, The ethnomusicologist,
(New York: McGraw - Hill, 1971), p. 3.
6.
George List, "Ethnomusicology: A Discipline Defined", in Ethnomusicology, (Society for
Ethnomusicology, Inc. , January 1979), p . 4-7
7. Ibid,
8.
Sadit Stanley (ed), Grove
Dictionary of Music and Musicians, (Macmillon, 1980).
9.
Bruno Nettl, Op.Cit.
, p. 7
10. Ibid.
11.
Ibid.
12. Ibid.
13. Ibid.
14. Ibid.
15. Ibid.
16. Usman Suhana, "Ethnomusicology and
Contribution", September 1, 2007
17. In the last decade, ethnomusicology has
experience progress in a way that is quite striking. From 1960 to 1980,
struggled to maintain its identity ethnomusicology and musicology are seen side
by side with more established. Ethnomusicology is often marginalized in
academic circles as the study of exotic (odd), the music of non-Western or
‘Third World’, but eventually began to catch up and then surpass even
musicology in two ways: (1) ideological, cultural and wrestle with the reality
of music as a global phenomenon; and (2) methodological, using a variety of
techniques derived from cross- fertilization of disciplines. See James Porter,
"New Perspectives in Ethnomusicology: A Critical Survey", see
http://www.sibetrans.com/trans/index.htm.
18. George
List, Op.Cit. p. 7.
19. Sadit
Stanley (ed), Grove Dictionary
of Music and Musicians, (Macmillon , 1980)
20. Ibid.
21. Ibid.
22. Ibid.
23. Ibid.
24. Ibid.
25. Ibid.
26. Ibid.
27. Ibid.
28. Ibid.
29. Ibid.
30
Ibid.
31.
Ibid.
32. Ibid.
33. Ibid.
34. Ibid.
35. Ibid.
36. Ibid.
37. Ibid.
38. Ibid.
39. Ibid.
40. Ibid.
41.
Ibid.
42. Ibid.
43. Ibid.
44. Ibid.
45. Ibid.
46. Ibid.
47. Ibid.
48. Bruno
Nettl, Chapter I: Theory and
Method in Ethnomusicology, (New York: The Free Press, 1964).
49. Ibid.
50. Ibid.
51. Sadit
Stanley (ed), Grove Dictionary
of Music and Musicians, (Macmillon, 1980).
52. Ibid.
53. Ibid.
54. Ibid.
55. Ibid.
56. Ibid.
57. Ibid.
58. Ibid.
59. Ibid.
60. Ibid.
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