There is a very different type of dialogue created when the intended reader is one who has professional knowledge of the field. For example, “The Challenge of ‘Bi-Musicality’” by Mantle Hood jumps right into why bi-musicality is necessary in order to study other cultures without first arguing that this is a worthy goal. I know that it might seem obvious that in an Ethnomusicology Journal they pre-suppose that the reader will be amiable to the notion of studying the music of other cultures, but I do not think it trivial. I think that the basic rules of dialogue are changed dramatically in this journal, and I think that the impact of this change cannot be underestimated. It allows the writer to take riskier positions knowing that the reader will have the expertise to understand the broad strokes of the argument even if it is in a rudimentary form. It allows the writer to address more controversial topics that they might not be willing to address to the outside community. Also, it increases the chances that the writer would receive helpful feedback in crafting their argument. While all of these things may seem obvious, they provide a forum for discussion that I think is crucial to helping any fledgling field grow.
Specifically, I think that Mantle Hood’s article articulates some of the values that are very important to the field as we know it today. It was interesting to read about some of the direct changes in the field that came about due to the shift towards cultural relativism. So many things feel to us that they are taken for granted, especially given our modern education, that it is rewarding to read something from a different context, where perhaps a western-centric philosophy was still exerting influence held over from its previous years of dominance.
1 comment:
I like your observation about the “lack of hostility” in the articles from the 1950s; a lot of the 1950s articles I read focused more on descriptions of instruments and collecting field recordings, which gave the articles a “hey guys, isn’t this neat and exotic” feeling. Now, after the field of ethnomusicology has matured into a critical discipline, ethnographers make arguments and prove their theses, which may explain the more hostile-like tone.
These communal writing style, reader-submitted 1950s pieces, coupled with the shotty printing jobs and lists of readers’ contacts, remind me of modern-day zines, as if ethnomusicology was a hobby or at least a minority interest then.
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