Namiko-0506 發問時間: 社會與文化語言 · 1 0 年前


During the 1990s, particularly in response to the end of the Cold War and periodic economic crises in Asia, the paths along which ethnomusicology’s history had formed entered new phases of destabilization and engendered new debates about and challenges to the ways in which the field could study, represent and appropriate world musics. At their core, most debates about who possessed the intellectual capital and political power to study whom remained rooted in historical problems and persistent questions about music and identity. Native American musical scholarship, for example, deepened its stance toward the rights of any scholar to study Native American musical practices. Few questioned the claims that Native American should themselves largely control access to and the representation of their musical practices, but just how non-Native American might work together on ethnomusicological research remained open to question (see Herndon and McLeod, 1981; Diamond and others, 1994) and spawned new versions of older, historical questions, such as the gendered presence of ethnomusicologists in ethnographic research (Frisbie, 1991).






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  • ㄚ顧
    Lv 4
    1 0 年前

    在90年代期間,特別以回應在亞洲的冷戰和週期性經濟危機的結束,道路ethnomusicology的歷史形成了進入的新階段不穩定和造成了新辯論和挑戰對方式用領域能學習, 代表和合適世界musics。在他們的核心,多數的辯論是關於誰擁有了智力資本和政治力量去學習保留了紮根於歷史問題和關於音樂和身分的堅持問題。當地美國人的音樂獎學金,例如,加深了它向任一位學者學習當地美國人音樂實踐姿態。少數對當地美國人的要求表示懷疑主要他們自己控制通入對和他們的音樂實踐的表示法,但非本土美國人也許在ethnomusicological的研究中共同努力(參見1981年出版的Herndon and McLeod;1994年出版的Diamond and others),歷史問題的產生的新版本,譬如gendered ethnomusicologists出現在ethnographic研究(參見1991年出版的Frisbe)。 註:有一些不好翻譯,所以參考了線上翻譯,翻的有點奇怪的地方請見諒。(線上翻譯的部分我有先看過了應該不會有問題了)

    參考資料: 電子字典