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Spring Semester 2014

I4.b./A1.b. Fieldwork methods in music research, 5 op

Time: Periods III–IV, Mondays 14-16, lectures starting 13.1.2014 for 4 weeks
until 3.2.2013. Continuing in period IV, student presentations starting
31.3.2014 until 14.4.2014
Place: Musicology, Salonki lecture hall, Sirkkala
Lecturer: Jelena Gligorijevic
Course content: The course offers students a practical guide to fieldwork methodology in music research as well as an opportunity to exercise it in a small-scale research project of their interest. More specifically, the course aims to: theorize and situate fieldwork methods along disciplinary lines, with a special focus on musicology and ethnomusicology; introduce and theorize various issues and stages in fieldwork research, ranging from the questions of its epistemological framework and ethics through to writing up an ethnography; examine and illustrate the scope of fieldwork methods in music research through several thematically diverse examples; develop students’ skills (both verbal and written) in the presentation of ideas that are supported by the fieldwork data and selected theoretical concepts.
Participation: Lectures, readings, discussions, oral presentations and written assignments.
Required studies: No previous studies in musicology required. Recommended to those students who have completed basic studies. Musicology major subject students take precedence.
Evaluation: 1–5
 

I4.c./A1.c./I5.c./A3.c./I5.i./ A3.i./I5.j./A3.j./I5.l./A3.l. Europe and Its Musical Others, 3 op

Time: Period IV, 3 lectures: Wednesday 2-4 pm, 12.3.2014; Thursday 10 am-2
pm, 13.3.2014; Friday 10 am - 4pm, 14.3.2014
Place: Musicology Hovi lecture hall, Sirkkala
Lecturers: Birgit Abels, Eva-Maria van Straaten & Andreas Waczkat; coordinator
John Richardson
Course content: This course offers both methodologies for investigating historical negotiations of musical Others, as well as explores cultural-theoretical questions regarding (musical) exoticism, difference, spatiality, the spectacle and the gaze. Borrowing insights from postcolonial and spatial theory, the course asks how these, often visually based, theories might emerge in a different fashion when traveling rethought through music. We start by analyzing descriptions and transcriptions of Pacific Islanders’ music that reached the European public after James Cook’s voyages to the Pacific between 1768 and 1779, during which Cook and his crew collected and described music and musical instruments. These were met with considerable interest in Europe, challenging prevailing notions of musical, and therefore cultural, cartographies. The second case study explores the use of music in multi-sensory spectacles of perceived otherness present at 19th century world’s fairs. Analyzing how “exotic” musical instruments, hymns and technological inventions enabled encounters with auditory realities from perceivably “other” places and times, we inquire into these world’s fairs’ heterotopic (Foucault) character. Discussing the findings from these case studies in the light of postcolonial and spatial theory, the course explores music(ology)’s potential for cultural theory, and cultural theory’s potential for music(ology).
Participation: Lectures, study diaries, readings/ or essay assignmen
Evaluation: 1-5
 
 
Updated: 3.3.2014
 
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