“Sound-recording equipment John and Alan Lomax transported in the trunk of their car during their fieldwork expeditions” (from http://www.loc.gov/folklife/fieldwork/howto.html).

For class tomorrow we are going to be covering a lot of ground: “Segregating Sounds (1910s – 20s) and Archival Acquisition/Fieldwork.” For the music related readings please consider the following:


  • Why does Armbruster characterize the 20s as a “paradoxical age”?
  • What is a “blue law”?
  • What was Local 76’s attitude towards jazz?
  • Why was Local 458 reconstituted into Local 493 in 1922?
  • What impact did the advent of cinema have on the local music scene?
  • Did women receive the same pay as men in Local 76?
  • What did the New York Times say about Cornish?

De Barros

  • According to De Barros, what was Seattle’s early “contradiction in the city’s psychology”?
  • What do you think would have happened had black musicians tried to join Local 76 in 1909?
  • What role do minstrel shows play in the development of jazz?
  • How would you characterize The Seattle Times’ turn of the century characterization of black entertainers?
  • When and where was Seattle’s first jazz performance?

And for the archive/fieldwork related portion of the readings, consider….


  • What are some of the ways in which sound and audiovisual archives acquire their collections?
  • What should be a person’s paramount responsibility when making a new recording for an archive?
  • What should we do with recordings that were made w/out the knowledge or permission of performers?

And we will be applying Bartis’ guide to an activity during the latter half of the class.

See you tomorrow!


Puget Sounds (Honors) Discussion Questions for October 7, 2014

Innes’ Band, Alaska-Yukon-Pacific Exposition, Seattle, 1909 Photo by Frank Nowell, Courtesy UW Special Collections (Image No. AYP1253). Originally posted by Pete Blecha at http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8876

Tomorrow we’ll be looking at musical Seattle of yore, including a focus on the AYP. In anticipation of our discussion, please consider the following:


  • Given what you learned last week, what do you think of the author’s characterization of Dawamish music?
  • What role did the UW play in the early musical life of Seattle?
  • Which music cultures must have clashed in early Seattle?
  • What were some of the positive impacts that musician unions had in early Seattle? Were there negative impacts?
  • What barriers existed for Chinese and African American musicians in early Seattle?


  • What’s the connection between AYP and Jimi Hendrix?


  • According to Seattle proponents, why was Seattle considered to be cosmopolitan?
  • According to the author, what opposing perspectives were affirmed by the inclusion of Japan and Japanese peoples in the AYP and other Seattle celebrations?
  • Were racist evolutionary perspectives a part of the AYP?
  • Did Japanese Americans pose a real or perceived economic threat to European Americans in Seattle? If so, what did this lead to?

For the second half of class we’ll have a change of venue and a surprise guest that we help us delve into primary sources from the AYP. Library fun awaits!

Puget Sounds discussion questions for October 2, 2014

Erich von Hornbostel (from http://upload.wikimedia.org/wikipedia/uk/a/a9/Erich_Moritz_von_Hornbostel.jpg)

Some questions to think about when reading this week’s articles for our Puget Sounds seminars (http://guides.lib.washington.edu/ps-honors14 and http://guides.lib.washington.edu/ps-collegiate14)


  • What do you think motivated early comparative musicologists to record the music of so-called “primitive” people?
  • What was one of the primary differences between the Vienna and Berlin archives?
  • By what means did the Vienna archive collect “exotic music”?
  • What does it mean to, as Stump noted, “hear with European ears”?
  • What does Ames mean by the following: “As ‘participant observer,’ the scientist became a kind of impresario in his own right”?


  • From what you can tell so far, where do you think the Puget Sounds project fits w/in Nettl’s definitions of ethnomusicology (pp 4-5)?
  • How would you define ethnomusicology? Fieldwork?
  • What is your opinion of Nettl’s stated “truism” on page 10?
  • Is ethnomusicology doomed by the apparent contradiction between searching for “unitary phenomenon” and never ceasing to “marvel at the incredible variety of manifestations of music”?
  • Is musical egalitarianism possible?

And while you read, listen to early EM von Hornbostel recordings here: http://offcampus.lib.washington.edu/login?url=http://search.alexanderstreet.com/view/work/71672