PUGET SOUNDS (HONORS) DISCUSSION QUESTIONS FOR OCTOBER 14, 2014

howto1

“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:

Armbruster:

  • 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….

Assmann

  • 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!

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

Seattle_InnesBand-AYP-1909
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:

Armbruster

  • 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?

Blecha

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

Yee

  • 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_Moritz_von_Hornbostel
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)

Ames

  • 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”?

Nettl

  • 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