“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?
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!
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:
Hello and welcome to our seminar, Intro to Digital Humanities! As Tyler Fox and I mentioned at our first meeting, this course is exploratory. We–definitely me–will be using it as an opportunity to find out what, why, and how Digital Humanities (DH) is what it is or, perhaps more accurately, is in relation to what others claim on its behalf. From mapping Ireland’s literary history to re-contextualizing discourse in the midst of combat , much digital output falls under the DH umbrella. We will be exploring the diverse nature of what the term covers, but we’ll also be checking out the umbrella itself, investigating and dissecting what it’s made of and what assumptions we may be making on its behalf. I look forward to working with and learning alongside all of you this quarter.