Designed as a tribute to Robert Garfias, who has conducted field work in more cultures than any other living ethnomusicologist, this volume explores the originating encounter in field work of ethnomusicologists with the musicians and musical traditions they study. The nineteen contributors provide case studies from nearly every corner of the world, including biographies of important musicians from the Philippines, Turkey, Lapland, and Korea; interviews with, and reports of learning from, musicians from Ireland, Bulgaria, Burma, and India; and analyses of how traditional musicians adapt to the encounter with modernity in Japan, India, China, Turkey, Afghanistan, Morocco, and the United States. The book also provides a window into the history of ethnomusicology since all the contributors have had a relationship with the University of Washington, home to one of the oldest programs in ethnomusicology in the United States. Inspired by the example of Robert Garfias, they are all indefatigable field researchers and among the leading authorities in the world on their particular musical cultures. The contributions illustrate the core similarities in their approach to the discipline of ethnomusicology and at the same time deal with a remarkably wide range of perspectives, themes, issues, and theoretical questions. Readers should find this collection of essays a fascinating, indeed surprising, glimpse into an important aspect of the history of ethnomusicology.
Timothy Rice is Professor in the UCLA Department of Ethnomusicology and holds a Ph.D. from the University of Washington. He specializes in the traditional music of Bulgaria and Macedonia. His books include Cross-cultural Perspectives on Music (1982), May It Fill Your Soul: Experiencing Bulgarian Music (1994), The Garland Encyclopedia of World Music, Vol. 8: Europe (2000), and Music in Bulgaria (2004). He edited the journal Ethnomusicology from 1981 to 1984 and served as president of the Society for Ethnomusicology from 2003 to 2005.
... the book would be especially helpful to those teaching or taking graduate-level ethnomusicology courses, as it provides a broad view of ethnomusicological research. Notes 'This book will be a good help for anthropologists interested in ethnomusicology and for social scientists whose areas of interest are connected to music. Moreover, each chapter includes a good number of references to the musical recordings of the mentioned artists, as if inviting readers to listen and sonically experience the music that they read about.' Anthropological Notebooks