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| | music 666: ethnographic fieldwork: field methods in ethnomusicology<br> | | music 666: ethnographic fieldwork: field methods in ethnomusicology<br> |
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| − | Professor Michael Frishkopf
| + | = Overview = |
| − | Meetings: Winter 2010, Mondays, 9 – 11:50 am, Old Arts 403
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| − | Office: 347 Old Arts Building
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| − | Office hours: Wednesday 1-3, or by appointment
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| − | Tel: 780-492-0225, email: michaelf@ualberta.ca<br>
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| − | <br>
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| − | Overview:<br> | |
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| − | Ethnomusicology is the social practice of studying music as a meaningful social practice. Within music studies, ethnomusicology's distinguishing practical feature is fieldwork, a principal component of the ethnographic enterprise upon which most ethnomusicological (and anthropological) research is based. This course aims to provide you with strategies for the aquisition of field methods (procedural, declarative, and critical knowledge) enabling you to perform critical ethnographic fieldwork, to gather ethnomusicological data, and develop ethnographies. <br>
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| − | For the first few weeks, we take up theoretical and critical overviews of fieldwork and ethnography (along with a heavy reading load), including – most importantly – issues of truth, power, and ethics. Subsequently, that load will be reduced as we begin to focus on acquisition of perspectives, knowledge, and methods—technical and social—pertinent to critical ethnomusicological data collection via participant observation, interviewing, field notes, audio and video recording, and still photography. Here the course shifts gears, from reading about fieldwork to actually doing it. You will learn to transcribe and edit field materials, and to analyze and code fieldwork data in preparation for ethnographic writing. We will discuss techniques and strategies for molding multimedia materials into presentable formats, including documentary film, and development of multimedia websites, blogs, wikis, and podcasts. <br>
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| − | You will also learn to develop effective ethnographic research proposals centered on fieldwork (including preparation of budgets and timelines), suitable for funding and guiding your research project. Most students should consider this course as an initial step towards their MA or PhD thesis.<br>
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| − | Ethnomusicology is a diverse set of practices, and complete training in its field methods is not possible in the span of 13 sessions. In particular, we will not have time to study the technical subjects (audio recording/editing, photography, video recording/editing) in depth. Mastery of any one of these subjects requires an enormous investment in study and practice. Rather the focus here is on a broad spectrum of introductions—methods for acquiring methods, learning how to learn—in the hopes that you will thereby be enabled and motivated to explore further on your own. <br>
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| − | Course objectives:<br>
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| − | • To develop a theoretical understanding of ethnographic fieldwork—its nature, uses, aims, methods, and (ethical or epistemological) limitations—as a social practice.<br>
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| − | • To become familiar with various modalities of ethnographic fieldwork, their strengths and weaknesses.<br>
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| − | • <br>
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| − | • To develop some practical fieldwork skills, particularly participant observation, interviewing, and fieldnotes, and the development of rapport.<br>
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| − | • To understand the principles of multimedia recording and editing (audio, video, and image), and develop basic competencies in their technologies. <br>
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| − | • To learn how to organize and analyze fieldwork data, in preparation for ethnographic writing, including transcribing and coding.<br>
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| − | • <br>
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| − | • To develop an ethnographic research proposal centered on a fieldwork project, and to carry out a portion of the latter.<br>
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| − | Course requirements:<br>
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| − | • Regular, punctual attendance.<br>
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| − | • <br>
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| − | • Reading (or skimming, as appropriate) each week's reading assignments prior to the class in which it will be discussed, and preparation of presentations. Note: it is very important to learn to locate and absorb the gist of a reading without actually reading every word! Otherwise you may find the quantity of reading to be overwhelming. (We'll talk about this skill in class.) For each reading, I suggest you prepare a brief report (a few sentences), comprising a synopsis and a critique, for your own use, and keep these for future reference. (They'll come in especially handy for the 3-page critical synthesis, due week 7.) Naturally this task is even more important when you will be leading the discussion.<br>
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| − | • <br>
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| − | • Submission of a three-page critical synthesis on fieldwork and ethnography (referencing assigned readings only)<br>
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| − | • Submission of a preliminary research proposal defining an ethnographic project focusing on music (in the most general possible sense of this word), due week 4 (budget section due week 8). Note: your proposal should be related to your MA or PhD thesis plans, but must center upon fieldwork to be performed locally. See me if you're not sure how to do this.<br>
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| − | • <br>
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| − | • Submission of 6 fieldwork/analysis practica applying techniques presented and demonstrated in the previous week's class. As far as possible, these practica must all be directed towards execution of the research proposal, in a shared field setting. <br>
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| − | • <br>
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| − | • Presentation of final research proposal and project on the last day of class (April 12), when you will receive critical feedback.<br>
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| − | • <br>
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| − | • Submission of a final web-based research proposal and report (including an ethics board application), containing edited excerpts of collected field data (fieldnotes, audio-recordings, photographs, video-recordings), and synthesized in a short descriptive ethnography incorporating critical feedback from your presentation. Due: April 19th. <br>
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| − | • <br>
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| − | Evaluation:<br>
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| − | Evaluations of each assignment are on a scale from 0-4.3 points. These scores are combined according to the percentages indicated below in order to produce a final numeric grade. This grade is rounded to the nearest numeric value in the table below, in order to determine the final letter grade. <br>
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| − | A+: 4.3<br>
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| − | A: 4.0<br>
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| − | A-: 3.7<br>
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| − | B+: 3.3<br>
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| − | B: 3.0<br>
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| − | B-: 2.7<br>
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| − | C+: 2.3<br>
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| − | C: 2.0<br>
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| − | C-: 1.7<br>
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| − | D+: 1.3<br>
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| − | D: 1.0<br>
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| − | F: 0.0<br>
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| − | • Preliminary research proposal (a) and budget (i): 5%<br>
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| − | • Three-page critical synthesis on fieldwork and ethnography (b): 5%<br>
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| − | • <br>
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| − | • Six practica @ 6% each: 36% (fieldnotes (c); audiography (d); interviews (e); photography (f); videography (g); coding (h))<br>
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| − | • Final project proposal, ethnographic report, and presentation (j): 34%<br>
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| − | • Participation & assigned presentations: 20%<br>
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| − | There will be no exams.<br>
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| − | NB: Unexcused late assignments will be downgraded one quarter point per day. <br>
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| − | Resources:<br>
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| − | • Readings. Most readings are available on reserve. Many of the books containing these readings should eventually be available for purchase at the University Bookstore. Some xeroxed readings will be in an envelope in my box in the music office (3-82); copy them and return them. It is not necessary to purchase all the books. However you may wish to invest in your fieldwork future by purchasing some of them, particularly the practical manuals (Bartlett, Grimm, and Hampe), which are general works for future reference and self-study. <br>
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| − | • Class lectures, discussions, and presentations. Take notes on your colleagues' presentations!<br>
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| − | • Multimedia equipment in the Canadian Centre for Ethnomusicology (347 Arts), including a minidisc recorder, a digital video camera, and Macintosh computers equipped with AV software. We will establish hours of use.<br>
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| − | • Your own multimedia equipment (audio, video, photo, laptop) (optional)<br>
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| − | • Other software for qualitative data analysis (HyperRESEARCH), scorewriting, audio/video editing, etc.<br>
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| − | • The Field.<br>
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| − | Schedule: <br>
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| − | <br>
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| − | (Note that each week begins on a class date (the "due date" for that week) and concludes with the following one. Listed assignments are to be carried out during this week. Readings listed for class discussion during a particular week are always implicitly assigned for the previous week.)<br>
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| − | week 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
| + | [[music 666 winter 2010 outline]] |
| − | begins 1/11 1/18 1/25 2/1 2/8 2/15 2/22 3/1 3/8 3/15 3/22 3/29 4/5 4/12 4/19
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| − | topic intro theory ethics modes p-o break tech audio interview photo video data coding present
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| − | due (a) (c) (b,c) (i) (d) (e) (f) (g) (h) (j) (j)
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| − | week 1: introduction to fieldwork and the ethnographic project<br>
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| − | Introduction to this course. Discussion of ethnographic fieldwork project proposal formats (handout). <br>
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| − | Assignment: readings on theory of fieldwork and ethnography (as listed for discussion in week 2), for individual presentations and discussion next week. <br>
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| − | week 2: a critical examination of fieldwork and ethnography. Defining your own ethnographic project, planning your fieldwork<br>
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| − | Reading presentations as assigned (be prepared to lead a critical discussion of your reading). Presentation of fieldwork project ideas, for class feedback (continued in week 3). Discussion of sample ethnographies; other readings. <br>
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| − | Readings for class discussion:<br>
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| − | (Everyone read whatever is marked 'all' and be prepared to discuss them; skim readings to be presented by others; read with care those you will present for discussion, highlighting the main ideas, critiquing the work, and noting issues for discussion.)<br>
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| − | All: Sample ethnographic introductions (xerox from folder in my box). Faubion 2001, p. 39; Fetterman ch. 1-2 (xerox from folder in my box); Jackson: chapters 1-4 (skim); Charmaz and Mitchell 2001 (grounded theory).<br>
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| − | Assigned: Clifford and Marcus – essay by Marcus p. 165; Marcus 1998: Intro, chapters 1, 2; Barz chapters 2 (Titon) and 3 (Rice); Robben & Sluka (part VIII – your choice)<br>
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| − | Assignment: readings on ethics, for presentation and discussion next week. Also browse Research Ethics documents online at bit.ly/uofaethics, and try logging onto the Human Ethics Research Online (Hero) system.<br>
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| − | week 3: ethical issues in fieldwork<br>
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| − | Reading presentations (be prepared to lead a critical discussion of your reading). Continued presentation of fieldwork projects, for class feedback. Review of Arts, Science, Law Research Ethics Board (bit.ly/uofaethics) procedures.<br>
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| − | Readings for class discussion:<br>
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| − | All: Jackson: chapter 16; Murphy and Dingwall 2001, p. 339.<br>
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| − | Assigned: Fetterman chapter 7; Barz chapter 9 (Shelemay); Faubion & Marcus p. 73 (Hamilton); Faubion & Marchus p. 145 (Faubion); Robben & Sluka (part VI – your choice); Kvale chapter 4; DeWalt chapter 10. Sample ethnographies (re-view with an eye to ethics)<br>
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| − | Assignment: readings on positionings & modes of research.<br>
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| − | week 4: positioning yourself in the field; modes of research (participation, observation, interviewing, surveying, archival research)<br>
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| − | <br>
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| − | Reading presentations (be prepared to lead a critical discussion of your reading).<br>
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| − | Readings for class discussion:<br>
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| − | All: Fetterman: ch. 3; Jackson: chapters 5-8<br>
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| − | Assigned: Marcus 1998: chapters 3, 4; DeWalt chapter 1-4; Kvale chapter 1; Barz chapters 4 (Berger), 6 (Virtual fieldwork), 16 (Advocacy); Robben & Sluka (parts II or VII – your choice).<br>
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| − | Assignment: preliminary research proposal (a)<br>
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| − | week 5: writing; participant observation and fieldnotes <br>
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| − | Due: Preliminary ethnographic fieldwork research proposal (a), including Arts, Science, Law Research Ethics Board application (Hero) at bit.ly/uofaethics (note: budget section (i) is not due until week 8). <br>
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| − | Readings for class discussion:<br>
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| − | Fetterman, chapter 6; Dewalt (read chapters 5-8 selectively; skim the rest according to your interests); Emerson et al: Preface, chapters 1, 2; Barz chapter 13 (Barz)<br>
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| − | Assignment: additional theoretical and critical perspectives for the coming week. Read selectively from the following, according to relevance for your project (try to finish readings by 2/15): Marcus 1998 chapters 8-10; Marcus 1999 (any); Barz (any); Marcus, J. 2001 (Orientalism); Maso (phenomenology); Van Loon (cultural studies); Spencer (postmodernism); Lather (postmodernism); Robben & Sluka (parts IX and X on reflexive and fictive ethnography), or anything else from the works listed in the bibliography. You'll incorporate these readings, along with others from weeks 1-4, in your critical synthesis, due week 7.<br>
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| − | week 6: no class (reading week). More theoretical and critical perspectives on fieldwork & the ethnographic enterprise. <br>
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| − | Due: Rough fieldnote jottings, fieldnotes (c) (try to finish by 2/15, but this can be handed in next week without penalty).<br>
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| − | Assignment: Three-page critical synthesis on fieldwork and ethnography, addressing key issues of representation and ethics, and gathering theoretical and critical readings to date (as many as possible) (b).<br>
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| − | week 7: field recording: an overview of physical principles, formats, technologies, equipment, supplies, methods, storage, labelling, basic metadata. Budgeting. <br>
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| − | Due: Three-page critical synthesis on fieldwork and ethnography (b), and fieldnotes (c) (the latter should have been completed last week).<br>
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| − | Discussion and critique of fieldnotes.<br>
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| − | Readings for class discussion:<br>
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| − | Jackson: chapter 9; Fetterman: chapter 4. Entries for "Metadata", and "Dublin Core" in wikipedia (follow available links).<br>
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| − | Assignment: research proposal preliminary budget (i).<br>
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| − | week 8: audio-recording and editing. DAW, Audacity, Praat, pitch detection, spectral analysis. MIDI, music transcription and scorewriting software.<br>
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| − | Due: Proposal’s preliminary budget (i).<br>
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| − | Readings for class discussion:<br>
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| − | Jackson chapters 10, 11; Ives: chapter 1 (dated, but fun to read); Bartlett (browse for basic concepts about microphones and digital recording). Wikipedia: "scorewriter".<br>
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| − | Assignment: audio recordings of music, plus metadata and transcription/analysis (d).<br>
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| − | week 9: interviewing<br>
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| − | Due: Rough edits of audio recordings (using Audacity), plus metadata (Dublin Core) and short music notation transcription/analysis, for discussion and critique in class (final edits due with final project). Use of Audacity and a scorewriter for transcription/analysis. (d)<br>
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| − | Readings for class discussion:<br>
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| − | Kvale (read chapters 2, 3, 10; skim chapters 5, 6, 7, 8, and others selectively, according to your interests); Emerson et al: chapters 3, 4, 5; Ives: chapters 2 & 3; DeWalt chapter 7; Heyl 2001<br>
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| − | Assignment: Conduct one interview, about an hour long, in three segments. Try three techniques: recording, simultaneous notes, and memory (subsequent notes). Transcribe and analyze a portion using three levels of etic detail. (e)<br>
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| − | week 10: photography and image manipulation software (Photoshop, Gimp)<br>
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| − | Due: Interview results (questions, recording, transcription, analysis) (e), for discussion and critique in class.<br>
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| − | Readings for class discussion:<br>
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| − | Jackson chapters 12, 13; Grimm (browse as needed).<br>
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| − | Assignment: photography (f)<br>
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| − | week 11: videography and video editing software (iMovie, Final Cut, Adobe)<br>
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| − | Due: Preliminary photography results, plus metadata and text analysis, for discussion and critique in class (f)<br>
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| − | Readings for class discussion:<br>
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| − | Jackson chapter 14; Hampe (browse as needed); Weynand (browse as needed if you're using Final Cut Pro). Wikipedia: "List of video editing software"<br>
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| − | Assignment: videography (g)<br>
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| − | week 12: data organization, protection, storage, and use, in the field and beyond. More about metadata (kinds, representations). Archiving, digital repositories, web 2.0 (blogs, wikis, podcasts).<br>
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| − | Due: Rough edits of video footage, with metadata and in-video transcription/analysis, for discussion (final edits due with final project) (g)<br>
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| − | Readings for class discussion:<br>
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| − | Fetterman chapter 4 (again); Jackson chapter 15; Emerson: chapter 6<br>
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| − | week 13: moving out and writing up: from field data to ethnography (coding, analyzing, sorting, searching, synthesizing). Qualitative analysis software. Publication media (print, disc, web).<br>
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| − | <br>
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| − | Readings for class discussion:<br>
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| − | Fielding 2001; Fetterman: chapters 5, 6; Emerson: chapters 7, 8; Kvale chapters 11-15 (skim); DeWalt chapter 9; Hampe (again, browse what interests you); selections from Clifford and Marcus (introduction, other essays). Skim HyperRESEARCH documentation and tutorials (download at bit.ly/hyperresearch)<br>
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| − | Assignment: data coding using HyperRESEARCH (h)<br>
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| − | week 14 (last class): project presentations<br>
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| − | Due: HyperRESEARCH qualitative analysis of field data, including at least one file from each fieldwork practicum (fieldnotes, interviews, audiograph, photography, videograph), using HyperRESEARCH demo version (free download at bit.ly/hyperresearch) (h)<br>
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| − | <br>
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| − | Presentations of projects to the class, including proposal, and edited multimedia results (j). Class will critique using theoretical perspectives and experience garnered during the term. <br>
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| − | week 15 (no class): final web project (text/audio/image/video) due.<br>
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| − | Submission by 5 pm on April 19th must include proposal, budget, ethics application, and partial ethnography (including text, audio, image, video, with metadata, transcriptions, analyses…). Create a website to house this material (blog, wiki, etc.) and send me the URL link (we can password protect if the project should not be made public). (j)<br>
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| − | <br>
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| − | Bibliography<br>
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| − | Available on reserve; most items also available in the SUB bookstore for purchase.<br>
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| − | Bartlett, Bruce and Jenny Bartlett. 2009. Practical Recording Technique (Fifth Edition). Amsterdam: Focal Press. <br>
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| − | Barz, Gregory F. and Timothy J. Cooley. 2008. Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology (second edition). Oxford: Oxford University Press. (Available online via UofA Library.)<br>
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| − | Brunt, Lodewijk. 2001. Into the Community. In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 5)<br>
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| − | Burawoy, Michael and Joseph A. Blum, Sheba George, Zsuzsa Gille, Teresa Gowan, Lynne Haney, Maren Klawiter, Steve H. Lopez, Sean Riain, Millie Thayer. 2000. Global Ethnography: Forces, Connections, and Imaginations in a Postmodern World. University of California Press.<br>
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| − | Cerwonka, Allaine and Lisa H. Malkki. 2007. Improvising Theory: Process and Temporality in Ethnographic Fieldwork. Chicago: U. Chicago Press.<br>
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| − | Charmaz, Kathy and richard G. Mitchell. 2001. Grounded Theory in Ethnography. In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 11)<br>
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| − | Clifford, James and George Marcus. 1986. Writing Culture: The Poetics and Politics of Ethnography. <br>
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| − | Dewalt, Kathleen M. and Billie R. Dewalt. 2002. Participant Observation: A Guide for Fieldworkers. Walnut Creek, CA: Altamira Press.<br>
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| − | Emerson, Robert M., Rachel I Fretz, and Linda L. Shaw. 2001. Participant Observation and Fieldnotes In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 24)<br>
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| − | Emerson, Robert M., Rachel I. Fretz, and Linda L. Shaw. 1995. Writing Ethnographic Fieldnotes. Chicago: The University of Chicago Press.<br>
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| − | Fargion, Janet Topp, ed. 2001, 2nd edition. A Manual for Documentation, Fieldwork, and Preservation for Ethnomusicologists. 91pp. $6 for members / $12 for non-members. 91 pages. Order at http://webdb.iu.edu/sem/scripts/publications/specialseries/special_series.cfm<br>
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| − | Faubion, James D. and George E. Marcus (editors). 2009. Fieldwork Is Not What It Used to Be: Learning Anthropology's Method in a Time of Transition. Ithaca: Cornell University Press<br>
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| − | Faubion, James D. 2001. Currents of Cultural Fieldwork. In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 3)<br>
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| − | Fetterman, David M. 1998. Ethnography (second edition): Step by Step. London: Sage.<br>
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| − | Fielding, Nigel. 2001. Computer Applications in Qualitative Research. In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 31)<br>
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| − | Grimm, Tom and Michelle Grimm. 2003 The Basic Book of Photography: the Classic Guide (5th edition). New York: Plume Press.<br>
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