Professor Michael Frishkopf
Meetings: Winter 2010, Mondays, 9 – 11:50 am, Old Arts 403
Office: 347 Old Arts Building
Office hours: Wednesday 1-3, or by appointment
Tel: 780-492-0225, email: michaelf@ualberta.ca

Overview

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.

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.

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.

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.

Course objectives

To develop a theoretical understanding of ethnographic fieldwork—its nature, uses, aims, methods, and (ethical or epistemological) limitations—as a social practice.
To become familiar with various modalities of ethnographic fieldwork, their strengths and weaknesses.
To develop some practical fieldwork skills, particularly participant observation, interviewing, and fieldnotes, and the development of rapport.
To understand the principles of multimedia recording and editing (audio, video, and image), and develop basic competencies in their technologies.
To learn how to organize and analyze fieldwork data, in preparation for ethnographic writing, including transcribing and coding.
To develop an ethnographic research proposal centered on a fieldwork project, and to carry out a portion of the latter.

Course requirements

Regular, punctual attendance.
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.
Submission of a three-page critical synthesis on fieldwork and ethnography (referencing assigned readings only)
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.
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.
Presentation of final research proposal and project on the last day of class (April 12), when you will receive critical feedback.
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.

Evaluation

Assignments and weights

Preliminary research proposal (a) and budget (i): 5%
Three-page critical synthesis on fieldwork and ethnography (b): 5%
Six practica @ 6% each: 36% (fieldnotes (c); audiography (d); interviews (e); photography (f); videography (g); coding (h))
Final project proposal, ethnographic report, and presentation (j): 34%
Participation & assigned presentations: 20%

NB:

There will be no exams.
Unexcused late assignments will be downgraded one quarter point per day.
When page counts are given they refer to 1" margins, single-spaced, Times New Roman font, or equivalent. "References cited" or "bibliography" does not count towards the page total.
Be sure to cite all references using the (author year:pages) format, and list all references cited at the end of your paper.

Grading scale

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.

A+: 4.3
A: 4.0
A-: 3.7
B+: 3.3
B: 3.0
B-: 2.7
C+: 2.3
C: 2.0
C-: 1.7
D+: 1.3

Resources

Readings. Most readings are available on reserve. Many of the books containing these readings should eventually be available for purchase at the University Bookstore. A few xeroxed readings will be online as downloadable PDFs. 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 reference and self-study.
Class lectures, discussions, and presentations. Take notes on your colleagues' presentations!
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.
Your own multimedia equipment (audio, video, photo, laptop) (optional)
Other software for qualitative data analysis (HyperRESEARCH), scorewriting, audio/video editing, etc.
The Field.

Schedule

week 1: introduction to fieldwork and the ethnographic project

Introduction to this course. Discussion of ethnographic fieldwork project proposal formats (handout).

Assignment: readings on theory of fieldwork and ethnography (as listed for discussion in week 2), for individual presentations and discussion next week.

week 2: a critical examination of fieldwork and ethnography. Defining your own ethnographic project, planning your fieldwork

Note: it's very important for you to do all the readings...you may skim some more than others, concentrating primarily on the one you'll present, and those marked "all"-- but it is not enough to focus on your reading presentation!

If you'd like to share reading notes, or engage in on-line discussions centered on individual readings, please use this page.

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.

Readings for class discussion:

(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 collective debate and analysis.)

All: Sample ethnographic introductions (click for scans). Faubion 2001, p. 39; Fetterman ch. 1-2 (available as online scan); Jackson: chapters 1-4 (skim); Charmaz and Mitchell 2001 (grounded theory).

Week 2 assigned readings: 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)

Assignment: readings on ethics, for presentation and discussion next week. Also browse Research Ethics documents online at http://bit.ly/uofaethics, and try logging onto the Human Ethics Research Online (Hero) system.

week 3: ethical issues in fieldwork

Reading presentations (be prepared to lead a critical discussion of your reading). Continued presentation of fieldwork projects, for class feedback. Be ready to present a very succinct (topic/aim) project summary, but also to discuss possible applications of ideas from last week (e.g. multisited research, phenomenology, etc.) How can you apply these ideas to your research? Also consider the ethical dimension of your projects - what aspects of your method might prove problematic? How will you address these issues?

Review African ethnographies with an eye towards discussing their ethical dimensions. Review Arts, Science, Law Research Ethics Board (http://bit.ly/uofaethics) procedures.

Readings for class discussion:

All: Jackson: chapter 16; Murphy and Dingwall 2001, p. 339; materials at http://bit.ly/uofaethics. Sample ethnographies (review).

Week 3 assigned readings: Fetterman chapter 7; Barz chapter 9 (Shelemay); Faubion & Marcus p. 73 (Hamilton); Faubion & Marcus p. 145 (Faubion); Robben & Sluka (part VI – your choice); Kvale chapter 4; DeWalt chapter 10.

Philosophy resources:

Organizational codes of ethics (focus on ethnographic research disciplines):

Assignment: readings on positionings & modes of research. Review, once again, the African ethnographies and think about what sorts of positionings and modes their authors are adopting. Also: work on your research proposals, thinking about (a) how to introduce comparative and multisited perspectives; (b) ethical dimensions of your methodologies (we'll discuss these aspects next time). Finally: think about whether or not ethnographic research (anthropological, sociological, ethnomusicological, ethnochoreological) is moving towards applied work? How can we know?

Note: You may like to enroll in one of the scheduled Hero training sessions.

week 4: positioning yourself in the field; modes of research (participation, observation, interviewing, surveying, archival research)

Individual presentations of research projects, including title, aim/value, field positionings, methods and modes of research (including introduction of comparative/multisited perspectives, and considering ethical aspects of your proposed work).

Consideration of the question: is ethnographic work becoming more applied?

Review, once again, the African ethnographies and think about what sorts of positionings and modes their authors are adopting.

Reading presentations (be prepared to lead a critical discussion of your reading).

Readings for class discussion:

All: Fetterman: ch. 3; Jackson: chapters 5-8; DeWalt chapter 1-4

Week 4 assigned readings: Marcus 1998: chapters 3, 4; Kvale chapter 1; Barz chapters 4 (Berger), 6 (Virtual fieldwork), 16 (Advocacy); Robben & Sluka (parts II or VII – your choice).

Assignment: preliminary research proposal (a), and readings for next week.

week 5: writing; participant observation and fieldnotes

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). Please hand in electronically, but bring printouts to class for discussion.

Follow the format of the document "Research Proposals in Ethnomusicology".
Remember, this is a draft!
Don't spend a lot of time on background (area, scope, literature) at this point. In area/scope (maybe a page?) you should primarily strive to clarify your project, by defining terms (whether topical or theoretical) and introducing needed context and environmental factors. Most important is topic, aim, problems, and especially methods (Sections I, II, IV). Omit the resources/workflow section for now (budget, timeline, in section VII). References cited should be included, but this can be generated automatically if you're using bibliographic software (refworks, endnote, etc.).
The ethics application is entirely separate from the proposal in form (i.e. they're two separate documents), but not in content. Generally you'd provide the ethics review board with a condensed version of the project proposal, getting more specific on issues that matter to them (e.g. the kinds of questions you intend to ask in interviews, also part of your methodology section), less so on others (e.g. background). So while they're two distinct documents, you can certainly do a considerable amount of cutting and pasting from one to the other.

Readings for class discussion:

All: 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)
Note: from now on there are no individually assigned readings.

Assignments:

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.

Fieldnotes assignment: infield and outfield (c):

Purchase a small, pocket-sized notebook.
Select a site, and visit it each day (store, restaurant, class…) - i.e. 7 days total. If this site can be part of (or close to) your project, great. If not, fine too. (But do try to focus on a setting that includes music.)
The aim: describe the physical site, the social interactions/discourse of the site, and their meanings for participants. Try to include something with music in it, and make a special focus on music in what follows.
Practice the various techniques of fieldnotes in the infield (open or covert jot, mnemonics, headnotes)
Outfield: writeup – expand these jottings or headnotes into your journal entry for the day. How much can you remember? Try various strategies writing immediately, that evening, the next day. How much do you remember?
For each entry, also include a meta-entry: your observations of yourself as a fieldworker, i.e. fieldwork of fieldwork. Observe yourself, situate yourself. How did people react to you? What was the effect of your presence in the field? What relationships were established? What techniques were most fruitful? How did you feel doing them – what modes of working do you feel comfortable in?
Bring everything with you next time (in two weeks).

week 6: no class (reading week). More theoretical and critical perspectives on fieldwork & the ethnographic enterprise.

Due: Fieldnotes (c) (try to finish by 2/15, but this can be handed in next week without penalty).

Assignment: Three-page (single-spaced, 1" margins, Times New Roman or equivalent font) 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), including all readings, whether assigned for everyone to read together, or for a particular person to present (b). (However it is not necessary to read every word of every reading in order to include it in your critical synthesis.) Focus on comparing, contrasting, thematizing, and critiquing. Group multiple readings together - you won't have space in 3 pages to talk about each one individually at all. Rather, the idea is to bring out some of the main ideas, to highlight what's important, and what's lacking.

Note that your grade will depend on the number of readings you discuss, and how well you critically synthesize them. You needn't cover every last one, but please don't stint either. As you mention them, be sure to cite all references in-text using the (author date:pages) format, with a list of references (not counted in the 3 pages) cited at the end. If you use bibliographic software (Endnote, Refworks, etc.) this will be generated automatically. Remember, Refworks is free - available on the UofA Library site.

week 7: field recording: an overview of physical principles, formats, technologies, equipment, supplies, methods, storage, labelling, basic metadata. Budgeting.

Due: Three-page critical synthesis on fieldwork and ethnography (b), and fieldnotes (c) (the latter should have been completed last week).

Discussion and critique of fieldnotes and proposal drafts (at long last).

Readings for class discussion:

Jackson: chapter 9; Fetterman: chapter 4. Entries for "Metadata", and "Dublin Core" in wikipedia (follow available links).
Also see Dublin Core Usage Guide and other documents at Dublincore.org

Assignment: research proposal preliminary budget (i) and readings for next week. Note: from here on I won't mention under "assignment" the readings listed for class discussion the following week...just know that you should read them before class...

week 8: audio-recording and editing. DAW, Audacity, Praat, pitch detection, spectral analysis. MIDI, music transcription and scorewriting software.

Due: Proposal’s preliminary budget (i).
At this time you should have fleshed out the following sections of your proposal: aim; area (briefly); scope; research questions; research methods; budget; bibliography (include annotations if you have them). (Please develop some familiarity with bibliographic software!) You should also have completed a draft ethics application. In class we want to go quickly around the table: everyone provide succinct aim, scope, method. Bring your budgets for discussion too.

Have a look at Praat and Audacity. Also look at some notation software; see wikipedia article. I use Sibelius, which has student student pricing, but there are also free solutions. Check out "abc notation" for one such.

Review entries for "Metadata", and "Dublin Core" in wikipedia (follow available links).

Class discussion:

Proposals & ethics: go 'round the table
Budgets - compare notes
Fieldnotes - issues encountered
Metadata
Other readings

Class lecture:

Introduction to audio signals, waves, recording
Some cool simulations
Demos of software tools (audio, linguistics, scorewriters).

Readings for class discussion:

Jackson chapters 10, 11; Ives: chapter 1 (dated, but fun to read); Bartlett (browse for basic concepts about microphones and digital recording). Wikipedia: "scorewriter".

Assignment: audio recordings of music, plus metadata and transcription/analysis; begin to become familiar with software tools (d).

Recording: Try making a variety of recordings of the same music event, with different hardware/software settings, in different physical positions (close, far), using various kinds of equipment at your disposal. For each recording, document these parameters (part of "technical metadata"; see below) so you can relate the different "inputs" (equipment and settings) to "outputs" (recordings themselves).

Metadata: Create a basic table (in Word or Excel) to record metadata, focussing on descriptive and technical metadata. Descriptive metadata will include everything about recording content (e.g. date, place, time, composer, title, musicians, etc.) Technical metadata (which falls under the broader heading of administrative metadata) will include such things as: kind of microphone, details about the recording setup, distance from music, etc.

Transcription and analysis: Also try using various tools (Finale, Sibelius, abc, Audacity, Praaat) to transcribe and analyze the music. Some tools will also enable you to embed metadata, i.e. tie a comment to a particular moment in time. We'll also explore this procedure using HyperRESEARCH later on.

See Making an audio recording for some helpful hints on making recordings, in addition to your readings above.

week 9: interviewing

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)

Readings for class discussion:

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

Assignment: Conduct one interview, about an hour long, in three segments. Try three techniques: audio recording, simultaneous notes, and memory (subsequent notes). Try two levels of formality: (a) formal interview, and (b) informal interview, bordering on participant-observation conversation. After you've completed the interview: Write up your notes. Transcribe and analyze a portion of the recorded interview using two levels of etic detail: (a) microtranscription possibly with IPA or temporal notation; (b) content transcription. You may use Audacity to slow a recording for transcription. Record a commentary (a sort of metadata) about your experiences to share with the class. Bring all materials next week. (e)

week 10: photography and image manipulation software (Photoshop, Gimp)

Due: Interview results (questions, recording, transcription, analysis) (e), for discussion and critique in class.

Readings for class discussion:

Jackson chapters 12, 13; Grimm (browse as needed).

Assignment: photography (f). Prepare a photo essay on a music-related (ideally, project-related) topic, including various kinds of photography (portrait, performance scene; flash, no flash; zoom, wide-angle etc.) Photos should be edited (cropped), possibly image-manipulated captioned, and uploaded to any online site (blog, webpage) for general display (NB: ethics!). Also prepare a parallel table of metadata (technical and descriptive). Bring for discussion next week.

week 11: videography and video editing software (iMovie, Final Cut, Adobe)

Due: Preliminary photography results, plus metadata and text analysis, for discussion and critique in class (f)
(Everyone prepare to present and discuss fieldwork from the previous three weeks - photography at least briefly, and audio recordings and interview assignments if you didn't get to do this last week).

Readings:

Jackson chapter 14; Hampe (browse as needed); Weynand (browse as needed if you're using Final Cut Pro). Wikipedia: "List of video editing software"

Assignment: videography (g)

week 12: data organization, protection, storage, and use, in the field and beyond. More about metadata (kinds, representations). Archiving, digital repositories, databases, web 2.0 (blogs, wikis, podcasts).

Due: Rough edits of video footage, with metadata and in-video transcription/analysis, for discussion (you can continue editing later ....final edits due with final project) (g). Please bring your video work in progress to share with the class. Talk about difficulties and issues involved in editing, whether technical or thematic. You can also use this opportunity to talk about previous practica, particularly if you haven't presented any of yours yet (audio recordings, photography, interviews...).

Agenda:

Course evaluations (20 minutes)
Student presentations (video and other)
Cataloging and archiving workflows, considering issues:
- metadata
- data security
- data dissemination
Digital repositories
Examples

Background readings:

Fetterman chapter 4 (again); Jackson chapter 15; Emerson: chapter 6

week 13: no class (Easter Monday)

Use this week to catch up on readings and practica. Refine your project proposals (including budget), and develop your practica further (e.g. if you haven't prepared a metadata sheet for one or more practica, please do so).

week 14 (last class): moving out and writing up: from field data to ethnography (coding, analyzing, sorting, searching, synthesizing). Qualitative analysis software. Publication media (print, disc, web).

Readings for class discussion:

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 http://bit.ly/hyperresearch)

Assignment: data coding using HyperRESEARCH (h)

week 15 (no class): final web project (text/audio/image/video) due.

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 http://bit.ly/hyperresearch) (h)

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)

Bibliography

Available on reserve; most items also available in the SUB bookstore for purchase.

Bartlett, Bruce and Jenny Bartlett. 2009. Practical Recording Technique (Fifth Edition). Amsterdam: Focal Press.

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.) first edition available online here (contains many of the same essays)

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)

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.

Cerwonka, Allaine and Lisa H. Malkki. 2007. Improvising Theory: Process and Temporality in Ethnographic Fieldwork. Chicago: U. Chicago Press.

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)

Clifford, James and George Marcus. 1986. Writing Culture: The Poetics and Politics of Ethnography.

Dewalt, Kathleen M. and Billie R. Dewalt. 2002. Participant Observation: A Guide for Fieldworkers. Walnut Creek, CA: Altamira Press.

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)

Emerson, Robert M., Rachel I. Fretz, and Linda L. Shaw. 1995. Writing Ethnographic Fieldnotes. Chicago: The University of Chicago Press.

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

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

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)

Fetterman, David M. 1998. Ethnography (second edition): Step by Step. London: Sage.

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)

Grimm, Tom and Michelle Grimm. 2003 The Basic Book of Photography: the Classic Guide (5th edition). New York: Plume Press.

Hampe, Barry. 2007. Making Documentary Films and Reality Videos : A Practical Guide to Planning, Filming, and Editing Documentaries (Second Edition). New York: Holt.

Heyl, Barbara Sherman. 2001. Ethnographic Interviewing. In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 25).

Ives, Edward D. 1995. The Tape-Recorded Interview: A Manual for Field Workers in Folklore and Oral History (2nd edition). Knoxville: University of Tennessee Press.

Jackson, Bruce. 1987. Fieldwork. Urbana: University of Illinois Press.

Kvale, Steinar and Svend Brinkman. 2009. InterViews: An Introduction to Qualitative Research Interviewing (Second Edition). London: Sage.

Lather, Patti. 2001. Postmodernism, Post-structuralism and Post(Critical) Ethnography: of Ruins, Aporias and Angels. In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 33)

Marcus, George E. 1998. Ethnography Through Thick and Thin. Princeton: Princeton University Press.

Marcus, George E. (editor). 1999. Critical Anthropology Now: Unexpected Contexts, Shifting Constituencies, Changing Agendas (School of American Research Advanced Seminar Series)

Marcus, Julie. 2001. Orientalism. In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 7)

Maso, Ilja. 2001. Phenomenology and Ethnography. In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 9).

Murphy, Elizabeth and Robert Dingwall. 2001. The Ethics of Ethnography. In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 23)

Robben, Antonius and Jeffrey A. Sluka (Editors). 2006. Ethnographic Fieldwork: An Anthropological Reader (Blackwell Anthologies in Social and Cultural Anthropology) (Paperback)

Spencer, Jonathan. 2001. Ethnography after Postmodernism. In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 30)

Van Loon, Joost. 2001. Ethnography: A Critical Turn in Cultural Studies. In: Handbook of Ethnography, edited by Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage. (ch. 19)

Weynand, Diana. Apple Pro Training Series: Final Cut Pro 7 (Paperback).. Peachpit Press; 1 Pap/Dvdr edition (August 21, 2009)

Music 666 winter 2012 outline

Contents