Notes from the Field

Curated by Samuel Montagne

The Classroom as a Field: Experimenting with Somatic Practices and their Contribution to the Anthropology of Music and Dance

Christophe Apprill and Sara Le Menestrel

 

How can we approach the sensory dimensions of musical and dance experience as cultural anthropologists? What methodological tools can we use in our empirical research? What does happen when teachers experiment with these tools within the classroom, turning it into a field? (1)

Victims of Globalization? Reactions to Learning the Recorder in Indonesian Music Classes

Many Americans have potent memories of their early years in music classrooms, squeaking out the melodies to patriotic tunes or outdated popular music hits on a plastic recorder. Even as a musician who studies music education as the subject of my Ph.D., most of the particulars of elementary school general music class have faded from my memory.

When Non-Western Music Sounds Psychedelic: Producing Thai Marching Band’s Cover of a Black Sabbath Song

Does Non-Western music sound more familiar under the label of “psychedelic”? Does the label become less efficient once applied outside of the original realm of the 60's California counterculture? While widely used by music critics, it isn’t risky to say that “psychedelic” has become an equivocal term. But equivocal doesn’t mean ineffectual.

Listening, Hearing, and Improvising in Knoxville, TN: Big Ears Festival 2017

This edition of “Notes from the Field” showcases the incredible number of eclectic musical activities that occurred during the Big Ears Festival in Knoxvill

Experiencing Detroit and Techno Music: An observational account of Movement Festival 2015

“Detroit techno” is a musical category and a paradigm my research deals with. As a matter of fact, I was acquainted with Detroit techno mostly while living in Paris (France), where I study. Fans of this electronic music genre, clubbers and partygoers, may mention their taste through this common category called techno music. At the same time, they mention city names like Berlin or Detroit.

The Vulture Speaks

Early in the process of sorting out who would write what, Alejandro and I agreed that we would not identify exactly where we encountered the badly damaged document that is our starting place for our linked essays. (His essay explains why we decline to do this).

The Thai King Passes, the Music Stops

In October 2016, I went to Thailand to gather sounds through field recording in order to compose a soundscape with sound artist Samuel Gouttenoire. This project was part of Le Festival de l’Imaginaire (Paris), organized by La Maison des Cultures du Monde.

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