Notes from the Field

Curated by Samuel Montagne

Al-Mizan music group and the State Islamic University in Yogyakarta

Preliminary fieldwork observations from Yogyakarta:

The city of Yogyakarta in Indonesia is well known for its artistic culture, great universities, and an impressive array of important historical sites and museums that annually attracts millions of visitors and tourists from around the world.

The Agency of a Lute: Post-Field Reflections on the Materials of Music

As I lay drifting to sleep in my hotel room, I heard a groan, an exasperated sound of tension releasing, eeeoowwwhh. Rousted from my hypnagogic state, I felt a jolt of adrenaline as the vibrational frequencies stimulated my sympathetic nervous system.

Improvising Global Connection in Santiago, Chile

On January 26, my fieldwork in Santiago, Chile took an unforgettable turn when I took to the patio of a shared artists’ house to perform a set of improvised music with three Chilean jazz musicians. This concert came about as part of a transnational collective effort among Chilean jazz aficionados, a Danish web startup company, and my own network of family, friends, and fellow music lovers.

Music in Airports

Airports fall into what Marc Augé has defined as a "non-place." Augé's term refers to anthropological spaces of transience that do not hold enough significance to be regarded as "places". Other "non-places" include highways, hotel rooms, supermarkets, train stations, and bus terminals.

They were sent to their deaths from here.

Sounds of Plurality and Solidarity in Istanbul at the 100th Anniversary of the Armenian Genocide 

(Photo: "Where were you, God?" Armenian graffiti in Kurtuluş, Istanbul) 

I, Ethnographer: A Reflection on Being (in) the Field

My first ethnographic fieldwork experience was a short trip to Jamaica, where I interviewed twenty Rastafarians regarding their perspectives on white people and non-Rastas participating in reggae music.

A Day in the Brousse

On a particularly bright and sunny morning, my field assistant Sylvain and I left Ouagadougou on the moto to go to a small town in the brousse, where we were supposed to find a fiddle player. I was in Burkina Faso to research the prevalence of fiddles and their role in daily life here.

Where the River Meets the Sea: Music Tourism and the Production of Westernness

To celebrate and extend the discussions engendered by the peer-reviewed articles in Ethnomusicology Review Volume 19, the editors are pleased to offer responses to these articles by scholars working on related themes in music research. This submission by Amalia C.

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"Sounding Board" is intended as a space for scholars to publish thoughts and observations about their current work. These postings are not peer reviewed and do not reflect the opinion of Ethnomusicology Review. We support the expression of controversial opinions, and welcome civil discussion about them. We do not, however, tolerate overt discrimination based on race, sex, gender, sexual orientation, or religion, and reserve the right to remove posts that we feel might offend our readers.
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