Kapita Selekta 1-2022

Prodi Etnomusikologi-ISI Yogyakarta

 Week 1 & 2
Dosen: Eli Irawati dan Triyono Bramantyo
 The Study of Ethnomusicology
• Thirty-one Issues and Concepts (BRUNO NETTL)
• © 1983, 2005 by the Board of Trustees of the University of
Illinois All rights reserved. First edition published 1983
Manufactured in the United States of America Pp. xi - 495
 “You’re an
ethnomusicologist”?

?
 Primitive versus Ethnomusic
• Shortly after 1950 it was likely to be accompanied by
expressions of wonder and of the belief that I was
somehow involved with “folk” music, with “primitive
music,” and particularly with “ancient music,” and also
that I must have a great deal of companionship with a
tape recorder. By 1960 the questioner would likely
bring up participation in an Indonesian gamelan, or
perhaps an ability to play many of the world’s odd
instruments.
 Primitive versus Ethnomusic
• In the 1970s, the conversation might well include the
term “ethnic” music or even the etymologically
outrageous “ethnomusic,” and in the eighties and
nineties, free association might lead to “diversity” and
“world music.”
 Musicology versus Comparative Musicology

• In the 120 years in which modern ethnomusicology can

be said to have existed, since pioneer works such as
those of Ellis (1885), Baker (1882), and Stumpf (1886),
attitudes and orientations have changed greatly, and so
has the name, from something very briefly called
Musikologie (in the 1880s), to “comparative
musicology” (through about 1950).
 From Ethno-musicology to Ethnomusicology

• From“ethno-musicology” (1950–ca. 1956), quickly to

“ethnomusicology” (removing the hyphen actually was
an ideological move trying to signal disciplinary
independence), with suggestions such as “cultural
musicology” (Kerman 1985) and “socio-musicology”
(Feld 1984) occasionally thrown in. The changes in
name paralleled changes in intellectual orientation and
emphasis.
+628995045678 bramantyo.triyono@gmail.com

IG: Triyono Bramantyo