Titon often takes an idealistic view of ethnomusicology, equating music and field relationships directly with friendship. He also writes of the naiveté that an ideal field relationship will always result in friendship. If such a relationship, one that is more contractual or involves student/teacher roles, ends with little mutual gain, is the study flawed? Does the ethnographer still have authority?
In creating a culture specifically for the literate in Western notation, does the Western art music culture take on an elitist persona, amplified by the fact that certain composers are deemed more talented and revered than others? How does this elitism affect outsiders who are new to the music?
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment