Question 1:
Because it seems nearly impossible to account for all experiences when doing fieldwork, we inevitably, and sometimes subconsciously, pick and choose what we remember and eventually document based on what sticks out in our minds and what we forget. To what degree is it our responsibility to account for these choices? Is it totally up to us what we include and leave out? Do we have to somehow write a disclaimer that not only is the point of view of the ethnography subjective, but the actual events or conversations included are subjective choices also? Do we have a responsibility to the culture we represent to find out what is most important to THEM to have represent their music in an ethnography?
Please write a 2-3 page response reflecting on a fieldworker's responsibilities in terms of the conscious or subconscious values she or he places on certain experiences, noting how the values of the studied culture can or should(n't) influence that which we decide is important information.
Question 2:
On pages 82 and 83 of "Shadows in the Field," Deborah Wong discusses the idea that an Ethnomusicologist is always an outsider even when she feels closest to the subject of study because she is always translating to an audience, primarily other Ethnomusicologists or anthropologists. How important is it to consider audience when writing an Ethnography? How should one tailor one's writing so that it can be understood by a certain audience, without conveying some sort of bias or distancing oneself from the group? Is there a specific audience that the ethnomusicologist should be targetting? If we have a target audience in mind from the beginning, does this affect what information we choose to pay more attention to while conducting fieldwork? If so, is this acceptable?
Please write a 2-3 page response reflecting on the importance, if there is importance, in considering one's audience when conducting fieldwork and writing an ethnography.
Monday, October 27, 2008
Sunday, October 19, 2008
Critical Review 6: Nettl
Nettl describes his work in the music buildings of "Heartland U," the name used to represent all the colleges in which Nettl worked and researched. The central question that should be on an Ethnomusicologist's mind, Nettl tells us, is the question of why a society has a certain music or musical culture. Music can often serve as a microcosm of a culture, not in that it necessarily exemplifies or reflects certain aspects of culture, but it is informative, even if we find that the music represents an idealized version of cultural values. The importance of the "who" in music should not be overlooked, and this is especially relevent in Western Classical music, which sees a certain select group of composers as Godlike, and Nettl compares the heirarchy of how much these composers are valued to the heirarchy within the Greek Gods and Goddesses. Aside from the quasi-religious element of how Western Classical music is appreciated, Nettl informs us of other values and practices within the culture of Western Classical music, such as referring to a great living composer as a "talent" and a deceased composer as a "genius," and often the latter will be referred to as if still alive. Nettl discusses the differences in how Mozart and Beethoven, two composers among those most highly respected and worshipped, are valued differently (Mozart had an otherworldly innate sense of genius while Beethoven had to work hard to accomplish what he did). Nettl continues to describe Western Classical music culture, describing such things as the order on a concert program and the roles of individuals in an orchestra.
Nettl claims that, despite his insider status, he will at times take the viewpoint of an "E.T." in his approach to Western Classical music and in his ethnography in order to gain a sense of perspective and eliminate bias. We have read other ethnographies written by insiders into their own cultures. However, I would argue that Western Classical music is a form that is at least familiar to the general audience being targetted here. Based on the audience's presumed familiarity with the subject, is there anything that might be missed, biased, or assumed because an insider is communicating to an audience that is generally familiar with the music style described?
Nettl claims that, despite his insider status, he will at times take the viewpoint of an "E.T." in his approach to Western Classical music and in his ethnography in order to gain a sense of perspective and eliminate bias. We have read other ethnographies written by insiders into their own cultures. However, I would argue that Western Classical music is a form that is at least familiar to the general audience being targetted here. Based on the audience's presumed familiarity with the subject, is there anything that might be missed, biased, or assumed because an insider is communicating to an audience that is generally familiar with the music style described?
Saturday, October 18, 2008
Interview with Nadine
Nadine is the pianist and founder of the 15-year-old Gospel choir of the Olney Street Baptist Church. The following is an excerpt from my interview with her.
J: Do you think there’s something different about singing worship rather than just praying with speech?
N: (pause) Yes. I do.
J: Do you wanna... Can you tell me a little bit about that experience and how it’s different?
N: Um... I think between the words, and the sound, the rhythm, and the way people sing it, it... it just touches you a little bit different than just hearing it. You can sing a prayer, and the way that someone is interpreting it through their music, you... it touches you a little different than someone just stating the same words. So... but then again, if someone’s saying a prayer, the way they say the prayer... again, it’s the way... the tone, the emotion, that’s part of it, so you can get touched that way too but for me, music does that for me.
J: You mentioned the rhythm. What about the rhythm enhances that?
N: Like, if it’s a slow, mellow type of a song, then it touches you different than if it’s high beat, up beat....
J: Right, right.
N: But when it comes to the actual worship part, like, the Holy Spirit coming in, it depends on what’s going on at the time. So, if it’s a prayer, or it’s a prayerful song, then you’re touched a different way than if it’s upbeat. The praises are different.
J: Can you elaborate on that difference?
N: Um... (pause) I think it’s more like an emotional thing, so I never really think about it. You know what I mean?
J: Right. It’s just kind of—
N: It’s just part of.... it’s just part of the worship experience. So I don’t really know how to put it in words.
J: Mm-kay.
J: And is there something about the group experience? How is singing worship songs with other people different from singing them alone?
N: When you sing it by yourself, then it’s your personal testimony. So it’s just like if we try to sing um... songs from like, Kurt Franklin or something like that. Well that was his song, that was his testimony, so we can’t duplicate what he’s done. We can’t duplicate “Mary, Mary,” you know what I mean? We can interpret it our way but when you sing a solo, that is your interpretation, so that is you singing that song. But in a group situation, it’s all of us coming together. And, um, trying to be one. Singing it as one. But until it’s really in our hearts or whatever when we sing... it is a personal testimony, but when you sing in a group, you have to bring it together. But when you sing a solo, you’re singing it on your own and it’s your personal take on the music, on the song, on the words. The words become yours.
J: Do you feel differently when you’re doing solo stuff versus—
N: Mmm-hmm, yeah.
J: What’s the difference?
N: Cause it’s personal.
J: Yeah.
N: It’s personal. So, if I’m doing a solo or something like that, then I really... I think of what the words are, and so therefore it becomes my song. So, it’s different.
(someone comes in to hand a piece of paper to Nadine, then leaves. Break in recording.)
J: Um, what other kinds of music do you like besides Gospel?
N: Um... R and B, uh... Gospel rap, um, Jazz, love Jazz. Um... I like a lot of the... some, well... like Alicia Keys, that kind of... that kind of stuff. And back in the day, the Temptations, all of the... you know. Isaac Hayes... And some Country....
J: Yeah.
N: I like some Country, so.
J: And how is Gospel... Do you listen to Gospel besides just singing? Do you listen?
N: (nods)
J: How does it affect you differently compared with the other kinds of music you listen to?
N: Um... (pause) I think it affects me different because I’m trying to be a Christian, so therefore, the music helps me get grounded. Like, um, when struggles are in my life, or whatever, it’s Gospel music that gets me going. You know, that keeps me up, that keeps my faith going. Because if we look at our circumstances all the time, then it can bring us down, and we forget who our Maker is. And if we listen to some of the music that’s out there, it’s negative, so, you know, I can’t worry about my, you know, my man, and all that.
J: (giggles)
N: If God... if this man is from God than I can’t worry about all that. You know what I mean?
J: Yeah.*
N: So, it’s Gospel music that keeps me... focused. Where I can deal with my children, my grandchildren, my husband...
J: So it’s more of a positive force rather than—
N: Yes, most definitely.
*I feel I do know what Nadine means. I'm reminded of the lyrics of a song by Lauryn Hil, who I grew up listening to, called "I Used to Love Him." The lyrics, referring to a lover who has done Lauryn wrong, go:
"I see him sometimes and the look in his eye
Is one of a man who's lost treasures untold
But my heart is gold, see I took back my soul
And totally let my creator control
The life which was his to begin."
That idea used to help me through situations, too. If I was having issues with someone, it was nice to think that maybe it was not my responsibility to worry about them and what they do. It takes away some burden. Based on my own experiences, this is what I understood Nadine to mean here.
General Notes, Reflection:
Conducting the interview was more difficult for me than I thought it would be. I had a few general questions written down beforehand, but it was hard to come up with anything specific without really knowing anything about Nadine. I was counting on that she would be so passionate about the music that she would go on and on, and while she was passionate, I got the impression that she felt sort of put on the spot a lot of times, and I in turn had a hard time thinking of good questions. I also had a difficult time understanding, or sometimes I wanted to take the interview in a direction it just wouldn't go, and then I found myself asking those "leading questions" that we're supposed to avoid as interviewers only because I needed clarification. It was hard to avoid those at times, and if I had another shot at this I would definitely plan more creative ways to approach questions if one way wasn't working.
When I listened to and transcribed this interview, I got frustrated because I thought of so many better questions I could have asked, such as:
What role has the church played in your life?
What occured in your life at age 12 that influenced you to start going to the Olney Street Baptist Church?
What do you think has influenced your passion for music, both with regard to your violin and piano lessons and Gospel music?
Has your family, either as a child or now, had any influence in your musical or other involvement with the church?
Are you affected differently by listening to Gospel and actually singing it? How about playing it on the piano?
You say Gospel music is helpful to listen to because it grounds you and gives you a positive feeling. Do you think there is a time and place for the other kinds of music you listen to; the kinds that are maybe not as positive?
Does belonging to the church, and the church's music, provide you with a sense of community in any way? How so?
You say "Gospel music is for everyone," no matter what race or age. Do you think Gospel music could be for people who aren't Christian?
etc.
Anyway, these are some things I would have liked to ask, but I also think it was important to let Nadine more or less take the interview in the direction she wanted to rather than me having a thought in mind and seeing if she would say it (ex. I expected her to say something about the feeling of unity of singing in a group, but maybe that was just my idea).
J: Do you think there’s something different about singing worship rather than just praying with speech?
N: (pause) Yes. I do.
J: Do you wanna... Can you tell me a little bit about that experience and how it’s different?
N: Um... I think between the words, and the sound, the rhythm, and the way people sing it, it... it just touches you a little bit different than just hearing it. You can sing a prayer, and the way that someone is interpreting it through their music, you... it touches you a little different than someone just stating the same words. So... but then again, if someone’s saying a prayer, the way they say the prayer... again, it’s the way... the tone, the emotion, that’s part of it, so you can get touched that way too but for me, music does that for me.
J: You mentioned the rhythm. What about the rhythm enhances that?
N: Like, if it’s a slow, mellow type of a song, then it touches you different than if it’s high beat, up beat....
J: Right, right.
N: But when it comes to the actual worship part, like, the Holy Spirit coming in, it depends on what’s going on at the time. So, if it’s a prayer, or it’s a prayerful song, then you’re touched a different way than if it’s upbeat. The praises are different.
J: Can you elaborate on that difference?
N: Um... (pause) I think it’s more like an emotional thing, so I never really think about it. You know what I mean?
J: Right. It’s just kind of—
N: It’s just part of.... it’s just part of the worship experience. So I don’t really know how to put it in words.
J: Mm-kay.
J: And is there something about the group experience? How is singing worship songs with other people different from singing them alone?
N: When you sing it by yourself, then it’s your personal testimony. So it’s just like if we try to sing um... songs from like, Kurt Franklin or something like that. Well that was his song, that was his testimony, so we can’t duplicate what he’s done. We can’t duplicate “Mary, Mary,” you know what I mean? We can interpret it our way but when you sing a solo, that is your interpretation, so that is you singing that song. But in a group situation, it’s all of us coming together. And, um, trying to be one. Singing it as one. But until it’s really in our hearts or whatever when we sing... it is a personal testimony, but when you sing in a group, you have to bring it together. But when you sing a solo, you’re singing it on your own and it’s your personal take on the music, on the song, on the words. The words become yours.
J: Do you feel differently when you’re doing solo stuff versus—
N: Mmm-hmm, yeah.
J: What’s the difference?
N: Cause it’s personal.
J: Yeah.
N: It’s personal. So, if I’m doing a solo or something like that, then I really... I think of what the words are, and so therefore it becomes my song. So, it’s different.
(someone comes in to hand a piece of paper to Nadine, then leaves. Break in recording.)
J: Um, what other kinds of music do you like besides Gospel?
N: Um... R and B, uh... Gospel rap, um, Jazz, love Jazz. Um... I like a lot of the... some, well... like Alicia Keys, that kind of... that kind of stuff. And back in the day, the Temptations, all of the... you know. Isaac Hayes... And some Country....
J: Yeah.
N: I like some Country, so.
J: And how is Gospel... Do you listen to Gospel besides just singing? Do you listen?
N: (nods)
J: How does it affect you differently compared with the other kinds of music you listen to?
N: Um... (pause) I think it affects me different because I’m trying to be a Christian, so therefore, the music helps me get grounded. Like, um, when struggles are in my life, or whatever, it’s Gospel music that gets me going. You know, that keeps me up, that keeps my faith going. Because if we look at our circumstances all the time, then it can bring us down, and we forget who our Maker is. And if we listen to some of the music that’s out there, it’s negative, so, you know, I can’t worry about my, you know, my man, and all that.
J: (giggles)
N: If God... if this man is from God than I can’t worry about all that. You know what I mean?
J: Yeah.*
N: So, it’s Gospel music that keeps me... focused. Where I can deal with my children, my grandchildren, my husband...
J: So it’s more of a positive force rather than—
N: Yes, most definitely.
*I feel I do know what Nadine means. I'm reminded of the lyrics of a song by Lauryn Hil, who I grew up listening to, called "I Used to Love Him." The lyrics, referring to a lover who has done Lauryn wrong, go:
"I see him sometimes and the look in his eye
Is one of a man who's lost treasures untold
But my heart is gold, see I took back my soul
And totally let my creator control
The life which was his to begin."
That idea used to help me through situations, too. If I was having issues with someone, it was nice to think that maybe it was not my responsibility to worry about them and what they do. It takes away some burden. Based on my own experiences, this is what I understood Nadine to mean here.
General Notes, Reflection:
Conducting the interview was more difficult for me than I thought it would be. I had a few general questions written down beforehand, but it was hard to come up with anything specific without really knowing anything about Nadine. I was counting on that she would be so passionate about the music that she would go on and on, and while she was passionate, I got the impression that she felt sort of put on the spot a lot of times, and I in turn had a hard time thinking of good questions. I also had a difficult time understanding, or sometimes I wanted to take the interview in a direction it just wouldn't go, and then I found myself asking those "leading questions" that we're supposed to avoid as interviewers only because I needed clarification. It was hard to avoid those at times, and if I had another shot at this I would definitely plan more creative ways to approach questions if one way wasn't working.
When I listened to and transcribed this interview, I got frustrated because I thought of so many better questions I could have asked, such as:
What role has the church played in your life?
What occured in your life at age 12 that influenced you to start going to the Olney Street Baptist Church?
What do you think has influenced your passion for music, both with regard to your violin and piano lessons and Gospel music?
Has your family, either as a child or now, had any influence in your musical or other involvement with the church?
Are you affected differently by listening to Gospel and actually singing it? How about playing it on the piano?
You say Gospel music is helpful to listen to because it grounds you and gives you a positive feeling. Do you think there is a time and place for the other kinds of music you listen to; the kinds that are maybe not as positive?
Does belonging to the church, and the church's music, provide you with a sense of community in any way? How so?
You say "Gospel music is for everyone," no matter what race or age. Do you think Gospel music could be for people who aren't Christian?
etc.
Anyway, these are some things I would have liked to ask, but I also think it was important to let Nadine more or less take the interview in the direction she wanted to rather than me having a thought in mind and seeing if she would say it (ex. I expected her to say something about the feeling of unity of singing in a group, but maybe that was just my idea).
Wednesday, October 8, 2008
Critical Review 5
Titon describes different methods in which fieldwork can be conducted. Participation can be a positive experience for both the ethnographer and the musicians, and it can also be less intrusive than just observing, but an ethnographer must be careful to step back and get a more distant perspective so as not to take details for granted and to be able to better communicate with a reader who may not be at the same level of familiarity with the music as the ethnographer. It is important for the ethnographer to continually document the changes she goes through in the process of transforming from observer to participant. Titon discusses the ethics involved in ethnography, and notes that one should always include the people being studied in the decision processes regarding the ethnography and its publication. In interviews, it is important to refrain from asking "leading questions," which influence the informant's answer according to what he thinks the ethnographer wants or expects to hear. Generally, an ethnographer should keep in mind what her goal is for the information she collects.
Titon discusses how cultural filters affect how we sort through every day experiences in the world, but also how coming to a new experience allows us to see the greater picture. How does background knowledge on a specific kind of music affect the ethnographic experience? Is it best to have a bit of experience the subject, or does this cloud the ethnographer's ability to explain his experience to the unexperienced reader? How should an ethnographer attempt to gain greater perspective on a music in which they participate?
Titon discusses how cultural filters affect how we sort through every day experiences in the world, but also how coming to a new experience allows us to see the greater picture. How does background knowledge on a specific kind of music affect the ethnographic experience? Is it best to have a bit of experience the subject, or does this cloud the ethnographer's ability to explain his experience to the unexperienced reader? How should an ethnographer attempt to gain greater perspective on a music in which they participate?
Critical Review 4
Barz discusses the importance of fieldnotes in the ethnographic process, as including fieldnotes in an ethnography will allow both the writer and the reader to reflect on the "individual processes of knowing" (p. 207). Reviewing fieldnotes allows the ethnographer to take a step back and gain new perspectives each time notes are reviewed, and sometimes the ethnographer can realize certain biases she had initially assumed without realizing. Barz presents the idea of the fieldnotes serving as a fulcrum balancing out experience (field research) and interpretation (ethnography)--rather than a linear model with fieldnotes in between--which demonstrates that an ethnography does not necessarily need fieldnotes to translate experience into interpretation. In general, fieldnotes and additions to fieldnotes are beneficial because they allow the ethnographer to reflect on the change over time in his views and evaluations of the situations and of his own thought processes.
Barz discusses the importance of fieldnotes in the overall reflective process of transferring one's experience into an ethnography. There is importance, Barz tells us, in the way in which the ethnographer perceives her experience, and thus fieldnotes serve as a guide for reflection and re-reflection, on one's own interpretations. How does recording (either audio or video) a fieldwork experience affect our individualized fieldnotes? Will things be brought out to us in reviewing recorded material that were not originally noted or noticed by the ethnographer? Is this a good thing or a bad thing, or doesn't it make a difference?
Barz discusses the importance of fieldnotes in the overall reflective process of transferring one's experience into an ethnography. There is importance, Barz tells us, in the way in which the ethnographer perceives her experience, and thus fieldnotes serve as a guide for reflection and re-reflection, on one's own interpretations. How does recording (either audio or video) a fieldwork experience affect our individualized fieldnotes? Will things be brought out to us in reviewing recorded material that were not originally noted or noticed by the ethnographer? Is this a good thing or a bad thing, or doesn't it make a difference?
Sunday, October 5, 2008
Field Notes part 4
Day of First Performance
-It's 10:00am, Michelle called and left message she would be at my dorm to pick me up in 25 minutes
-I wait on Thayer, big van pulls over, I sit in front seat, 4 or 5 elderly people in back seats
-Michelle tells me she and everyone was looking for me at Waterfire, I am flattered and appologize for missing her performance, I had to leave early
-get out of van, man who was in back shakes my hand and I say I'm Julie and he says he is Bashey and I say "nice to meet you." he asks if I can pronounce it back. I say "Bashey?" and he says yes and laughs and says "simple, right?" and spells it for me. I ask him if people mess his name up often and he says yes, in this country. I ask him where he is from and he tells me Nigeria, and he moved here 8 years ago.
-We arrive at church, I go downstairs to put on robe and wait for instructions, several come in and shake my hand and ask how I am, without asking who I am
-Two women in bathroom talking about something and laughing, I can't really hear what
-finally choir files in, slowly and one by one, to downstairs, I hear Michelle and two other women talking about death of someone, I cannot figure out who it is, discussion of collecting money to buy plant for family member of person who died
-lots of disorientation and chattering in general, finally we file upstairs where the service is beginning, people filing in and chatting
-woman from my choir holds up drapes and tells someone that she and others cleaned the windows all yesterday, and that these drapes would be blessed and put up on the windows (held up drapes)
-choir goes into hall to pray, we all hold hands, Nadine prays and asks God to bless the choir, the church, the performers, and thanks God for bringing me to the choir and allowing "Julie" to sing with everyone. At this point everyone says "yes" and "amen." I can't help but smile I am so flattered, but then I immediately feel guilty for some reason, like I don't deserve that since I'm just here doing fieldwork, really. Also, I feel guilty knowing I won't really be able to participate in the choir after this fieldwork project is done, as it has been a big time commitment and I have other interests I'd like to pursue
-I also realize that I am relieved not to say a prayer out loud not just because I'm not a Christian, because I could certainly think of a prayer to say that wasn't exclusively Jesus-related. I realize it is because in every situation of prayer I have been in, prayer has been a silent and deeply personal thing, with no music or group connection except that all share the silence together. I have never said a prayer in front of others. Interesting difference. I wonder what it feels like to share something I consider so personal with a group. Maybe I should try it one of these times, if I get the guts.
-we awkwardly shuffle in, people moving around, I'm not really sure where to go. but then music starts playing of song I recognize, and Michelle signals to me to get in line. We walk down the church aisle singing "Oh Come Let Us Adore Him" doing a step-right, together, step-left, together movement. We then take a seat in the first rows.
-whole church begins singing a prayer that sounds familiar to me, soemthing like "let the words of our mouths and the meditations of our hearts be acceptible in thy sight," etc. This is sung to a tune I don't recognize, but I mouth the words. I realize I know them from a Sublime song, "Rivers of Babylon."
-I left my paper and pencil for notes downstairs, and realize I wouldn't be able to write while sitting in the first two rows of the choir anyway. Order of events is again blurred and subjective, as is what I specifically remember. I had a hard time paying attention to much of the speach involved in the service perhaps because I got very little sleep the night before.
-man spoke at front, talked about how the drapes were blessed, talked about various things that needed money, etc., general church matters and concerns, again I regret not giving my full attention
-then Michelle signals for us to stand up, and we walk to front stage. We sing "Praise Him" in front of everyone. I am familiar and comfortable with the song, or so I thought. The meter of the song initially confused me, but once I got used to it in practice I felt it in a 9/8 meter. We began side stepping back and forth in performance, which was somewhat awkward feeling because we would step right on beat one, together on beat four, left on beat 6, and back together on beat 1 of the next measure, so it created a sort of hemiola between our foot movement and the meter of the song. I got the rhythm OK, but then Michelle, who was standing in front and leading us, began clapping on beats 2 and 3, 5 and 6, and 8 and 9. This clapping pattern makes perfect rhythmic sense, at least in my standards, for a 9/8 meter or any triple meter. But the movement of our feet was to a completely different meter or metrical feel than our hands. I have always thought that my strong point in music is rhythm, but I was embarraced to find that I was thrown off. I kept clapping on the wrong beats, and when I thought about it and regained a sense of the rhythm, I found myself swaying at the wrong times. It was certainly humbling, as everyone else in the choir, some of whom claim not to read music, expressed no obvious problems with these complex rhythms. This reminded me of a book I read for another class, called "The Games Black Girls Play" by Kyra Gaunt, which discusses the common stereotype that African Americans "have rhythm." Gaunt suggests that hand games and double dutch played by young black girls allows them to subconsciously develop a sense of flexible rhythm and an ability to express complex rhythms with different parts of their bodies. I wonder if anyone in the choir played such games as children. I should find that out.
-We sit down, pastor comes out. different man from last time. he stands on very high podium, have to strain neck back at this angle to see, i find myself looking down out of exhaustion.
-various songs are sang in hymnal from last time, and some that are memorized, at which points I sit with mouth closed and try to be respectful.
-pastor gives speech, which again, i failed to pay close attention. the general gist i got was that Jesus was a friend, to all, no matter what earthly friends have diserted us, and no matter how much we can't seem to get out of a situation.
-As the speech went on, various people chimed in with words of approval. one I had not noticed before was "well." I heard it first said by Michelle. She said "Well" so loud in the middle of the pastor's speech I was uncomfortable, I thought she was interrupting him to say something. And she said it with a sort of scooping inflection and it sounded almost like a question. but it stopped there. several others also said "well" and nothing else at various times with this same inflection
-One man particularly half shouts and half sings words of approval. At one point, he full out sings a succession of "wells." (in 3/4 time, all quarter notes except the last as half note, well (tonic), well (scooped into major third), well (forth), well (fifth), well (forth), well (third), weeeelllll (tonic)) at this point, half the congregation looks over in his direction and some giggle, myself included.
-the pastor begins half singing and half saying the ends of his speech, when he gets to the passionate parts about the loyalty of Jesus, and he keeps mentioning "a river that runs through His church," and all the wonderful properties of this river. He starts on a stable pitch, and then his voice sort of quavers, like a vibrato within speech, and then he just speaks. People in the audience are more excited and show this with their words of approval. The pastor speaks/sings louder and a bit faster.
-When he is finished, Michelle again signals for us to stand, this time where we are in our benches. This time we sing a song I call "Get Ready." Nadine, playing piano, sings a solo, and we all chime in in a sort of call-and-response sort of way, getting ready for His miracle. I hear a tamborine behind me, not always on beat. At the end of the song I turn around and am delighted to see it is held by a young boy in a choir robe, who is thrilled to be participating.
-Throughout the song, people begin getting up to leave, giving their hugs and kisses goodbye, etc. Michelle is directing us, and gives us a sort of "tag" ending (that's the jazz term for it at least) in which we repeat the last line however many times indicated. However, Michelle keeps signaling to us to do it again at the last second before saying the very last conclusive lines, and all are a bit confused and the song sort of crumbles slightly as some keep repeating while others move on.
-I start to leave, give some hugs and thank you's to various people. I wait downstairs as Michelle instructs me to, as she insisted again on driving me home. I do, put back my robe, and eventually wander back upstairs. Michelle assures me that she didn't forget about me, she is coming. I tell her I didn't think she did
-A spiffily-dressed mid-thirtiesish man who I recognized from various excited female greetings before the service walks outside, where I wait with the others who are getting a ride in the van. He shakes my hand and introduces himself, and welcomes me to the choir. He asks if I am from Brown and I explain yes, I am a music student and I am doing a project on the church's music. He says "oh" and I might have imagined it but I sense a slight twinge of disappointment on his face. I feel uncomfortable with the thought that most people probably think I am a Christian singing here because I love Gospel Music (which I do, but not for specifically religious reasons exactly), but I'm glad I made myself clear to this man and I think I should do this more often.
-we get in the van with the same crew as last time, with the addition of a man who sits in the front. He asks me what my name is and I tell him, and he says I was great and he's glad I sang with the choir. A woman next to me tells me she used to sing in the choir too, but she hurt her foot and had to stay home for a while, and now she needs to take the van to get back and forth from the church. I suggest that she will sing in the choir agian when she is healed, and she agrees.
-Michelle get's into the driver's seat. Someone asks, "George," (to the man in the front seat) "I thought you were driving," and he responds with something like, "no, Michelle is driving. I have to make sure she do alright," at which he laughs and Michelle gives an affectionate scowl, and I laugh as well.
-Michelle begins driving, and we get somewhere into Brown's campus. She asks if I know where we are, and I say "oh!' and then realize I have no idea and embarracingly say "no." and excuse myself for not knowing my way around yet. Michelle starts driving around blocks and getting stopped by one-way signs. George starts instructing her, and she says "OK, George," as in "that's enough, I got it." I can relate, I hate when people back-seat drive.
-She pulls over and says "OK here's your stop!" I thank her a lot, tell her I will see her in two weeks (will be gone next weekend), tell everyone it was great to see them, and leave.
Notes about music: today, with acception of Nadine's solo song on which she played piano, a man I did not recognize accompanied on piano. The keyboard/drummer from last time was playing percussion in a slow R&B sort of way that made me think maybe the emotional themes of much R&B music comes from the highly religious emotion of Gospel Music, or vice versa. Also, when we sang an upbeat song, the pianist would often role down the piano in what I relate to a "Jerry Lee Lewis style" (although I don't assume he invented the piano role, i just don't know how else to describe it so I remember what I meant later). This was interesting to me because I always associated such a musical gesture with the stereotype of sex-crazed rock and roll.
the hand signal of holding up a closed fist is used by anyone who is directing and is understood to mean that this is the last time through a tag or a verse. This is important, as much of the performance of our Gospel Music is based on the repetition of phrases or verses, and this is often an improvised structure that changes in every performance and practice. I also noticed that once in a while, the man sitting next to me in the choir would quietly chime in with little improvised solo lines. His voice was beautiful and gave me chills, and reminded me of all the old rusty recordings of blues that I've always been drawn to. I wish I told him that but I felt shy.
-It's 10:00am, Michelle called and left message she would be at my dorm to pick me up in 25 minutes
-I wait on Thayer, big van pulls over, I sit in front seat, 4 or 5 elderly people in back seats
-Michelle tells me she and everyone was looking for me at Waterfire, I am flattered and appologize for missing her performance, I had to leave early
-get out of van, man who was in back shakes my hand and I say I'm Julie and he says he is Bashey and I say "nice to meet you." he asks if I can pronounce it back. I say "Bashey?" and he says yes and laughs and says "simple, right?" and spells it for me. I ask him if people mess his name up often and he says yes, in this country. I ask him where he is from and he tells me Nigeria, and he moved here 8 years ago.
-We arrive at church, I go downstairs to put on robe and wait for instructions, several come in and shake my hand and ask how I am, without asking who I am
-Two women in bathroom talking about something and laughing, I can't really hear what
-finally choir files in, slowly and one by one, to downstairs, I hear Michelle and two other women talking about death of someone, I cannot figure out who it is, discussion of collecting money to buy plant for family member of person who died
-lots of disorientation and chattering in general, finally we file upstairs where the service is beginning, people filing in and chatting
-woman from my choir holds up drapes and tells someone that she and others cleaned the windows all yesterday, and that these drapes would be blessed and put up on the windows (held up drapes)
-choir goes into hall to pray, we all hold hands, Nadine prays and asks God to bless the choir, the church, the performers, and thanks God for bringing me to the choir and allowing "Julie" to sing with everyone. At this point everyone says "yes" and "amen." I can't help but smile I am so flattered, but then I immediately feel guilty for some reason, like I don't deserve that since I'm just here doing fieldwork, really. Also, I feel guilty knowing I won't really be able to participate in the choir after this fieldwork project is done, as it has been a big time commitment and I have other interests I'd like to pursue
-I also realize that I am relieved not to say a prayer out loud not just because I'm not a Christian, because I could certainly think of a prayer to say that wasn't exclusively Jesus-related. I realize it is because in every situation of prayer I have been in, prayer has been a silent and deeply personal thing, with no music or group connection except that all share the silence together. I have never said a prayer in front of others. Interesting difference. I wonder what it feels like to share something I consider so personal with a group. Maybe I should try it one of these times, if I get the guts.
-we awkwardly shuffle in, people moving around, I'm not really sure where to go. but then music starts playing of song I recognize, and Michelle signals to me to get in line. We walk down the church aisle singing "Oh Come Let Us Adore Him" doing a step-right, together, step-left, together movement. We then take a seat in the first rows.
-whole church begins singing a prayer that sounds familiar to me, soemthing like "let the words of our mouths and the meditations of our hearts be acceptible in thy sight," etc. This is sung to a tune I don't recognize, but I mouth the words. I realize I know them from a Sublime song, "Rivers of Babylon."
-I left my paper and pencil for notes downstairs, and realize I wouldn't be able to write while sitting in the first two rows of the choir anyway. Order of events is again blurred and subjective, as is what I specifically remember. I had a hard time paying attention to much of the speach involved in the service perhaps because I got very little sleep the night before.
-man spoke at front, talked about how the drapes were blessed, talked about various things that needed money, etc., general church matters and concerns, again I regret not giving my full attention
-then Michelle signals for us to stand up, and we walk to front stage. We sing "Praise Him" in front of everyone. I am familiar and comfortable with the song, or so I thought. The meter of the song initially confused me, but once I got used to it in practice I felt it in a 9/8 meter. We began side stepping back and forth in performance, which was somewhat awkward feeling because we would step right on beat one, together on beat four, left on beat 6, and back together on beat 1 of the next measure, so it created a sort of hemiola between our foot movement and the meter of the song. I got the rhythm OK, but then Michelle, who was standing in front and leading us, began clapping on beats 2 and 3, 5 and 6, and 8 and 9. This clapping pattern makes perfect rhythmic sense, at least in my standards, for a 9/8 meter or any triple meter. But the movement of our feet was to a completely different meter or metrical feel than our hands. I have always thought that my strong point in music is rhythm, but I was embarraced to find that I was thrown off. I kept clapping on the wrong beats, and when I thought about it and regained a sense of the rhythm, I found myself swaying at the wrong times. It was certainly humbling, as everyone else in the choir, some of whom claim not to read music, expressed no obvious problems with these complex rhythms. This reminded me of a book I read for another class, called "The Games Black Girls Play" by Kyra Gaunt, which discusses the common stereotype that African Americans "have rhythm." Gaunt suggests that hand games and double dutch played by young black girls allows them to subconsciously develop a sense of flexible rhythm and an ability to express complex rhythms with different parts of their bodies. I wonder if anyone in the choir played such games as children. I should find that out.
-We sit down, pastor comes out. different man from last time. he stands on very high podium, have to strain neck back at this angle to see, i find myself looking down out of exhaustion.
-various songs are sang in hymnal from last time, and some that are memorized, at which points I sit with mouth closed and try to be respectful.
-pastor gives speech, which again, i failed to pay close attention. the general gist i got was that Jesus was a friend, to all, no matter what earthly friends have diserted us, and no matter how much we can't seem to get out of a situation.
-As the speech went on, various people chimed in with words of approval. one I had not noticed before was "well." I heard it first said by Michelle. She said "Well" so loud in the middle of the pastor's speech I was uncomfortable, I thought she was interrupting him to say something. And she said it with a sort of scooping inflection and it sounded almost like a question. but it stopped there. several others also said "well" and nothing else at various times with this same inflection
-One man particularly half shouts and half sings words of approval. At one point, he full out sings a succession of "wells." (in 3/4 time, all quarter notes except the last as half note, well (tonic), well (scooped into major third), well (forth), well (fifth), well (forth), well (third), weeeelllll (tonic)) at this point, half the congregation looks over in his direction and some giggle, myself included.
-the pastor begins half singing and half saying the ends of his speech, when he gets to the passionate parts about the loyalty of Jesus, and he keeps mentioning "a river that runs through His church," and all the wonderful properties of this river. He starts on a stable pitch, and then his voice sort of quavers, like a vibrato within speech, and then he just speaks. People in the audience are more excited and show this with their words of approval. The pastor speaks/sings louder and a bit faster.
-When he is finished, Michelle again signals for us to stand, this time where we are in our benches. This time we sing a song I call "Get Ready." Nadine, playing piano, sings a solo, and we all chime in in a sort of call-and-response sort of way, getting ready for His miracle. I hear a tamborine behind me, not always on beat. At the end of the song I turn around and am delighted to see it is held by a young boy in a choir robe, who is thrilled to be participating.
-Throughout the song, people begin getting up to leave, giving their hugs and kisses goodbye, etc. Michelle is directing us, and gives us a sort of "tag" ending (that's the jazz term for it at least) in which we repeat the last line however many times indicated. However, Michelle keeps signaling to us to do it again at the last second before saying the very last conclusive lines, and all are a bit confused and the song sort of crumbles slightly as some keep repeating while others move on.
-I start to leave, give some hugs and thank you's to various people. I wait downstairs as Michelle instructs me to, as she insisted again on driving me home. I do, put back my robe, and eventually wander back upstairs. Michelle assures me that she didn't forget about me, she is coming. I tell her I didn't think she did
-A spiffily-dressed mid-thirtiesish man who I recognized from various excited female greetings before the service walks outside, where I wait with the others who are getting a ride in the van. He shakes my hand and introduces himself, and welcomes me to the choir. He asks if I am from Brown and I explain yes, I am a music student and I am doing a project on the church's music. He says "oh" and I might have imagined it but I sense a slight twinge of disappointment on his face. I feel uncomfortable with the thought that most people probably think I am a Christian singing here because I love Gospel Music (which I do, but not for specifically religious reasons exactly), but I'm glad I made myself clear to this man and I think I should do this more often.
-we get in the van with the same crew as last time, with the addition of a man who sits in the front. He asks me what my name is and I tell him, and he says I was great and he's glad I sang with the choir. A woman next to me tells me she used to sing in the choir too, but she hurt her foot and had to stay home for a while, and now she needs to take the van to get back and forth from the church. I suggest that she will sing in the choir agian when she is healed, and she agrees.
-Michelle get's into the driver's seat. Someone asks, "George," (to the man in the front seat) "I thought you were driving," and he responds with something like, "no, Michelle is driving. I have to make sure she do alright," at which he laughs and Michelle gives an affectionate scowl, and I laugh as well.
-Michelle begins driving, and we get somewhere into Brown's campus. She asks if I know where we are, and I say "oh!' and then realize I have no idea and embarracingly say "no." and excuse myself for not knowing my way around yet. Michelle starts driving around blocks and getting stopped by one-way signs. George starts instructing her, and she says "OK, George," as in "that's enough, I got it." I can relate, I hate when people back-seat drive.
-She pulls over and says "OK here's your stop!" I thank her a lot, tell her I will see her in two weeks (will be gone next weekend), tell everyone it was great to see them, and leave.
Notes about music: today, with acception of Nadine's solo song on which she played piano, a man I did not recognize accompanied on piano. The keyboard/drummer from last time was playing percussion in a slow R&B sort of way that made me think maybe the emotional themes of much R&B music comes from the highly religious emotion of Gospel Music, or vice versa. Also, when we sang an upbeat song, the pianist would often role down the piano in what I relate to a "Jerry Lee Lewis style" (although I don't assume he invented the piano role, i just don't know how else to describe it so I remember what I meant later). This was interesting to me because I always associated such a musical gesture with the stereotype of sex-crazed rock and roll.
the hand signal of holding up a closed fist is used by anyone who is directing and is understood to mean that this is the last time through a tag or a verse. This is important, as much of the performance of our Gospel Music is based on the repetition of phrases or verses, and this is often an improvised structure that changes in every performance and practice. I also noticed that once in a while, the man sitting next to me in the choir would quietly chime in with little improvised solo lines. His voice was beautiful and gave me chills, and reminded me of all the old rusty recordings of blues that I've always been drawn to. I wish I told him that but I felt shy.
Saturday, October 4, 2008
Field Notes part 3
-enter church room, welcomed in by pianist (Nadine), realize that the children's choir rehersal is still in session, sit in middle row to listen
-woman from my choir group is directing the kids, they are singing "Joyful Joyful, Lord, we adore Thee" (version from Sisteract). All are sitting in front row, looking down mumbling words, choir director tells them to put some feeling in it
-little girl giggles and runs up to stage, beckoned down by woman sitting in second row
-one older girl starts singing solo, stops and asks why others aren't singing, choir director tells her to keep going
-same little girl gets barbie taken away from angry woman in second row, soon starts runing between benches, and giggling, hiding from boy on other side who is also giggling
-end rehearsal with prayer, I am still seated but am beckoned to join the circle, we hold hands, choir director says prayer and we say "amen"
-our rehearsal begins, people file in, hold hands, one person says prayer, Nadine plays chords, man I haven't seen before sitting at a keyboard playing a drum beat behind it, sort of slow R&B type beat
-start singing through songs from last time, Michelle comes in late, A comes in even later, but luckily for me there was another alto present this time who wasn't there last time so I wasn't stranded without knowing my part well
-This alto who is new to me leaves early because she has to be with the children, or something like that, and then it is just me and A because Nadine has asked Michelle to join the soprano section
-Nadine asks A and I to sing our part alone for song, I'm a little nervous because neither A nor I know the part well, but we do alright and the repetition of lines helps cement my part into my head
-I begin to become aware that everyone is talking about a performance tomorrow, Sunday, at church. I am expected to be there. I wasn't planning to go and did not realize this, but I agree because I wasn't really asked and I don't have any serious commitment, but I am uneasy because I don't know the songs too well.
-woman comes in, I recognize her as cantor from first church visit, introduced as "Sister Betty," she begins handing people little pink breast cancer ribbons on pins and asking for 50 cents. I feel foolish for again forgetting to bring money. When she taps me on the shoulder I appologize for not having money, but she gives me a pin anyway and says I'll give her the money later. I agree and thank her.
-sometime in the midst of rehearsal, Michelle again introduces me to the group, since there are some new members present today. Everyone smiles and says "hi"
-After running through songs, Michelle anounces that her group RPM will be performing at waterfire this evening, which will be a representation of Rhode Island's relationship to the slave trade, and I announce that I'll be there volunteering. Michelle is delighted.
-People begin to start packing up, and Michelle asks me if I want music copied so I can learn the words before tomorrow. I tell her that this would be great, and she asks what pieces I want the music for. I can't really remember which pieces I didn't know too well, sort of all of them. I can't remember their names, either. I wish I paid better attention
-I ask for one specifically, "Praise Him," which I remember not knowing the middle section to. A suggests we go over that part now, because she missed it completely since she came in late. We do, and I feel more comfortable.
-Michelle insists on giving me a ride home in the church's van, saying she will pick me up tomorrow and needs to know where I live. I agree, and I follow her downstairs because she tells me I need to pick out a robe for tomorrow's performance. She hands me one and I try it on, and it seems to fit alright. She goes to copy the music and I tell her I think I'm alright and don't need it.
-We get into the van. Children from the church are holding up signs for a car wash to raise money for the church. Nearby, kids from the school down the street holding up signs for a car wash for their school. They yell "car wash!" towards us as we drive down Olney Street towards Thayer. Michelle rolls down the window and yells "my church is having a car wash!" and we proceed.
-Michelle discusses how excited she is about tomorrow and about her performance with RPM. She tells me RPM is a very diverse group.
-Michelle pulls over by my dorm and we exchange numbers so we can arrange a pick up for tomorrow. I thank her and we say goodbye.
-woman from my choir group is directing the kids, they are singing "Joyful Joyful, Lord, we adore Thee" (version from Sisteract). All are sitting in front row, looking down mumbling words, choir director tells them to put some feeling in it
-little girl giggles and runs up to stage, beckoned down by woman sitting in second row
-one older girl starts singing solo, stops and asks why others aren't singing, choir director tells her to keep going
-same little girl gets barbie taken away from angry woman in second row, soon starts runing between benches, and giggling, hiding from boy on other side who is also giggling
-end rehearsal with prayer, I am still seated but am beckoned to join the circle, we hold hands, choir director says prayer and we say "amen"
-our rehearsal begins, people file in, hold hands, one person says prayer, Nadine plays chords, man I haven't seen before sitting at a keyboard playing a drum beat behind it, sort of slow R&B type beat
-start singing through songs from last time, Michelle comes in late, A comes in even later, but luckily for me there was another alto present this time who wasn't there last time so I wasn't stranded without knowing my part well
-This alto who is new to me leaves early because she has to be with the children, or something like that, and then it is just me and A because Nadine has asked Michelle to join the soprano section
-Nadine asks A and I to sing our part alone for song, I'm a little nervous because neither A nor I know the part well, but we do alright and the repetition of lines helps cement my part into my head
-I begin to become aware that everyone is talking about a performance tomorrow, Sunday, at church. I am expected to be there. I wasn't planning to go and did not realize this, but I agree because I wasn't really asked and I don't have any serious commitment, but I am uneasy because I don't know the songs too well.
-woman comes in, I recognize her as cantor from first church visit, introduced as "Sister Betty," she begins handing people little pink breast cancer ribbons on pins and asking for 50 cents. I feel foolish for again forgetting to bring money. When she taps me on the shoulder I appologize for not having money, but she gives me a pin anyway and says I'll give her the money later. I agree and thank her.
-sometime in the midst of rehearsal, Michelle again introduces me to the group, since there are some new members present today. Everyone smiles and says "hi"
-After running through songs, Michelle anounces that her group RPM will be performing at waterfire this evening, which will be a representation of Rhode Island's relationship to the slave trade, and I announce that I'll be there volunteering. Michelle is delighted.
-People begin to start packing up, and Michelle asks me if I want music copied so I can learn the words before tomorrow. I tell her that this would be great, and she asks what pieces I want the music for. I can't really remember which pieces I didn't know too well, sort of all of them. I can't remember their names, either. I wish I paid better attention
-I ask for one specifically, "Praise Him," which I remember not knowing the middle section to. A suggests we go over that part now, because she missed it completely since she came in late. We do, and I feel more comfortable.
-Michelle insists on giving me a ride home in the church's van, saying she will pick me up tomorrow and needs to know where I live. I agree, and I follow her downstairs because she tells me I need to pick out a robe for tomorrow's performance. She hands me one and I try it on, and it seems to fit alright. She goes to copy the music and I tell her I think I'm alright and don't need it.
-We get into the van. Children from the church are holding up signs for a car wash to raise money for the church. Nearby, kids from the school down the street holding up signs for a car wash for their school. They yell "car wash!" towards us as we drive down Olney Street towards Thayer. Michelle rolls down the window and yells "my church is having a car wash!" and we proceed.
-Michelle discusses how excited she is about tomorrow and about her performance with RPM. She tells me RPM is a very diverse group.
-Michelle pulls over by my dorm and we exchange numbers so we can arrange a pick up for tomorrow. I thank her and we say goodbye.
Wednesday, October 1, 2008
Critical Review 3
Agawu discusses ethics in Ethnomusicology, and the difficulties or impossibilities of defining a set code of ethics for all who do fieldwork. The difficulty here is that different cultures have different ideas of ethic that may conflict with the Ethnomusicologist's, certain ethics may be helpful to one party, but hurtful to another, we might desire to respect a culture about which we write an ethnography, but our means of being "ethical" contrast those of the culture we represent, etc. In other words, "ethics" are completely subjective. Agawu describes how we can better understand a culture's ethical standards by looking for clues in things such as song text and practices such as that of the Anlo-Ewe which promotes exchanging insults in songs (by listening to insults and hearing what one ethically SHOULDN'T do, we can gain better insight as to what is expected one ethically should do). Agawu gives several examples of written works that seem ethical or unethical, but really just exemplify the subjectivity of ethics, such as Kisliuk's work with the BaAka tribe and Agawu's fictional writing in "African Rhythm: A Northern Ewe Perspective.
In the example of Kisliuk's writing, Agawu notes that, while she presented a completely personalized and reflexive account, Kisliuk completely left out that she ended up marrying her informant. Because it seems nearly impossible to account for all experiences when doing fieldwork, we inevitably pick and choose, even if we don't realize we are choosing. Sometimes certain occurances stick out in our minds more and we forget others, and thus what is important to us ends up being what is represented in the ethnography. To what degree is it our responsibility to account for these choices? Is it totally up to us what we include and leave out? Do we have to somehow write a disclaimer that not only is the point of view of the ethnography subjective, but the actual events or conversations included are subjective choices also? Do we have a responsibility to the culture we represent to find out what is most important to THEM to have represent their music in an ethnography?
In the example of Kisliuk's writing, Agawu notes that, while she presented a completely personalized and reflexive account, Kisliuk completely left out that she ended up marrying her informant. Because it seems nearly impossible to account for all experiences when doing fieldwork, we inevitably pick and choose, even if we don't realize we are choosing. Sometimes certain occurances stick out in our minds more and we forget others, and thus what is important to us ends up being what is represented in the ethnography. To what degree is it our responsibility to account for these choices? Is it totally up to us what we include and leave out? Do we have to somehow write a disclaimer that not only is the point of view of the ethnography subjective, but the actual events or conversations included are subjective choices also? Do we have a responsibility to the culture we represent to find out what is most important to THEM to have represent their music in an ethnography?
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