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?