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In 1948, a Dutch, Jaap Kunst coined the term “ethnomusicology” which would emphasize the role of culture in the study of world music (Frishkopf, 13). Ethnomusicology referred to the study of any music outside the European art tradition and all varieties of music found in one locale.Ethnomusicology is a highly inter-disciplinary field yet all ethnomusicologists share a common foundation in approaches and methods, namely; understanding music as a social practice, taking a global approach to music, engaging in ethnographic fieldwork(Frishkopf, 16). This research paper provides a description of three articles from the journal for ethnomusicology, its subject and characterizes the ethnological approaches that each author demonstrates.
The field of ethnomusicology has expanded rapidly that it now includes almost any type of human activity that can be related in some manner to what may be termed as music. Michael Frishkopf approaches the issue of ethnomusicology using a compilation of essays by various ethnomusicologist that concentrate on many of the contemporary concerns. This includes nine topical sections discussed herein. The essays offer approaches to theoretical frameworks, insights and research that connect with current methods in diverse disciplines. Works from developing areas of focus have been “consulted and fully integrated in research methodologies especially gender issues, cultural studies, history, linguistics, religion and political science” (Frishkopf, 31). Tourism studies are relatively new in ethnomusicology. The concept of cultural tourism has become a major force in the contemporary music scenes. Some researchers identify cultural tourism as vital to the continuation of traditional practices and renewal of traditional musical styles and forms. He explores how families use festivals to create, preserve and represent their unique identity (Frishkopf, 50).
The concept of commodification and consumption applied to music involves the
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