What the Hell is Ethnomusicology
In my previous posting, I discussed a story that explained my current interests regarding Native American identity. Although the concept of Native American identity, specifically within higher education/music/traditional culture/etc. greatly interests me, I do not believe that my blog is mature enough to tackle those larger questions just yet. Rather, I have elected to give insight into what I research on a consistent basis and to allow this to guide my overarching conversation of Native American cultural identity.
The field my research is categorized under most broadly is ethnomusicology. Ethnomusicology has been defined by the Society for Ethnomusicology as “the study of music in its cultural context. Ethnomusicologists approach music as a social process in order to understand not only what music is but why it is: what music means to its practitioners and audiences, and how those meanings are conveyed”. This definition directly echoes my personal sentiments towards the study of music. I believe that music is an integral piece of the social structure of any community, particularly indigenous communities throughout the world.
My current research examines how the rise of western infrastructure such as radio, boarding schools, and churches in Navajo spaces altered traditional Navajo music. While Navajo music traditionally utilizes a five-tone, or pentatonic system of music, as western infrastructures expanded and further infringed upon the culture, instances of its seven-tone, or diatonic system began to occur within the traditionally pentatonic system of Navajo music. Many respected ethnomusicologists such as Bruno Nettl have discussed to great length the vital role of music in native and indigenous cultures. Traditional Navajo music holds deep meaning to its practitioners and the implications of this musical and cultural change — specifically as it relates to the imperialistic body of western culture — is my main focus of study.
I would love nothing more than to delve into greater detail regarding the most intricate and even convoluted portions of my work, but as I am sure the majority of my readers are already scratching their heads at this point, I will forgo that endeavor. In case none of this has made sense — I am seeking to prove that western culture is changing traditional Navajo music.
My project manifests itself in many ways and is extremely interdisciplinary but what I would like to reinforce is that traditional music plays an integral role in Navajo culture. Indeed, if the music is changing, so too is the culture itself. The implications of this process are endless and I do not seek to discuss those just yet. Rather, I hope to sow thoughts of cultural change to provoke ideas in others. Although this will be geared largely towards music, I will attempt to introduce some of the larger theories at play: cultural imperialism, colonialism, misisonization, and others.
As I venture ever nearer to the word limit of this posting, I am hoping that I have adequately conveyed some of the key themes of what I study. Throughout the coming weeks, I will go into greater detail of what current and past ethnomusicologists have done to contribute, or perhaps even introduce this conversation. I will also be adding in my own commentary and lived experiences in order to view the conversation through both emic and etic lenses.
P.S. If you read this and thought “I want to know more about Native culture/music/etc.,” come talk to me! Here is a great upcoming powwow based around the Native American two-spirit identity. (Two-spirit refers broadly to non-gender binary conforming individuals within the Native community)
