在20世纪后期,人们不再研究仅是“传统”的非西方音乐,而这种音乐被认为与西方接触是“不受污染的”。大众传播的当代流行音乐制作形式(说唱,萨尔萨舞,摇滚,非洲裔流行音乐)已成为重要的研究对象,而爪哇歌美lan,印度斯坦尼古典音乐和西非鼓乐等经过深入研究的传统也是如此。民族音乐学家也将注意力转向与音乐创作相交的更多当代问题,例如全球化,移民,技术/媒体和社会冲突。民族音乐学已在高等院校中取得重大进展,现已建立了数十个研究生课程,许多主要大学的民族音乐学家都在担任教师。民族音乐学认为,音乐可以为更广泛的文化或人群提供有意义的见解。另一个基本概念是文化相对主义,这种观念认为没有一种文化/音乐天生具有比另一种更有价值或更好的观念。民族音乐学家避免将诸如“好”或“坏”之类的价值判断分配给音乐实践。

英国格拉斯哥大学音乐史代写:非西方音乐

In the late 20th century, people no longer studied non-Western music that was only “traditional”, and this music was considered to be “unpolluted” in contact with the West. Massive contemporary pop music production forms (rap, salsa, rock, African-American pop music) have become important research objects, and the traditions of Javanese songs, Indian Stanley classical music and West African drums are also deeply studied. in this way. Ethnomusicists have also turned their attention to more contemporary issues that intersect with music creation, such as globalization, immigration, technology/media and social conflict. Ethnomusicology has made significant progress in higher education institutions, and dozens of postgraduate courses have been established, and ethnomusicologists at many major universities are serving as teachers. Ethnomusicology believes that music can provide meaningful insights for a wider range of cultures or people. Another basic concept is cultural relativism, which holds that no culture/music is inherently more valuable or better than another. Ethnomusicologists avoid assigning value judgments such as “good” or “bad” to music practice.!���

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