In "Confronting the Field(note)," Gregory Barz reconsiders the role of the fieldnote in the process of reflecting on musical experience. Instead of the traditional model, in which field research leads to fieldnotes which leads to ethnography, he posits a more interactive system in which the three categories affect one another. In particular, Barz notes the difficulty of understanding exactly how the act of recording a fieldnote (or even carrying a notebook) influences the experience in the field.
In what circumstances (if any) ought the ethnomusicologist, perceiving her note-taking to influence those around her, forgo normal note-taking?
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