417), a focus on musicality is potentially significant to scholars from a variety of different fields. Since the relationship between music and language is an area of research that Aniruddh Patel claims is of particular interest for both scientists and ethnomusicologists in the study of music cognition ( 2008, p. Further, the current study focuses on musicality, which is the underlying foundational capacity that undergirds our ability to communicate both verbally and musically. 185–186).Īs a response to this call, this paper presents a case study of Chinese musical comedy that is rooted in ethnomusicological fieldwork-an example from outside the Western European musical tradition that encourages a broadening of intercultural perspectives. Despite these important interdisciplinary studies, however, the participants at the Frankfurt meeting remind us that continued scholarly collaboration is necessary for cross-cultural research to survive (Jacoby et al., 2020, pp. Although somewhat less prevalent, there are also studies initiated by ethnomusicologists, many of whom focus on music outside of the Western European tradition, while collaborating with or employing methods from scientific disciplines, including Becker ( 2009), Tolbert ( 2012), Widdess et al. ( 2013) consider cultural evolutionary perspectives in music research, and there are several excellent studies initiated by music psychologists and neuroscientists that speak to issues that involve cross-cultural questions, such as Margulis et al. For example, Savage ( 2019) and Cross et al. 185).Ĭertainly, examples of interdisciplinary research projects that focus on music already abound. The scholars agreed that the vast majority of the research conducted in music psychology has heretofore involved Western participants and focused primarily on Western music, so they recommended that future research in music psychology should consider (1) increased interdisciplinary collaboration to promote cross-cultural work and (2) a new emphasis on ways to overcome disciplinary differences in assumptions, methods, and terminology, particularly with regard to the distinctions between empirical and musicological approaches (p. In October 2018, a number of scholars gathered at the Max Planck Institute for Empirical Esthetics in Frankfurt, Germany to discuss the future of cross-cultural work in the field of music cognition (Jacoby et al., 2020). Musicality is particularly apparent in the way Chinese Xiangcheng actors relate to each other and their audiences in both spoken and musical modalities, and this paper suggests how judiciously employing a variety of methodological approaches in the study of musicality can yield important insights for researchers from all disciplines. The present paper argues that analytical tools and perspectives from conversational analysis, communicative musicality, empirical research on music-language relationships, and performative mutuality in ethnomusicology all speak to the idea of musicality-the underlying capacity that undergirds our ability to communicate both verbally and musically-as a common foundational behavior in both speech and song. This paper heeds the call for collaborative research in cultures outside of Western Europe by focusing on Xiangsheng, a form of Chinese musical comedy that features an intriguing relationship between speech and song in performance. Recent scholarship in the field of music cognition suggests the need for increased interdisciplinarity in moving beyond the boundaries of Western European music, and the study of the relationship between language and music is an especially fruitful area that can benefit from interdisciplinary collaboration.
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