Graduate Studies in Ethnomusicology

The approaches taken to the field of ethnomusicology differ widely. Here at Berkeley we try to achieve a balance-between theory and practice of music on the one hand, and between theory and methodology of the field of ethnomusicology and a student's research specialization on the other. Established in 1975-1976, we are one of the oldest ethnomusicology programs in the United States and are situated in a distinguished music department in the College of Letters and Science. We admit a small number of students, but hope for successful completion by all.

At UC Berkeley, graduate degrees with a primary specialization in ethnomusicology are offered only in the Department of Music. However, it is possible to take "a field" in ethnomusicology as part of the graduate program in anthropology, and ethnomusicology faculty work with students in a number of other degree programs.

Specialization in ethnomusicology begins at the M.A. level. If a prospective student has already achieved an M.A. degree in a specialization with substantially different course work, ethnomusicology study at Berkeley will lead first to an additional M.A. degree, then on to the PhD program. Students with M.A. degrees in ethnomusicology from another institution are also welcome to apply. Each student's degree program is individually designed in consultation with the adviser. That program consists of courses in our Department, and also courses in supporting disciplines and area studies.

Ethnomusicologists on the faculty of the Department of Music are Benjamin Brinner, Jocelyne Guilbault, and Bonnie Wade. The Central Javanese Gamelan is directed by Midiyanto, Silvester Henderson conducts the Gospel Choir, and C.K. Ladzekpo directs the African Music Ensemble. Professor Emeritus Olly Wilson continues to work with students in African-American music.

Instructional program

Brinner, Guilbault, and Wade are responsible for courses on ethnomusicology as a field and on various approaches and theories, as well as for geographically-focused courses. Details given here should give you a good idea of the nature of the program. Unless otherwise specified, the courses are taught by any one of the ethnomusicology faculty.

In addition, artists from the Bay Area offer instruction in various musical traditions, through performance labs for each ethnomusicology lecture course.

All M.A. students in scholarship study together in an initial set of three courses.

• Music 200A Introduction to Music Scholarship
  Principles of music bibliography, techniques of library research, history of music printing and publishing. Presentation of results in written and oral forms. (For all new scholarship students, Fall of year 1)
  
• Music 200B Introduction to Music Scholarship
  Principles and methods of scholarly research in Western art music, especially history and criticism of music; use of documents, and design of projects. Presentation of results in written and oral forms. (For ethnomusicology students, Fall of year 2)
  
• Music 200C Introduction to Music Scholarship
  Introduction to issues and methods in ethnomusicology, from the perspectives of both the social sciences and humanities. Presentation of results in written and oral forms. (For ethnomusicology students, Fall of year 1)

* All ethnomusicology students take a core of preparatory courses, paced through the years in the M.A. and Ph.D. programs.

• Music 241 Readings in American Musical Culture
  Study of selected American musical cultures in relation to issues and theories pertinent to them. This course coordinates with the syllabus of Music in American Culture (Music 26). It is usually taken in tandem with a teaching assignment in Music 26 but is not restricted to GSIs in that course.
  
• Music 242 Ethnomusicology Analysis Seminar
  Critique of published analyses and approaches to analysis in various musical traditions. Students present analyses based on their individual areas of specialization.
  
• Music 243 Transcription and Analysis in Ethnomusicology
  Methods and practice of transcription applied to selected musical practices in relation to specific analytical goals. Coursework includes use of software for sound analysis and notation.
  
• Music 244A Tools of Ethnomusicological Research
  Practical experience in collection and organization of research data. Introduction to audio and video recording, photography, database design, interviewing and writing ethnographic fieldnotes.
  
• Music 244B Research Design
  Exercise in designing a doctoral research project, writing a dissertation prospectus and formulating a grant proposal. Focus also on issues such as representation and ethics.
  
• Music 246 Theory and Method in Popular Music Studies
  Critical survey of the major issues raised and methodologies used in the study of popular music. Selected readings from a wide range of disciplines, including sociology, anthropology, ethnomusicology, musicology, communication, history, political science, economics, and music journalism.
  Guilbault

* An additional set of courses, reflecting the research specializations of the faculty, are available in the graduate curriculum.

• Music 208B Music and Mind
  Research seminar dealing with "what goes on in your mind" when you make music. Topics include conceptualization (mental representations, traces or images), processes of learning, retention, recall and attendant failures such as inability to memorize or recall. All of this is studied in light of interaction among musicians. We will also consider variation and other forms of alteration with varying degrees of intentionality manifested in performances which range from relatively free improvisation to formulaic recomposition. Perception is implicated in this course but will not be a central issue.
  Brinner
  
• Music 219 Jazz
  A highly specialized study of Jazz. The topic will change each time the course is offered.
  
• Music 240 Historical Readings in Ethnomusicology
  Critical analysis of historical sources for ethnomusicological research and focus on the historical construction of the musical Other.
  
• Music 245 Material Culture of Music
  Study of musical instruments, notational systems, recordings, and other material aspects of musical practice from diverse perspectives.
  Brinner
  
• Music 249 Interpretive Theories and Music
  Readings on interpretive theories dealing with issues such as aesthetics, identity formation, and politics of representation, from the multiple disciplines informing the study of music. The selection of theoretical writings will change each time the course is offered.
  Guilbault
  
• Music 247 Topics in Ethnomusicology
  A highly specialized course in ethnomusicology. The topic will change each time the course is offered.
  Brinner, Guilbault, Wade, and visitors.
  
• Music 248A Topics in Asian Music
  A highly specialized course focusing on aspects of music in Asia. The topic will change each time the course is offered.
  Brinner, Wade, and visitors.
  
• Music 248B Topics in Caribbean Music
  A highly specialized course in ethnomusicology focusing on selected musical practices from the Caribbean.
  Guilbault

* Strengths in geographically-focused studies are found in courses at both the upper division and graduate level. To prepare for a career in ethnomusicology students, regardless of area specialization, will take a full range of such courses. Performance instruction is a component of most of the lecture courses.

Asia
Music 131A Music in India. Wade
Music 133A Music of Southeast Asia. Brinner
Music 133B Music of Java. Brinner
Music 134A Music in East Asia. Wade
Music 134B Music in Japan. Wade
Music 132 Music of the Middle East. Brinner
Music 133 Music and Theater in Southeast Asia
Music 140 Central Javanese Gamelan. Midiyanto

The Caribbean and Latin America
Music 135A Music of the Caribbean. Guilbault
Music 135B Music of Latin America. Guilbault

African American music
130A African American Music (Fall)
130B African American Music (Spring)
143 Gospel Choir. Henderson
148 African Music Ensemble. Ladzekpo
174 Studies in African American Music

* Because each student's program is individually tailored, students often enroll for individual tutorials.

• Music 298 Group Special Studies
  Open to qualified students for research or creative work on a particular topic. Not to serve in lieu of regular courses of instruction.
  
• Music 299 Individual Special Studies
  Open to properly qualified graduate students for research or creative work, including work on the doctoral dissertation. Such work shall not serve in lieu of regular courses of instruction.
  
• Music 601 Individual Studies for Master's Students
  Preparation for the M.A. exam
  
• Music 602 Individual Studies for Doctoral Students
  Preparation for the Qualifying Exam for the Ph.D.

* Other opportunities

Within the Department of Music, qualified ethnomusicology students are welcome in courses offered by faculty in composition and the history and literature of western music. Three examples: David Wessel (Director of the Center for New Music and Audio Technology) offers Music 208A Advanced Music Perception and Cognition, which complements Ben Brinner's course on cognition; Mary Ann Smart works with ethnomusicology students interested in gender studies; Myra Melford works with ethnomusicology students interested in improvisation.

Graduate students in ethnomusicology must take courses outside the department of music in other departments that offer courses that complement the student's specialities. Faculty from all over campus, such as in Anthropology, Art History, Economics, Geography, History, Linguistics, Sociology, and many language/literature departments are receptive to, regularly work with, and serve on doctoral committees of ethnomusicology graduate students. A few examples are Charles Briggs (Folklore, Anthropology), Leanne Hinton (Linguistics, Native American), and Percy Hintzen (African American Studies). Adjunct faculty include Andrew Jones (East Asian Languages and Literature) and Mary McGann (Ritual Studies) from the Graduate Theological Union. In addition to course enrollment, we encourage our students to establish intellectual connections with faculty and with other graduate students on campus through such means as the Townsend Center for the Humanities, area studies centers, such as the Center for African Studies, Center for Eastern European, Slavic, and Eurasian Studies, Center for Middle Eastern Studies, Center for Latin American Studies, Center for South Asian Studies, Center for Southeast Asia Studies, Center for Chinese Studies, Center for Korean Studies, Center for Japanese Studies, and centers and programs with particular foci such as the Center for the Study of Sexual Culture, the Center for International Development, and the Institute for the Study of Social Change.

Beyond the campus, the San Francisco-Oakland Bay area is particularly rich in performances and exhibitions of the world's cultures. The Bay Area's rich musical life and its diverse array of performing organizations reflects a complete spectrum of musical activity, such as the Ali Akbar College of Music, numerous venues for performance of a wide range of musics from around the world including western classical opera, symphonies, and ballets, as well as a panoply of popular music, folk music, and great jazz venues such as Freight and Salvage, La Peña, and Askenaz in Berkeley, Kimball's in Emeryville, and Yoshi's in Oakland.

Last updated 10/3/2005