In the 21st century, ethnomusicology tends to welcome an integrated study as a reason of diversifications of research theories and methods. How does Chinese tradition music maintain its natural active state in folk cultural soil under this globalization trend, and how does it adapt this new culture shock? Meanwhile, how do researchers explore interrelationships between music and its culture sur...

Background in ethnomusicology and music analysis. A cappella singing styles (called cantes in the flamenco jargon) are among the most fundamental song styles within the flamenco repertoire. Until very recently, flamenco singers have been only using oral transmission to learn them. Because of this form of diffusion, melody has become one of the main musical facets to be listened to, remembered, ...

Judith Becker’s contribution highlights the timely issue of interdisciplinary interaction between ethnomusicology and music psychology, with its attendant opportunities and difficulties. My response aims to first of all place this issue in the historical context of disciplinary development and differentiation. As for the present-day situation, I argue that for interdisciplinary engagement to be...

A theory of idiomaticism is developed and illustrated using music for Bflat valve trumpet. Physical measures were collected from two trumpet performers and used to construct a computer model of the instrument/performer. Using this model, several works composed by both trumpet virtuosi and non-trumpet players were analyzed. A conceptual distinction is made between measures of performance difficu...

This article is about whalesongs, hearing, musical brains, and a number of other topics explored over the past 35 years. Previous research is reviewed briefly, and more attention is given to recent efforts with an emphasis on collaborative research conducted with many wonderful colleagues. First is a brief account of the Institute for Music Research at the University of Texas at San Antonio, fo...

Regardless of Eric Hobsbawm’s negativistic understanding, ‘tradition’ is a powerful and dynamic (and in no way traditionalist) concept academic folkloristics. The widespread scepticism against ‘traditional music’, both as recognizable field research matter theoretical thought, based on an insufficient sometimes stereotypic understanding term with fascinating history. I argue that there good rea...