Musical Ethnographies in the 21st century

卷“Musikethnographien im 21. Jahrhundert（21世纪世纪的音乐民族志）”汇集了在德语世界（即德国、奥地利和瑞士）工作的民族音乐学家的十篇文章。该卷主要供学生使用，他们手头上有一本相当于格雷戈里·巴兹（Gregory Barz）和库利（Alfrethey Cooley）在2008年编辑的英语卷《田野中的阴影》（Shadows in the Field）[1997年第一版]。《田野中的阴影》在民族音乐学方法研讨会上被列为必读阅读，也是民族音乐学中田野工作和民族志的参考书。类似的“阴影领域”从2008年再版，量“Musikethnographien im 21. Jahrhundert”专注于民族音乐学田野工作的反思方法。十三年后，“阴影在外地”本卷讨论了当前的田野工作，如多位实地考察，反思，对话，复调，反馈和合作研究以及遣返，研究数据的道德处理，研究人员和研究伙伴的作用的问题范式。它还包括对通过实地研究收集的民族志材料的时间性，数字社交媒体和自动民族志的作用的反思。后殖民主义观点几乎贯穿所有文章。该卷的一些artciles强调性别话语，女权主义批评，黑人生命问题辩论的后果以及通过表演民族志进行行动主义和干预的重要性。服务于反思的研究领域是在这卷流行音乐（Kuduro，Schlager，世界音乐，民间和说唱）以及土著音乐文化（约雷梅，Pemón），传统音乐和舞蹈从Muskar，葡萄牙，巴西，圣多美和普林西比以及音景研究。这些贡献根据民族志理论（第一部分）、方法论考虑（第二部分）和主题领域“民族志、记忆和过去”（第三部分）进行了系统化。

The volume "Musikethnographien im 21. Jahrhundert (Musical Ethnographies in the 21st century)" brings together ten articles by ethnomusicologists working in the German speaking world, that is, Germany, Austria and Switzerland. The volume is mainly intended to be used by students, who have with this volume an equivalent to the English volume "Shadows in the Field" edited by Gregory Barz and Timothey Cooley in 2008 [1st edition 1997] at hand. "Shadows in the Field" rates as mandatory reading in ethnomusicological seminars on methods and as a reference work for fieldwork and ethnography in ethnomusicology. Similar to the reedition of "Shadows in Field" from 2008, the volume "Musikethnographien im 21. Jahrhundert" focusses on the reflexive approach of ethnomusicological fieldwork. Thirteen years after "Shadows in the Field" the present volume discusses current paradigms of fieldwork such as multi-situated fieldwork, reflexivity, dialogicity, polyphony, feedback and collaborative research as well as questions of repatriation, ethical handling of research data, the roles of researchers and research partners. It also includes reflections on the temporality of ethnographic material collected through field research, the role of digital social media and auto-ethnography. A postcolonial perspective pervades nearly all articles. Some artciles of the volume highlight gender discourses, a feminist critique, consequences of the Black-Lives-Matter debate as well as the importance of activism and intervention through performance ethnography. Research fields serving for reflection are in this volume popular music (Kuduro, Schlager, World Music, Folk and Rap) as well as indigenous music cultures (Yoreme, Pemón), traditional music and dance from Madagaskar, Portugal, Brazil, São Tomé and Príncipe as well as Soundscapes Studies. The contributions are systematized according to theories in ethnography (part I), methodological considerations (part II) and the topic area "Ethnography, Memory, and the Past" (part III).