Challenge Question Feedback

My Question:

The ability to learn about a culture’s music and the role of that music within culture is easier because of technology. Information can “come from the source;” people from around the world can publish their work for a wider audience. If insider ethnographies exist with more frequency, what is place of outsider ethnographies? Do we need an outsider’s ethnography on a culture when we can readily get an insider’s?

Joe’s Response

My Feedback:

Hey Joe! It’s interesting that you chose to write on this question because I ended up answering a version of this same question in my response. Perhaps I twisted Jake’s question in order to answer as I did because I find the place of ethnomusicology in the modern age an interesting topic. In his question, Jake asked about whether the field of ethnomusicology “perpetuates the colonial relationship between cultures of unequal status.” I answered that it does, arguing that even in a time when technology allows for access to insider ethnographies, the field is still dominated by outsider ethnographies written mostly by westerners. Even though I argued that outsider ethnographies should be obsolete in a modern age, I wasn’t arguing from my heart, and I agree with you that there is just as much wealth in outsider ethnographies as there are in insider ethnographies; some observations will be missed by insider ethnographers, and combining perspectives gives us greater insight into music cultures. Though my response to Jake’s question wasn’t what I asked of you, I think our responses are related. You argued very well that outsider ethnographies are important, but I still think the dominance of them in the field is something that needs to be addressed.

So I’m wondering what you think, Joe. We both agree that outsider ethnographies are important, but are they over-represented in the field? If different voices are equally valid, is the voice of an outsider not trained in ethnomusicology as important as the voice of an outsider trained ethnomusicology? After all, ethnomusicologists may have biases taught into them by having to study western anthropological theory that you or I may not have. If our outsider opinions are as valid, what should the goals of trained ethnomusicologists be in a century when so many varying opinions are available because of technology? What makes trained ethnomusicologists perspectives unique that would justify their dominance, or does the academic field need to evolve to changing times?