V．Ethnomusicology in Europe, Africa and Asia
曹老师的总评：
以下的五篇文章是不同欧洲国家的“民族音乐学”状况报告，同学应该特别注意它们之间就学科发展、研究对象、方法、形式，以及其显示的对学科认同等诸多方面的共性。也请同学就这些共性与中国的学科发展作比较。
l Koudal, Jens Henrik. 1993. “Ethnomusicology and Folk Music Research in Denmark.” Yearbook for Traditional Music 25: 100-125.
l Michel, Andreas. 1987. “The Development of Ethnomusicology in the German Democratic Republic. An Overview.” Yearbook for Traditional Music 19: 171-186.
l Moisala, Pirkko. 1994. “The Wide Field of Finnish Ethnomusicology.” Ethnomusicology 38: 417-422.
l Elschek, Oskár. 1966. “Methodological Problems in Slovak Ethnomusicology.” Ethnomusicology 10: 191-198.
l Czekanowska, Anna. 1986. “The Teaching of Ethnomusicology in Poland: Experiences and Prospects.” Acta Musicologica 58/1: 24-35.
首三篇文章的主讲者：季婕颖（丹麦）、潘妍娜（芬兰）、齐江（德国）
主持人：齐江
三位主讲同学分别对三篇文章作了概括性的介绍：
芬兰：潘妍娜
一、背景：地处北欧，与俄罗斯接壤，因为历史上的东西关系受苏联影响较大。东欧解体后保持中立，后加入欧盟
二、文章内容：芬兰民族音乐学现阶段进行的研究：
（一）、左翼音乐：60、70年代受苏联背景影响（工人音乐、大众音乐为多）
（二）、介绍世界音乐
（三）、传统音乐研究作为音乐教育
（四）、参与不发达国家发展计划
（五）、民族音乐创作
三、芬兰民族音乐学的自我定位，三点，和我国情况相似
1对民族音乐学的看法比较混乱
2背景不是人类学的而是音乐学的
3关注芬兰民族音乐学的现象
四、自我思考：对比欧洲和北美的民族音乐学的特征和区别。
五、曾经的一些鸿沟和分歧都在逐渐消失
德国：齐江
文章写作与1987年，这一年的ICTM年会正好在德国举办，此时的德国还是分裂状态，而到93年，又在德国举办，而这时的德国已经统一成一个国家。
文章分为8部分：
首先是对三位重要人物的相关介绍（一、二、三）
四、关于历史的研究（工人歌曲等等）
五、对北欧的研究
六、少数民族研究（索布人）
七、跨文化研究
八、其他机构（大学等）
包括其他一些人物，如Hasse等
曹老师补充：自从比较音乐学历史以来，德国就有为他者（非我文化）作研究的传统。
国家委员会的成立和德国对于ICTM的贡献
丹麦：季婕颖
这篇文章脉络清晰，文章主要分为四大部分：
一：简介：
主旨：检验对丹麦的民间音乐传统的研究，而关注的重点在于收集、研究以及学术出版的情况。
内容：这篇文章包含的是现今丹麦以及法罗群岛的音乐的相关内容
二：三个主要时期：
1：1900年之前：民谣，关注于歌词的收集
2：1900-1960年：转折点，民间音乐研究更加制度化，民族音乐学的繁荣刚刚开始。
一、制度和组织
二、材料的收集和出版
三、研究
3：1960-1990年：民族音乐学开始向新的方向高数量、高质量的发展。
一、制度、组织和民间的复兴
二、材料的收集和出版
三、研究
三：丹麦和法罗群岛以外地区的传统音乐研究
四：总结
曹老师点评：
最后的五篇文章是对五个不同欧洲国家民族音乐学概况的介绍，包括学科发展、研究对象、方法、形式、学科认同等方面。我们可以从中归结出：欧洲与北美在学科的认同和发展有不同的着重点。
l Koudal, Jens Henrik. 1993. “Ethnomusicology and Folk Music Research in Denmark.” Yearbook for Traditional Music 25: 100-125.
曹老师为这篇文章选出的一些段落：
p. 100
This article examines the study of folk music traditions in Denmark, with an emphasis on collection, research and scholarly publication. 【焦点为民间音乐，重点为收集、研究、出版】
…five main trends in the study of popular song and music traditions:
1. Ethnomusicology/the history of song (The music in its interaction with its environment. The source material is normally present-day field recordings, but may also be of a more historical nature).
2. Musicology (The music itself). 【对音乐学的误解】
3. Words/folklore.
4. The ethnology of dance (Dance in its interaction with music and environment).
5. Aesthetics/literary aspects (The aesthetic quality of the words).
This article emphasizes the first two trends, but also touches upon points 3 and 4.
p. 103
The Period 1900-1960
…a turning point for work with folk music: it became institutionalized, and ethnomusicological research proper was initiated.
p. 106
Denmark’s first ethnomusicologist Hjalmar Thuren…mastered the method of comparative musicology and was of the opinion that the study of the folk music of former times must be based on a thorough knowledge of the modern tradition. He made the first major collection of song and ballad melodies on the Faroe Islands-naturally using the new tool of the time, the phonograph.
p. 108
The Period 1960-1990
The past thirty years have both qualitatively and quantitatively been the most fruitful for ethnomusicology in Denmark. The collection of material has been intense and research has taken new roads. In addition to this, the ethnology of dance has arisen as a scholarly discipline.
p. 110
Collection and editions of material
In Denmark the objective of the collecting has been to document song and music traditions of individuals and groups.
p. 114
Jens Henrik Koudal has been concerned in particular with a re-evaluation of historical source material.
p. 118
Conclusion
…Until 1960, the main interest was directed at orally transmitted traditions of the rural population, and in particular, the oldest song traditions…. Since 1960, there has been a large increase in the collection of material by means of tape recorder and video. Now an interest is also taken in urban traditions, individual singers and musicians, dance, composition systems, and the interrelation between music and environment…. Most researchers…take a greater interest in old music traditions than in general musico-sociological investigations of the modern environment.
From the point of view of method, a turning point was reached when the ideas of folk music being structured on the basis of “intonations” and “models”, and a more functional view of music, became recognized during the 1960s. Research purely concentrating on the analysis of music and literary/aesthetic research no longer hold so strong a position. Ballad research concentrating on words/folklore is still flourishing; the ethnology of dance is a recent addition. The main trend in research, however, is an increased interest in the interaction between music and environment. The development of folk music is seen here as a constant interaction between old and new, rural and urban, written and oral, individual and collective. Music has contained all the elements mentioned, but the strength of individual elements has varied throughout time and at various places. Research has taken account of the fact that what we call folk music has always been part of a process which included both tradition and renewal. 【显然，这里这里“音乐与环境的互动interaction between music and environment”，指向是“音乐”，要解决的是音乐的问题，而不是过偏文化上下文的北美式民族音乐学。但这与Hood的“把音乐置于其生态环境中研究”的视野是有共性的，怪不得Hood在他学术生涯的最后阶段选择了弃北美学界而与欧洲学界合作，因为他在欧洲能找到同仁（这是他亲口对我说的）。】
