Contextual Theory, or Theorizing between the Discursive and the Material
File version
Version of Record (VoR)
Author(s)
Griffith University Author(s)
Primary Supervisor
Other Supervisors
Editor(s)
Date
Size
File type(s)
Location
License
Abstract
How can ethnography and music theory and analysis richly inform one another? One way is to incorporate the words and concepts used by high-level practitioners to build a theoretical scaffolding—to build an analytic framework that stems directly from those words and concepts. This essay develops three theoretical concept-spaces from key words used by the samba and Candomblé communities in Brazil: ritmo, balanço, and circularidade. Rather than attempting to practice “analytic ventriloquism” by suggesting that practitioners thematize their own practices in the ways developed here, it carefully uses these words as entry points into a constellation of original, creative theoretical positions.
Journal Title
Analytical Approaches to World Music
Conference Title
Book Title
Edition
Volume
7
Issue
2
Thesis Type
Degree Program
School
DOI
Patent number
Funder(s)
Grant identifier(s)
Rights Statement
Rights Statement
© 2020 by the author. Users may read, download, copy, distribute, print, search, or link to the full texts of this article without requesting permission. When distributing, (1) the author of the article and the name, volume, issue, and year of the journal must be identified clearly; (2) no portion of the article, including audio, video, or other accompanying media, may be used for commercial purposes; and (3) no portion of the article or any of its accompanying media may be modified, transformed, built upon, sampled, remixed, or separated from the rest of the article.
Item Access Status
Note
Access the data
Related item(s)
Subject
Screen and digital media
Creative and professional writing
Musicology and ethnomusicology
Persistent link to this record
Citation
Stover, C, Contextual Theory, or Theorizing between the Discursive and the Material, Analytical Approaches to World Music, 2020, 7 (2), pp. 13-40