on flogging the dead horse, again historicity, genealogy, and objectivity in richard watermans approach to music资料.pdf

On Flogging the Dead Horse, Again: Historicity, Genealogy, and Objectivity in Richard Watermans Approach to Music Author(s): Michael Iyanaga Source: Ethnomusicology, Vol. 59, No. 2 (Spring/Summer 2015), pp. 173-201 Published by: University of Illinois Press on behalf of Society for Ethnomusicology Stable URL: /stable/10.5406/ethnomusicology.59.2.0173 Accessed: 08-12-2015 15:55 UTC Your use of the JSTOR archive indicates your acceptance of the Terms Conditions of Use, available at /page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@. University of Illinois Press and Society for Ethnomusicology are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology. This content downloaded from 53 on Tue, 08 Dec 2015 15:55:45 UTC All use subject to JSTOR Terms and Conditions Vol. 59, No. 2 Ethnomusicology Spring/Summer 2015 On Flogging the Dead Horse, Again: Historicity, Genealogy, and Objectivity in Richard Waterman’s Approach to Music Michael Iyanaga / The College of William and Mary Abstract. In a critical appraisal and expansion of the historical methodology championed by ethnomusicologist and anthropologist Richard Waterman, this essay reconsiders the historicity of musical performance and demonstrates ways in which treating ethnography genealogically may serve as a means of doing what Thomas Solomon calls “postcolonial music history.” This essay is broadly divided into three parts: a r