| The recording is a significant part in the history of ethnomusicology. The continuous development of recording technology in the past 100 years, was actually establishing different types of sounds archives. As the probative evidence of history, the sounds archives'role in ethnomusicology are not only in the level of data collection and protection. Moreover, the archives themselves constitute a part of history, which reflect the recorder's attitudes and methods toward the history, and their academic tendency.The object of this thesis is aim at a piece of Mongolian musical recording made in Urga (now Ulan Bator) by the Finnish linguist G.J.Ramstedt, and makes a deeper investigation into the historical and contemporary context by means of research on historical data and fieldwork. On the one hand, the author sorted out and analyzed the personal information of G.J.Ramstedt and his the scientific explorations as well as his collections of the Mongolian folk songs in 1909. Then the author put these recording into the whole background of comparative musicology and from the perspective of sounds archives to explain the character of scientific positivism and the relationship with the European colonialism in early 20th century. On the other hand, the author, by putting herself into contemporary ethnomousicological context, tried to comprehend these folk songs in their social cultural environment by using the method of fieldwork. Then the meaning of fieldwork to the musical research could be seen. At last, the author construed the content of the historical recording by the manner of "fieldwork and text researching". Meanwhile, the author also systemized some related analytical methods to explain the tools selected at different time and academic backgrounds, and the results from that.
|
PDF Full Text Request