The Bridging Participation Of Sound Recording In Fieldworks Of Ethnomusicology

Based on the therotical knowledge of sound recording arts stuedies in undergraduate level andethnomusicological theories with related fieldworks, academic activities that pursued in graduatelevel, the writer gradually realized that the participation of sound recording in fieldworks is a quiteimportant technique tache. Sound recording, however, is not isolated, but affiliates to many cues inethnomusicological fieldworks. From this point of view, the achievements of sound recording tasksare not noly enslaved to the level of the equipments themselves, but also rest with the concepts, thecogonation of sound recording facilities of collectors. On the one hand, the evolution of soundrecording technology promoted the development of ethnomusicology. On the other hand,accompanying with the research in the context of ethnomusicology, collection of more cultural cuesand components are required in fieldworks, which are giving rise to the appearance of"hologrphicalrecord" pattern. The writer, therefore, analyses the sound recording which is capable of switichingthe "acoustical vision" to "manpower production" qua the briging participation for fieldworks andsoundarchives in this dissertation and also discover the humanism and historical course inethnomusicological context according to the previous arguments. Moreover, the writer wouldextend the central thesis to the interrelationships between human and facilities, human andtechnologies, human and cultures, and interpersonal relations. Besides, the soundarchives ofInsititue of music in China Arts Academy will be referred to dicuss the core issues of fieldworks,soundarchives, and how the sound recording changed ethnomusicology with the discussion ofconnotation and extentsion with the cue of"technology-conception-methology" in fieldworks.