1. In "Heartland Excursions," Bruno Nettl looks at the way "music school society interprets the body of Western classical music with which it works." So many of our judgements and views on Western classical music are defined by what history has informed us of (ie. via textbooks, etc...). How can taking the experiential point of view of the ethnomusicologist (ie. fieldwork, live experience) challenge these preformed views? Can the "body of Western classical music" be molded to encompass the broader musical point of view of the ethnomusicologist's process of understanding and learning?
2. Anthony Seeger defines ethnography as a descriptive approach that goes beyond the writing down of how sounds are conceived, made, appreciated and how they influence other individuals, groups, and musical processes. How does Seeger's definition fit into Cliffords' four modes of ethnographic authority? Does it just fit into one mode, or can it apply to several modes within Cliffords' model?
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