Musical activity takes place through sounds that are largely non-verbal. Becker argues that if we want to understand how the collective activity that constitutes music-making takes place we have to understand that very language. (This explains why so many sociologists of music have been or still are music-makers.) Furtheron Becker states that ethnomusicology focuses on musics that are unfamiliar to ears trained in Western music based on a twelve tone scale and all the other apparatus of conventional 20th century music. Becker explores a classic ethnomusicological work, „La fanfare de Bangui“ by Simha Arom, which contains a remarkable analysis of a kind of music that is very different from Western music and which had to be studied by methods Arom had to invent for the occasion.
- Arom, Simha (2009) La fanfare de Bangui. Paris: La Découverte.Google Scholar
- Balliet, Whitney (1986) American Musicians: 56 Portraits in Jazz. New York: Oxford University Press.Google Scholar
- Faulkner, Robert R. / Becker, Howard S. (2009) Do You Know … ? The Jazz Repertoire in Action. Chicago: University of Chicago Press.Google Scholar
- Forster. E. M. (1989) Howards End. First published in 1910. London: Penguin Classics.Google Scholar