Ethnomusicology and musical instruments

Instruments are key to our perception of music. When most people think of music, instruments that they have played, seen, or heard come to mind. But what defines an instrument? The article An Ethnomusicology of Musical Instruments: Form, Function, And Meaning, written by Henry M. Johnson, discusses the question: What are musical instruments? In the article he discusses that the aim of this question is to classify sound-producing objects as “musical instruments”, but it can also be used as a foundation to compare similar sound-producing objects across cultures. A connection to ethnomusicology in this article is the concept of music in different cultures. Across the world, cultures can vary significantly in how they do or don’t define music. This can lead to similar styles and instruments, but as we analyze them, it is important to remember their different backgrounds and purposes. 

Humans also play a large role in what is considered a “musical instrument”. Objects can be considered simply sound producing, but if they are played by humans, this could turn them into a musical instrument. This connection also allows Johnson to investigate the human behavior around sound-producing objects and not just the concept of a musical instrument. There are many material items whose primary function is not to make music, however, these materials should be studied as musical instruments. An example of this are the water harps found in old Japanese gardens. In these gardens, jars are placed in locations so water that falls on them produces a certain cascade of pitches. The argument surrounding these jars is as follows: even though the jars are considered sound-producing objects, does not mean that they should be left out of ethnomusicological discussion. This is because these jars can produce humanly organized sound which could be labeled “music-making”.

Johnson concludes that ethnomusicologists would benefit from studying an instrument not based on the instrument alone, but also its interaction with the performer and its environment.

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