text:
|Part of a series on the
|Anthropology of art,
media, music, dance
and film
Basic concepts
|Social and cultural anthropology
|Research framework
|Key theories
|Key concepts
Ethnomusicology is an area of study encompassing various approaches to the study of music (broadly defined) that emphasize its cultural, social, material, cognitive, biological, and other dimensions or contexts instead of or in addition to its isolated sound component or any particular repertoire.
Ethnomusicology, a term coined by Jaap Kunst from the Greek words ἔθνος ethnos (nation) and μουσική mousike (music), is often described as the anthropology or ethnography of music. Although early in its development as a discipline ethnomusicology was often positioned as a study of non-Western musics, ethnomusicology also includes the study of Western music from anthropological, sociological, or other perspectives. The territory of the field has changed radically since its beginnings. Bruno Nettl once characterized ethnomusicology as a product of Western thinking, proclaiming "ethnomusicology as western culture knows it is actually a western phenomenon."[1] Jeff Todd Titon has called it the study of "people making music."[2]
- 1 Definition
- 2 History
- 3 Theories and methods
- 3.1 Scholarly Relevance
- 3.2 Analysis
- 3.3 Fieldwork
- 3.4 Theoretical issues and debates
- 4 Academic programs
- 5 See also
- 6 References
- 7 Further reading
- 8 External links
Stated broadly, ethnomusicology may be described as a holistic investigation of music in its cultural contexts.[3] Combining aspects of folklore, psychology, cultural anthropology, comparative musicology, music theory, and history, ethnomusicology has adopted perspectives from a multitude of disciplines.[4] This disciplinary variety has given rise to many definitions of the field, and attitudes and focus of ethnomusicologists have changed and evolved since the initial studies in the area of comparative musicology in the early 1900s. When the field first came into existence, it was essentially limited to the study of non-Western music, in contrast to the study of Western art music which had been the area of focus for conventional musicology. Over time, the definition broadened to include study of all the musics of the world according to certain approaches.[5][6] In fact, the field was referred to early in its existence as "comparative musicology," though this term fell out of use in the 1950s.[7]
While there is not a single, authoritative definition for ethnomusicology, a number of constants appear in the definitions employed by top scholars in the field. It is agreed upon that ethnomusicologists look at music from beyond a purely historical perspective, and look instead at music within culture, music as culture, and music as a reflection of culture.[6][7] In addition, many ethnomusicological studies share common methodological approaches encapsulated in ethnographic fieldwork, usually traveling to an area (or areas) of interest, then interviewing people involved in the music culture and, often, taking on the role of a participant observer in learning to perform in a musical tradition, a practice Hood termed "bi-musicality".[8] Musical fieldworkers often also collect recordings and contextual information about the music of interest.[7] Thus, ethnomusicological studies do not rely on printed or manuscript sources as the sole source of epistemic authority.
While musicology's traditional subject has been the history and literature of Western art music, ethnomusicology was developed as the study of all music as a human social and cultural phenomenon. The primary precursor to ethnomusicology, comparative musicology, emerged in the late 19th century and early 20th century. Comparative musicology and early ethnomusicology tended to focus on non-Western music that was transmitted through oral traditions. But, in more recent years, the field has expanded to embrace all musical styles from all parts of the world.
The International Council for Traditional Music (founded 1947) and the Society for Ethnomusicology (founded 1955) are the primary international academic organizations for the discipline of ethnomusicology.
One antecedent to ethnomusicology was the field of comparative musicology. The development of the cent system by Alexander John Ellis in 1885 offered one way for scientists to empirically measure and compare pitches.[9] This provided the impetus for comparative musicologists to emphasize the differences between the music of different cultures, and to argue against culture contact as the primary explanation of similarities among geographically distant music communities.[10] Comparative musicologists, such as Béla Bartók, Zoltán Kodály, Komitas,[11] Constantin Brăiloiu, Vinko Zganec, Franjo Kuhač, Carl Stumpf, Erich von Hornbostel, Curt Sachs, Hugh Tracey, and Alexander J. Ellis.[12] primarily studied the music of oral, folk traditions in comparison to the Western musical tradition.[13][14] Others, like Laura Boulton, created commercial recordings and built on the work of early recordists like Frances Densmore and Jesse Walter Fewkes, who followed in the tradition of Americans trained by Franz Boas.
Formative years[edit]
In the 1950s, the comparative method fell under attack. One prominent researcher, Mieczyslaw Kolinski, argued that nature of their work was more than simply comparing two different fields; much of the work, particularly fieldwork, is descriptive.[10] Leading ethnomusicologist Bruno Nettl notes that comparing musics of different cultures would inherently invoke biases and wrong conclusions due to differing cultural contexts.[15] To complicate matters further, scholars faced the dilemma of defining their field of study, for as Willard Rhodes mentions, the general perception held by the public was that their research was obscure and not easily accessible.[16] As a response, the entire field underwent a radical shift by the 1960s, transforming from a field of comparative musicology into what is now known as ethnomusicology. In this process, the research became more fieldwork driven, and began to incorporate various anthropological theory and techniques.[17] In 1960, leading pioneer of American ethnomusicology, Mantle Hood, established the Institute of Ethnomusicology at the University of California at Los Angeles.
In the 1970s, ethnomusicology became a known word in the general lexicon. The influence of ethnomusicology spread to composers, music therapists, music educators, anthropologists, and musicologists, and ethnomusicology substantiated world music projects with its name and label. Alan Merriam described the participators in ethnomusicology at the time in four groups: 1) Those who use ethnomusicology for broad interests such as education, making money, or pleasure of performance, among others. 2) Professionals who act as brokers to persuade other professionals to share their knowledge with popularizers of the first group. 3) The musicology contingent that study the music in terms of sound and also the cultural context. 4) The anthropology contingent that focused on human beings with the stance that "music is culture" and "what musicians do is society." With the advent of the influence on anthropological researchers within ethnomusicology, the discipline became less data oriented and more of a theoretical discipline.[18] This led to the blossoming of employing other fields such as linguistics and psychology in helping anthropologists observe the cognitive processes and human behaviors in music making.
The 1980s saw a period of bias and representation awareness in ethnomusicology. Historically Western field workers quickly dubbed themselves experts on foreign music traditions, but ignored differences in worldview, priority systems, and cognitive patterns, and thought that their interpretation was truth.[19] This type of research had contributed to a larger phenomenon called Orientalism. Edward Said claims that in Orientalist literature, Western scholars claim expertise on other peoples lives and thus the right to represent them, which negatively impacts how these cultures are treated.[20] It also allows musical appropriation and fetishization, which essentializes and reduces a culture and its music.[21] Ghanaian ethnomusicologist Kofi Agawu details how the concept of "African rhythm" has been misrepresented this way as an example of this phenomenon – "African" music is not a homogenous body like it is often called, its differences from Western music are often considered deficiencies, and Western notations have ignored important nuances in rhythmic performance, among other complaints.[22]
Misrepresentation can also occur when a researcher does not pay attention to the validity of their sources. The very presence of an observer in the field can change what s/he is observing, like quantum uncertainty in physics. The meaning of a particular song is also distorted with every person it passes through, like a game of telephone. A performer may intend a certain meaning, but once that song is originally interpreted by the audience, recalled later in memory when recounting the performance to a researcher, interpreted by the researcher, and then interpreted by the researcher's audience, the song can take on a completely different meaning.[23] The 1980s can be classified by the emergence of awareness of cultural bias, source unreliability, and a general mistrust of the concept of "true" meaning and representation.
By the late 80s, the field of ethnomusicology had begun examining popular music and impact of media. Several definitions of popular music exist but most agree that popular music is characterized by having widespread appeal, association with urbanization, and relationship with media. Peter Manuel adds to this definition by distinguishing popular music by its association with different groups of people, performances by musicians not necessarily trained or intellectual, and dispersion through broadcasting and recording.[24] Theodor Adorno defined popular music by contrasting it from serious music, which is purposeful and generally cooperates within strictly structured rules and conventions. Popular music can operate less deliberately and focuses on creating a general effect or impression, usually focusing on emotion.[25]
Although the music industry developed over several decades, popular music drew ethnomusicologists' attention by the 90s because a standardizing effect began to develop. The corporate nature surrounding popular music streamlined it into a framework that focused on slight deviations from the accepted norm, creating what Adorno calls "pseudo-individualism"; what the public would perceive as unique or organic would musically comply with standard, established musical conventions. Thus, a duality emerged from this standardization, an industry-driven manipulation of the public's tastes to give people what they want while simultaneously guiding them to it. In the case of rock music, while the genre may have grown out of politicized forces and another form of meaningful motivation, the corporate influence over popular music became integral to its identity that directing public taste became increasingly easier.[26] Technological developments allowed for easy dispersion of western music, causing the dominance of western music into rural and urbanized areas across the globe. However, because popular music assumes such a corporatized role and therefore remains subject to a large degree of standardization, ambiguity exists whether the music reflects actual cultural values or those only of the corporate sector seeking economic profit.[27] Because popular music developed such a dependent relationship with media and the corporations surrounding it, where record sales and profit indirectly shaped musical decisions, the superstar person became an important element of popular music. From the fame and economic success surrounding such superstars, subcultures continued to arise, such as the rock and punk movements, only perpetuated by the corporate machine that also shaped the musical aspect of popular music.
Musical interaction through globalization played a huge role in ethnomusicology in the 1990s.[28] Musical change was increasingly discussed. Ethnomusicologists began looking into a 'global village', straying away from a specialized look at music within a specific culture. There are two sides to this globalization of music: on one hand it would bring more enrichment to cultures, but on the other hand it could homogenize music. Ethnomusicologists have approached this new combination of different styles of music within one music by looking at the musical complexity and the degree of compatibility. This Westernization and modernization of music created a new focus of study; ethnomusicologists began to look at how different musics interact in the 1990s.
By the 2000s, musicology, too, was looking into the notion that connections exist between social groups and characteristics.[29]
Ethnomusicologists continued to deal with and consider the effects of globalization on their work. Bruno Nettl identifies Westernization and modernization as two concurrent and similar cultural trends that served to help streamline musical expression all over the world. While creeping globalization had an undeniable effect on cultural homogeneity, it also helped broaden musical horizons all over the world. Rather than simply lamenting the continuing assimilation of folk music of non-western cultures, many ethnomusicologists chose to examine exactly how non-western cultures dealt with the process of incorporating western music into their own practices to facilitate the survival of their previous traditions.[30]
With the ongoing globalization of music, many genres influenced each other and elements from foreign music became more prevalent in mainstream popular music. Diaspora populations such as the Punjab population in England were studied due to the characteristics of their music showing signs of the effects of global media. Their music, like many other music of displaced cultures, was made up of elements from the folk music of their culture along with the popular music of their location. Through this process the idea of transnationalism in music occurred.[31]
Ethnomusicology in Popular Culture[edit]
Ethnomusicology is not limited to the study of music from "exotic" cultures; Western music and its influences is also a topic of interest. The influence of the media on consumerism in America is a bi-directional effect, according to Thomas Turino.[32] A large part of self-discovery and feeling accepted in a group is related to common musical taste, which leads to music producers catering to these certain groups. The statement Turino makes that "the sounds and imagery piped in over the radio and Internet and in videos shape adolescent sense of gendered selves as well as generational and more specific cohort identities" is only half the story; the influence works in both directions to shape modern American popular music culture. The culmination of identity groups, and teenagers in particular, across the country represent a significant force that can shape the music industry based on what is being consumed. A 1973 episode of Sanford and Son featured an ethnomusicology librarian, possibly inspired in part by the Ethnomusicology department library at UCLA, who authenticates the Sanford collection of "Blind Mello Jelly" records.[33]
Theories and methods[edit]
Ethnomusicologists often apply theories and methods from cultural anthropology, cultural studies and sociology as well as other disciplines in the social sciences and humanities.[34] Though some ethnomusicologists primarily conduct historical studies, the majority are involved in long-term participant observation. Therefore, ethnomusicological work can be characterized as featuring a substantial, intensive ethnographic component.
Scholarly Relevance[edit]
In 1971, Hood suggested that an ethnomusicologist must be familiar with a wide array of general musical knowledge as well as specific knowledge in at least one specific area of the world.[35] Hood recommended that students of ethnomusicology undertake substantial musical training in the field, a competency that he described as "bimusicality."[8] Fieldwork is an important methodology that characterizes many ethnomusicological approaches, which typically entails not only participant observation but also learning a performance tradition and technique so as to be better able to analyze and approach musical styles.[citation needed] Many early monographs in the field focused on the exposition of regional musics or musical instruments; for example, William Malm's Japanese Music and Musical Instruments (1959).[36] More theoretical or focused studies of particular genres or instruments groups have also become common, as well as theoretical elaborations of many areas and from diverse perspectives, including many of those discussed below.
During the early stages of ethnomusicology Marcia Herndon believed that because of ethnomusicologist's rocky beginning, the society might benefit by creating concrete models to analyze music and share data. These models included the organic model, the mechanical model, the process model, and the mathematical model.[37] However Mieczyslaw Kolinski, in 1976, found it dangerous to restrict music to fit into certain models of analysis. Music is such a large and ever-changing phenomenon of human kind and by putting music into certain categories and styles, it may limit the full potential of individuality within music. Furthermore, it is difficult to analyze music as its structure can change during performance and according to the performer.[38] Today, there is no strict way to share and analyze data amongst ethnomusicologists. It is up to the individual to comprehend data.
In the early years, ethnomusicological fieldwork favored the "armchair" approach, where ethnologists collected data, usually through transcription or on wax cylinders, and scholars would carry out the actual analysis at their home institutions.[39] Scholars in the Berlin school of comparative musicology, such as Carl Sumpf and Erich M. von Hornbostel, studied hundreds of recordings, many collected from colonial territories, eager to catalogue and archive musics from other cultures.[40]
The transition to the type of fieldwork that characterizes ethnomusicology arose in the American school. Focus shifted to scholars conducting their own fieldwork, living within the culture being studied, and improving data collection as technological advances arose. Ethnomusicologists stressed the importance of face-to-face interaction in order to gather the most accurate impression and meaning of music within a culture as possible.[39] David McAllester was paramount in helping the discipline transition from the "armchair" approach to contextual fieldwork with his work with the Navaho, with whom he lived and aimed to understand the Enemy Way music from their perspective.
As technology advanced, researchers graduated from depending on wax cylinders and the phonograph, to digital recordings and video cameras. Video recordings are now considered cultural texts, so ethnomusicologists can conduct fieldwork by recording music performances and creating documentaries of the people behind music.[41] However, these technological advances have allowed fieldwork to begin to shift back to the way fieldwork was for comparative musicologists.
The ethical concerns of ethnomusicology are primarily related to fieldwork. Mark Slobin writes about the application of ethics to fieldwork.[42] A heightened awareness of the need to approach fieldwork in an ethical manner arose in the 1970s in response to a similar movement within the field of anthropology.
Anthony Seeger uses a personal anecdote to illustrate the complexities involved with recording music in the field and bringing it back to his native Western culture.[43] Several potential problems with that may arise when doing fieldwork include attaining complete permission from the group or individual who is performing the music, as well as being sensitive to the rights and obligations related to the music in the context of the host society. The example Seeger uses to describe the complexities involved with fieldwork was his interaction with the Suya Indians of Brazil. The process he describes, from the creation and teaching of the music to the actual recording process to the publication and archival of the music, is complex and intricate even without taking ethics into consideration. Even with keeping to ethical practices, there is not always a process that will be fair for every party involved. Additionally, the ethical way is usually more lengthy and difficult than a non-ethical method. Seeger's anecdote is a prime example of the complexity of ethical practices in ethnomusicological fieldwork.
Theoretical issues and debates[edit]
Universals of music have been studied by seeking the commonalities between different types of musics and discovering a conceptual framework that subsume imaginary differences between them.[44] Ethnomusicologists initially started to question the possibility of universals because they were searching for a new approach to explain musicology that differed from Guido Adler's.[45] Charles Seeger, for instance, categorized his interpretation of musical universals by using inclusion-exclusion styled Venn-diagrams to create five types universals, or absolute truths, of music.[45] Some ethnomusicologists such as David P. McAllester argue that there are no absolute universals in music due to human variability and complexity but believe that there are "near-enough" universals, particularly music's seeming ability to revolve around some tonal center and heighten human experience .[46] Others, such as George List, fundamentally believe that there can be no universals whatsoever in music but maintain that scholars can learn much by still exploring the possibility of universals.[47]
Dane Harwood suggests that while there can be no cultural universals in music there exist universal modes of cognitively understanding that we all undergo when we listen to music.[48]
Many musical traditions' tuning's notes align with their dominant instrument's timbre's partials[49] and fall on the tuning continuum of the syntonic temperament, suggesting that tunings of the syntonic temperament (and closely related temperaments) may be a potential universal.[50]
Language models and linguistics[edit]
In the 1970s, a number of scholars, including musicologist Charles Seeger and semiotician Jean-Jacques Nattiez, proposed using methodology commonly employed in linguistics as a new way for ethnomusicologists to study music.[45][51] This new approach, widely influenced by the works of linguist Ferdinand de Saussure and anthropologist Claude Lévi-Strauss, was focused into finding the underlying symbolic structure behind the cultures and their music.[52]
In this vein, Judith Becker and Alton L. Becker theorized the existence of musical "grammars" in their studies of the theory of Javanese gamelan music. They proposed that music could be studied as a symbol, but also bore many resemblances to language, and therefore semiotic study could take place.[53]
Citing the non-scientific nature of music, Jean-Jacques Nattiez suggested that linguistic models and methods might prove to be more effective than the scientific method. The improvements of ethnomusicology, based on the linguistic methods, include the capability to rely in itself as a discipline, rather than continuously borrow resources from other sciences. The analysis complexity refined with the inclusion of structural dimensions, like diachronic and synchronic perspectives for music, and differentiations between the individual and the shared experiences.[51] While the idea of musical semiotics was common in the 1970s, it never gained great popularity, and only a few modern ethnomusicologists employ linguistic methods, with critics claiming that music only bears significant similarity to language in a limited number of cultures.[52]
Since ethnomusicology evolved from comparative musicology, ethnomusicologists have been using comparisons in their research. The problems that arose from using these comparisons stem from the fact that there are different kinds of comparative studies with a varying degree of understanding between them.[54] Ethnomusicologists who desired to find comparisons between music and culture have used Alan Lomax's idea of cantometrics.[55] Some cantometric measurements in ethnomusicology studies have been shown be relatively reliable, such as the wordiness parameter, while other methods are not as reliable, such as precision of enunciation.[56] Another approach introduced by Steven Feld is for ethnomusicologist who are interested with creating ethnographically detailed analysis of people's lives; this comparative study deals with making pairwise comparisons about competence, form, performance, environment, theory, and value/equality.[57]
Insider/outsider epistemologies[edit]
In The Study of Ethnomusicology: Thirty-One Issues and Concepts, Nettl presents the discussion of personal and global issues pertaining to field researchers in communities that are studied, particularly issues faced by Western researchers by citing Mantle Hood, "The American of French or British ethnomusicologists because of who he is—that is to say, what he has succeeded in becoming through years of training—is capable of insights and evaluations…"[58] Since ethnomusicology is a field that includes and participates in a vast array of other fields, it focuses on studying people, and it is appropriate to encounter the issue of "making the unfamiliar, familiar" a phrase well known in social psychology coined by William McDougall.[59] Like in social psychology, the "unfamiliar" is encountered in three different ways: (1) two different cultures come into contact and elements of both will not be immediately explicable to the other; (2) experts within a society produce new knowledge, which is then communicated to the public; and (3) active minorities communicate their perspective to the majority.[60] Nettl also talks about the differences in perspective of each individual and how that affects the final understanding of the research. There is a thin like between making the unfamiliar, familiar, and as an outsider, a researcher might try immersing into the culture that is being studied to gain full understanding. This however, can, depending on level of immersion, begin to blind sight the researcher and take away the ability to be objective in what is being studied. The background knowledge of each individual influences the focus of the study because of the comfort level with the material. Nettl points out the flaws in Western thinking in analyzing different societies and presents the idea of collaborating with a greater focus on acknowledging the contribution of the native experts. He believes that every concept is studied through a personal perspective, but "a comparison of viewpoints may give the broadest possible insight."[61] The position of ethnomusicologists, as outsiders looking in on a music culture, has often been discussed using Said's formulation of Orientalism, in the suggestion that the idea of music promoted by the field may be in many ways a Western construction based on an imagined or romanticized view of "the Other" situated within a colonial mindset.[62][citation needed]
Timothy Rice argues that despite the impossibility of being objective one's work ethnomusicologists may still learn much from self-reflection. In his book May it Fill Your Soul: Experiencing Bulgarian Music,[63] he questions about whether or not one can be objective in understanding and discussing art and, in accordance with the philosophies of phenomenology, argues that there can be no such objectivity since the world is constructed with preexisting symbols that distort any "true" understanding of the world we are born into. He then suggests that no ethnomusicologist can ever come to an objective understanding of a music nor can an ethnomusicologist understand foreign music in the same way that a native would understand it. However, an ethnomusicologist can still come to a subjective understanding of that music, which then shapes that scholar's understanding of the outside world.
Not only is there the question of being on the outside while studying another culture, but also the question of how to go about studying one's own society. Nettl's approach would be to determine how the culture classifies their own music.[64] He is interested in the categories they would create to classify their own music. In this way, one would be able to distinguish themselves from the outsider while still having slight insider insight. Kingsbury believes it is impossible to study a music outside of one's culture, but what if that culture is your own?[65] One must be aware of the personal bias they may impose on the study of their own culture.
Because of the nature of fieldwork in ethnomusicology, which requires researchers to develop personal relationships with informants, researchers must be aware of their own ethical responsibilities toward the informant and themselves. These concerns can include questions of privacy, consent, and safety. Because it is such a universal issue for ethnomusicologists, the Society for Ethnomusicology (SEM) has a Committee on Ethics that publishes a Position Statement on Ethics.[66]
Ethical issues in the field of ethnomusicology parallel those found in anthropology. The American Anthropology Association has made statements on the ethics of anthropological research, some of which concerns ethnomusicological study as well.
Mark Slobin observes that discussion on ethics has been founded on several assumptions, namely that: 1) "Ethics is largely an issue for 'Western' scholars working in 'non-Western' societies"; 2) "Most ethical concerns arise from interpersonal relations between scholar and 'informant' as a consequence of fieldwork"; 3) "Ethics is situated within…the declared purpose of the researcher: the increase of knowledge in the ultimate service of human welfare."; and 4) "Discussion of ethical issues proceeds from values of Western culture." Slobin remarks that a more accurate statement might acknowledge that ethics vary across nations and cultures, and that the ethics from the cultures of both researcher and informant are in play in fieldwork settings.[67]
Some case scenarios for ethically ambiguous situations that Slobin discusses include the following:
1. The discovery of a rare musical instrument leads to the debate of whether it should be preserved in a museum or left in its native culture to be played, but not necessarily preserved. 2. The filming of a documentary video brings up the issues of consent from those who are being filmed. Additionally, the film should not necessarily be shown if the producer is not present to answer questions or clarify the video's content if there are questions from the audience. 3. Deciding how the monetary gains of a musical production should be distributed is a more prominent case of ethical concern. 4. Attaining partial permission in the field is usually not enough to justify filming or recording; every person in the group should consent to the presence of a recording device. 5. Whether or not truthful but possibly condemning information about a group is a situation that should be treated with extreme caution. Any information that could cause trouble for the musicians may need to be censored.
Ethnomusicologists also tend towards the discussion of ethics in sociological contexts. Timothy Taylor writes on the byproducts of cultural appropriation through music, arguing that the 20th century commodification of non-western musics serves to marginalize certain groups of musicians who are not traditionally integrated into the western music production and distribution industries.[68] Steven Feld argues that Ethnomusicologists also have their place in analyzing the ethics of popular music collaboration, such as Paul Simon's work with traditional zydeco, Chicano, and South African beats on Graceland. Feld notes that inherently imbalanced power dynamics within musical collaboration can contribute to cultural exploitation.[69]
Ethnomusicology historically involved gender-biased research, since men dominated fieldwork and institutional leadership and tended to prioritize the experiences of men in the cultures they studied. This issue may have arisen partly because of social dynamics: in societies where men dominate public life and women are mostly confined to the private sphere, ethnomusicologists may have had trouble encountering female informants or gaining access to women's spaces.[70] Women contributed extensively to fieldwork from the 1950s onward, but women's and gender studies in ethnomusicology took off in the 1970s.[71] Ellen Koskoff articulates three stages in women's studies within ethnomusicology: first, a corrective approach that filled in the basic gaps in our knowledge of women's contributions to music and culture; second, a discussion of the relationships between women and men as expressed through music; third, integrating the study of sexuality, performance studies, semiotics, and other diverse forms of meaning-making.[72] Since the 1990s, ethnomusicologists have begun to consider the role of the fieldworker's identity, including gender and sexuality, in how they interpret other cultures. Susan McClary's watershed book Feminine Endings (1991) shows "relationships between musical structure and socio-cultural values" and has influenced ethnomusicologists, although it is not an ethnomusicological book.[73] There is a general understanding that Western conceptions of gender, sexuality, and other social constructions do not necessarily apply to other cultures and that a predominantly Western lens can cause various methodological issues for researchers.[74]
Mass Media[edit]
In the first chapter of his book Popular Music of the Non-Western World,[75] Peter Manual examines the impact technology has had on non-western music by discussing its ability to disseminate, change, and influence music around the world. He begins with a discussion about definitions of genres, highlighting the difficulties in distinguishing between folk, classical, and popular music, within any one society. By tracing the historical development of the phonograph, radio, cassette recordings, and television, Manuel shows that, following the practice set in the western world, music has become a commodity in many societies, that it no longer has the same capacity to unite a community, to offer a kind of "mass catharsis" as one scholar put it. He stresses that any modern theoretical lens from which to view music must account for the advent of technology.
Copyright poses an issue to ethnomusicologists in particular because of the differing degrees of protection from country to country. Rights surrounding music ownership are thus often left to ethics.
Anthony Seeger explains that "not all rights and obligations [with regards to music] are laws."[43] He cites his personal experience working with the Suyá people of Brazil, for whom he released a recording of their songs. Their practices and beliefs regarding inspiration, authorship, and ownership of songs, which often trace back to animals and spirits and can be "owned" by entire communities, do not allow for a single original author as defined by United States copyright law. In cases where copyright is even granted, Seeger identifies a number of concerns with respect to who—the informant-performer, the researcher, the producer, and the organization funding the research—earns what for their contribution to the copyrighted item.
Martin Scherzinger offers a differing opinion on copyright, and argues that the law is not inherently ethnocentric.[76] He cites the early ideology behind copyright in the 19th century, stating that spiritual inspiration did not prohibit composers from being granted authorship of their works. Furthermore, he suggests that group ownership of a song is not significantly different from the collective influence in Western classical music of several composers on any individual work.
The origins of music and its connections to identity have been debated throughout the history of ethnomusicology. Thomas Turino defines "self," "identity," and "culture" as patterns of habits, such that tendencies to respond to stimuli in particular ways repeat and reinscribe themselves.[77] Musical habits and our responses to them lead to cultural formations of identity and identity groups. For Martin Stokes, the function of music is to exercise collective power, creating barriers among groups. Thus, identity categories such as ethnicity and nationality are used to indicate oppositional content.[78]
Just as music reinforces categories of self-identification, identity can shape musical innovation. George Lipsitz's 1986 case study of Mexican-American music in Los Angeles from the 1950s to the 1980s posits that Chicano musicians were motivated to integrate multiple styles and genres in their music to represent their multifaceted cultural identity.[79] Music is not only used to create group identities, but to develop personal identity as well. Frith describes music's ability to manipulate moods and organize daily life.[80] Susan Crafts studied the role of music in individual life by interviewing a wide variety of people, from a young adult who integrated music in every aspect of her life to a veteran who used music as a way to escape his memories of war and share joy with others.[81] Many scholars have commented on the associations that individuals develop of "my music" versus "your music": one's personal taste contributes to a sense of unique self-identity reinforced through the practices of listening to and performing certain music.[82]
As part of a broader inclusion of identity politics (see Gender), ethnomusicologists have become increasingly interested in how identity shapes ethnomusicological work. Fieldworkers have begun to consider their positions within race, economic class, gender, and other identity categories and how they relate to or differ from cultural norms in the areas they study. Katherine Hagedorn's 2001 Book Divine Utterances: The Performance of Afro-Cuban Santería is an example of experiential ethnomusicology, which "incorporates the author's voice, interpretations, and reactions into the ethnography, musical and cultural analysis, and historical context."[83] The book received the Society for Ethnomusicology's prestigious Alan P. Merriam prize in 2002, marking a broad acceptance of this new method in the institutions of ethnomusicology.[84]
Through technological advances of the late twentieth century, recordings of music from around the world began to enter the Euro-American music industry. The term "world music" began in the 1990s as a marketing term to classify and sell records from other parts of the world under a unified label, and world music was introduced as a category in the Grammys shortly thereafter.[85] The term "world beat" was also employed in the 90s to refer specifically to pop music, but it has fallen out of use.[86] The issue of cultural appropriation has come to the forefront in discussions of music's globalization, since many Western European and North American artists have participated in "revitalization through appropriation," claiming sounds and techniques from other cultures as their own and adding them to their work without properly crediting the origins of this music.[87] Steven Feld explores this issue further, putting it in the context of colonialism: admiration alone of another culture's music does not constitute appropriation, but in combination with power and domination (economic or otherwise), insufficient value is placed on the music's origin and appropriation has taken place. If the originators of a piece of music are given due credit and recognition, this problem can be avoided.[88] Turino proposes the use of the term cosmopolitanism rather than globalization to refer to contact between world musical cultures, since this term suggests a more equitable sharing of music traditions and acknowledges that multiple cultures can productively share influence and ownership of particular musical styles.[89]
Cognitive psychology, neuroscience, anatomy, and similar fields have endeavored to understand how music relates to an individual's perception, cognition, and behavior. Research topics include pitch perception, representation and expectation, timbre perception, rhythmic processing, event hierarchies and reductions, musical performance and ability, musical universals, musical origins, music development, cross-cultural cognition, evolution, and more.
The perception of music has a quickly growing body of literature. Structurally, the auditory system is able to distinguish different pitches (sound waves of varying frequency) via the complementary vibrating of the eardrum. It can also parse incoming sound signals via pattern recognition mechanisms.[90] Cognitively, the brain is often constructionist when it comes to pitch. If one removes the fundamental pitch from a harmonic spectrum, the brain can still "hear" that missing fundamental and identify it through an attempt to reconstruct a coherent harmonic spectrum.[91]
Research suggests that much more is learned perception, however. Contrary to popular belief, absolute pitch is learned at a critical age, or for a familiar timbre only.[92][93] Debate still occurs over whether Western chords are naturally consonant or dissonant, or whether that ascription is learned.[94][95] Relation of pitch to frequency is a universal phenomenon, but scale construction is culturally specific.[96] Training in a cultural scale results in melodic and harmonic expectations.[97] Expectations of timbre are also learned based on past correlations.[98]
Researchers have also attempted to use psychological and biological principles to understand more complex musical phenomena such as performance behavior or the evolution of music, but have reached few consensuses in these areas. It is generally accepted that errors in performance give insight into perception of a music's structure, but these studies are restricted to Western score-reading tradition thus far.[99] Currently there are several theories to explain the evolution of music – that it piggy-backed on the ability to produce language, evolved to enable and promote social interaction,[100] evolved to increase efficiency of vocal communication over long distances, or enabled communication with the supernatural.[101]
Academic programs[edit]
Many universities around the world offer ethnomusicology classes and act as centers for ethnomusicological research. The linked list includes graduate and undergraduate degree-granting programs.[102]
See also[edit]
For articles on significant individuals in this discipline, see the List of ethnomusicologists.
- Choreomusicology
- Ethnochoreology
- Society for Ethnomusicology
- Fumio Koizumi Prize for Ethnomusicology
- List of musicology topics
- Musicology
- Smithsonian Folkways
- Sociomusicology
- World music
- ^ Nettl, Bruno (1983). The Study of Ethnomusicology. Urbana, Ill.: University of Illinois Press. p. 25.
- ^ Titon, Jeff Todd (1992). Worlds of Music (2nd ed.). New York: Schirmer. pp. xxi.
- ^ See Hood, Mantle (1969). "Ethnomusicology". In Willi Apel. Harvard Dictionary of Music (2nd ed.). Cambridge, Mass.: Harvard University Press.
- ^ Pegg, Carole (et al) (2001). "Ethnomusicology". In Sadie, Stanley. New Grove Dictionary of Music and Musicians (2nd ed.). London: Macmillan. pp. 8:367–403.
- ^ Myers, Helen. 1992. "Ethnomusicology." In Ethnomusicology: An Introduction, ed. Helen Myers, 3-18. New York: Norton.
- ^ a b Merriam, Alan. 1960. "Ethnomusicology: A Discussion and Definition of the Field." Ethnomusicology 4(3): 107-114.
- ^ a b c Nettl, Bruno. "The Harmless Drudge: Defining Ethnomusicology." The Study of Ethnomusicology: Thirty-one Issues and Concepts. Urbana: University of Illinois, 2005. 3-15. Print.
- ^ a b Hood, Mantle (1960). "The Challenge of Bi-musicality". Ethnomusicology 4. pp. 55–59.
- ^ Stock, Jonathan. 2007. "Alexander J. Ellis and His Place in the History of Ethnomusicology." Ethnomusicology 51(2): 306-25.
- ^ a b Kolinski, Mieczyslaw. 1967. "Recent Trends in Ethnomusicology." Ethnomusicology 11(1): 1-24.
- ^ Poladian, Sirvart (January 1972). "Komitas Vardapet and His Contribution to Ethnomusicology". Ethnomusicology (University of Illinois Press on behalf of Society for Ethnomusicology) 16 (1): 82–97.
- ^ Ellis, Alexander: On the Musical Scales of Various Nations HTML transcription of the 1885 article in the Journal of the Society of Arts (Accessed September 2008)
- ^ Gilman, Benjarmin Ives. 1909. "The Science of Exotic Music." Science 30: 532-535)
- ^ Bartok, Bela. 1931. Hungarian Folk Music. London: Oxford University Press. Pp. 1-11.
- ^ Nettl, Bruno. The Study of Ethnomusicology: Thirty-one Issues and Concepts. Chapter 6. Urbana: University of Illinois, 2005. Print.
- ^ Rhodes, Willard. 1956. "Towards a Definition of Ethnomusicology." American Anthropologist 58(3): 457-63.
- ^ Merriam, Alan P. 1969. "Ethnomusicology Revisited." Ethnomusicology 13(2): 213-229
- ^ Merriam, Alan P. 1975. "Ethnomusicology Today." Current Musicology 20: 50-66.
- ^ Nettl, Bruno. "You Will Never Understand this Music." The Study of Ethnomusicology: Thirty-one Issues and Concepts. Urbana: University of Illinois, 2005. Print.
- ^ Said, Edward. 1978. Orientalism. New York: Vintage Books.
- ^ Taylor, Timothy. 2007. Beyond Exoticism: Western Music and the World. Durham and London: Duke University Press.
- ^ Agawu, Kofi. 2003. Representing African Music: Postcolonial Notes, Queries, Positions. New York and London: Routledge.
- ^ Titon, Jeff Todd. 1988. Powerhouse for God. Austin: University of Texas Press.
- ^ Manuel, Peter. 1988. ''Popular Musics of the Non-Western World''. New York: Oxford UP.
- ^ Adorno, Theodor. 1990 [1941]. "On Popular Music." In ''On Record: Rock, Pop, and the Written Word'', ed. S. Frith and A. Goodwin, 301-314. New York: Pantheon Books.)
- ^ Frith, Simon. 1981. ''Sound Effects: Youth, Leisure, and the Politics of Rock'n'roll''. New York: Pantheon. Pp. 39-57.
- ^ Manuel, Peter. 1988. ''Popular Musics of the Non-Western World''. New York: Oxford UP.
- ^ Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts.Urbana and Chicago: University of Illinois Press. Chapter 30: "A New Era"
- ^ Shepherd, John. 2003. "Music and Social Categories." In The Cultural Study of Music, ed. M. Clayton, T. Herbert and R. Middleton, 239-248. New York and London: Routledge.
- ^ Nettl, Bruno. 1975. "The State of Research in Ethnomusicology, and Recent Developments." Current Musicology 20: 67-78.
- ^ Schreffler, Gibb. 2012. "Migration Shaping Media: Punjabi Popular Music in a Global Historical Perspective." Popular Music and Society 35(3): 333-358.
- ^ Turino, Thomas. 2008. Music as Social Life: The Politics of Participation. Chicago and London: The University of Chicago Press. Pp. 93-121.
- ^ "Ethnomusicology Library (excerpt)". Sanford and Son. 1973. https://www.youtube.com/watch?v=ghY5oMEBaEc.
- ^ E.g., from anthropology Turnbull, Colin (1961), The Forest People
- ^ Hood, Mantle, The Ethnomusicologist (Kent, Ohio: Kent State Univ. Press, 1971), pg 25.
- ^ Malm, William P. (1959), Japanese Music and Musical Instruments (1st ed.), Tokyo & Rutland, Vt.: C. E. Tuttle Co.
- ^ Herndon, Marcia. 1974. "Analysis: The Herding of Sacred Cows?" ''Ethnomusicology'' 18(2): 219-262 Pp 221-222
- ^ Kolinski, Mieczyslaw. 1976. "Herndon's Verdict on Analysis: Tabula Rasa." ''Ethnomusicology'' 20(1):1-22 pg. 20
- ^ a b Cooley, Timothy J. and Gregory Barz. 2008 [1997]. "Casting Shadows in the Field: An Introduction." In Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology, 2nd ed., 3-24. New York: Oxford UP.
- ^ Myers, Helen. 1992. "Ethnomusicology." In Ethnomusicology: An Introduction, ed. Helen Myers, 3-6. New York: Norton.
- ^ Lysoff, Renê T. A. 1997. "Mozart in Mirrorshades: Ethnomusicology, Technology, and the Politics of Representation." Ethnomusicology 41(2): 206-219.
- ^ Slobin, Mark. 1993. "Ethical Issues." In Ethnomusicology: An Introduction, ed. H. Meyers, 329-336. New York: Norton
- ^ a b Seeger, Anthony (1992). "Ethnomusicology and Music Law". Ethnomusicology 36 (3). pp. 345–360.
- ^ Nettl, Bruno. The Study of Ethnomusicology: Thirty-one Issues and Concepts. Chapter 4. Urbana: University of Illinois, 2005. Print.
- ^ a b c Seeger, Charles. 1975 [1970]. "Toward a Unitary Field Theory for Musicology." In Studies in Musicology, 102-138. Berkeley: University of California Press.
- ^ McAllester, David. 1971. "Some Thoughts on Universals in World Music." Ethnomusicology 15(3): 379-80.
- ^ List, George. 1971. "On the Non-universality of Musical Perspectives." Ethnomusicology 15(3): 399-402.
- ^ Harwood, Dane. 1976. "Universals in Music: A Perspective from Cognitive Psychology." Ethnomusicology 20(3): 521-533.
- ^ Sethares, William (January 1998). Tuning, Timbre, Spectrum, Scale (1st ed.). New York: Springer. ISBN 978-3-540-76173-0.
- ^ Milne, Andrew; Sethares, W.A.; Plamondon, J. (December 2007). "Invariant Fingerings Across a Tuning Continuum". Computer Music Journal 31 (4): 15–32. doi:10.1162/comj.2007.31.4.15. Retrieved 2013-09-19.
- ^ a b Nattiez, Jean-Jacques. 1973. "Linguistics: A New Approach for Musical Analysis?" International Review of Aesthetics and Sociology of Music 4(1): 51-67.
- ^ a b Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press.
- ^ Judith Becker and Alton L. Becker, "The Grammar of a Musical Genre, Srepegan," Journal of Music Theory 23 (1979), pp. 1–43.
- ^ Nettl, Bruno. The Study of Ethnomusicology: Thirty-one Issues and Concepts. Chapter 6. Urbana: University of Illinois, 2005. Print.
- ^ Lomax, Alan. 1978 [1968] Folk Song Style and Culture. New Brunswick, NJ: Transaction Books. Pages 3-33 and 117-168.
- ^ Henry, Edward O. 1976. "The variety of Music in a North Indian Village: Reassessing Cantometrics." Ethnomusicology 20(1):49-66.
- ^ Feld, Steven. 1984 "Sound Structure as Social Structure." Ethnomusicology 28(3):383-409.
- ^ Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. 105.
- ^ Wagoner, Brady. 2008. "Commentary: Making the Familiar Unfamiliar." Culture & Psychology 14(4): 467.
- ^ Wagoner, Brady. "Commentary: Making the Familiar Unfamiliar." Culture & Psychology 14.4 (2008): 467.
- ^ Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts.Urbana and Chicago: University of Illinois Press. 159.
- ^ Said, Edward (1978). Orientalism. New York: Vintage.
- ^ Rice, Timothy. 1994. May it Fill Your Soul: Experiencing Bulgarian Music. Chicago: University of Chicago Press. Pp. 3-135 and 64-88.
- ^ Nettl, Bruno. 1963. "A Technique of Ethnomusicology Applied to Western Culture." Ethnomusicology 7(3): 221-224.
- ^ Kingsbury, Henry. 1988. Music, Talent, and Performance: A Conservatory Cultural System. Philadelphia: Temple UP. Pp. 3-57.
- ^ http://www.ethnomusicology.org/?page=EthicsStatement&hhSearchTerms=ethics+and+committee
- ^ Slobin, Mark. 1993. "Ethical Issues." In Ethnomusicology: An Introduction, ed. H. Meyers, 329-336. New York: Norton.
- ^ Taylor, Timothy D. 1997. Global Pop: World Music, World Markets. New York and London: Routledge. Pp. 1-37.
- ^ Lomax, Alan. 1978 [1968]. Folk Song Style and Culture. New Brunswick, NJ: Transaction Books. Pp. 3-33 and 117-169.
- ^ Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. p.410
- ^ Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. p.409
- ^ Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. p.409
- ^ Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. p.414
- ^ Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press. p.417-18
- ^ Manuel, Peter. 1988. "Perspectives on the Study of Non-Western Popular Musics." In ''Popular Music of the Non-Western World'', 1-23. New York: Oxford UP.
- ^ Scherzinger, Martin. 1999. "Music, Spirit Possession, and the Copyright Law: Cross-Cultural Comparisons and Strategic Speculations." Yearbook for Traditional Music 31: 102-25.
- ^ Turino, Thomas. 2008. Music as Social Life: The Politics of Participation. Chicago and London: The University of Chicago Press. p. 95
- ^ Stokes, Martin. 1994. Ethnicity, Identity, and Music: The Musical Construction of Place. Oxford: Berg.
- ^ Lipsitz, George. "Cruising around the Historical Bloc: Postmodernism and Popular Music in East Los Angeles." Cultural Critique 5 (Winter 1986-1987): 157-77. pp. 158-59
- ^ Frith, Simon. 2003. "Music and Everyday Life." In The Cultural Study of Music, ed. M. Clayton, T. Herbert and R. Middleton, 149-158. New York and London: Routledge.
- ^ Crafts, Susan D., Daniel Cavicchi, and Charles Keil, ed. 1993. My Music. Middletown, CT: Wesleyan UP.
- ^ Turino, Thomas. 2008. Music as Social Life: The Politics of Participation. Chicago and London: The University of Chicago Press. p. 93
- ^ Miller, Rebecca. "Divine Utterances: The Performance of Afro-Cuban Santería by Katherine J. Hagedorn." Ethnomusicology 50.1 (Winter 2006): 149-151. p. 149
- ^ Miller, Rebecca. "Divine Utterances: The Performance of Afro-Cuban Santería by Katherine J. Hagedorn." Ethnomusicology 50.1 (Winter 2006): 149-151. p. 151
- ^ Taylor, Timothy D. 1997. Global Pop: World Music, World Markets. New York and London: Routledge. p.11
- ^ Taylor, Timothy D. 1997. Global Pop: World Music, World Markets. New York and London: Routledge. p.3
- ^ Feld, Steven. 1988. "Notes on 'World Beat'." Public Culture Bulletin 1(1): 31-7. p.31
- ^ Feld, Steven. 1988. "Notes on 'World Beat'." Public Culture Bulletin 1(1): 31-7. p.32
- ^ Turino, Thomas. 2000. ''Nationalists, Cosmopolitans, and Popular Music in Zimbabwe''. Chicago: University of Chicago Press. Pp 3-30 and 311-354 Pp. 7-9.
- ^ Bregman, A.S. 1990. Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge, MA: MIT Press.
- ^ Terhardt, E. 1974. Pitch, consonance, and harmony. Journal of the Acoustical Society of America, 55, 1061-1069.
- ^ Takeuchi, A.H. & Hulse, S.H. 1993. "Absolute pitch." Psychological Bulletin, 113, 345-361.
- ^ Miyazaki, K. (1989). Absolute pitch identification: Effects of timbre and pitch region. Music Perception, 7, 1-14.
- ^ Vos, J. & van Vianen, B.G. (1984). Thresholds for discrimination between pure and tempered intervals: The relevance of nearly coinciding harmonics. Journal of the Acoustical Society of America, 77, 176-187.
- ^ DeWitt, L.A. & Crowder, R.G. (1987). Tonal fusion of consonant musical intervals. Perception & Psychophysics, 41, 73-84.
- ^ Burns, E.M. (1999). Intervals, scales, and tuning. In D. Deutsch (Ed.), The psychology of music (2nd ed., pp. 215-264). San Diego, CA: Academic Press.
- ^ Bharucha, J.J. (1984). Anchoring effects in music: The resolution of dissonance. Cognitive Psychology, 16, 485-518.
- ^ Fales, Cornelia. 2002. "The Paradox of Timbre." Ethnomusicology 46(1): 56-95.
- ^ Repp, B.H. 1996. "The art of inaccuracy: Why pianists' errors are difficult to hear." Music Perception, 14, 161-184.
- ^ Cross, Ian. 2003. "Music and Biocultural Evolution" In The Cultural Study of Music, ed. M. Clayton, T. Herbert and R. Middleton, 17-27. New York and London: Routledge.
- ^ Nettl, Bruno. "In the Beginning." The Study of Ethnomusicology: Thirty-one Issues and Concepts. Urbana: University of Illinois, 2005. Print.
- ^ SEM: Guide to Programs
Further reading[edit]
- Merriam, Alan (1964). The Anthropology of Music. Evanston, Ill.: Northwestern Univ Press.
- Hood, Mantle (1971). The Ethnomusicologist. Mc-Graw Hill.
- Blacking, John (1973). How Musical Is Man?. Seattle: University of Washington Press. ISBN 0295952180.
- Myers, Helen, ed. (1992). Ethnomusicology: An Introduction. New Grove Handbooks in Music. London: Macmillan. ISBN 0333576314.
- Nettl, Bruno (2005). The Study of Ethnomusicology: Thirty-One Issues and Concepts (rev. ed.). Urbana and Chicago: University of Illinois Press.
- Stone, Ruth (2008). Theory for Ethnomusicology. Upper Saddle River, N.J.: Pearson Prentice Hall. ISBN 9780132408400.
External links[edit]
- Society for Ethnomusicology
- International Council for Traditional Music
- British Forum for Ethnomusicology
- International Library of African Music (ILAM)
- The World and Traditional Music Section at the British Library
- The Archives of Traditional Music at Indiana University
- Ethnomusicology, Folk Music, and World Music (University of Washington)
- Outreach Ethnomusicology An Online Ethnomusicology Community and Fieldwork Resource
- SIL publications on Ethnomusicology listed by country
- Yale Music Library Research Guide for Ethnomusicology
- Sanford and Son's 1973 take on Ethnomusicology


text:
Image Unavailable
- Sorry, this item is not available in
- Image not available
- To view this video download Flash Player
|List Price:
|$17.89 + $4.92 shipping
|You Save:
|$7.11 (28%)
Product Details
Would you like to give feedback on images?
This really is one of the best exfoliating body washes I've ever bought. It even helped soothe by dry skin so well that I haven't had to use lotion since I got it. Read morePublished 1 month ago by Rebecca
Love this. I have an issue with dry skin on my elbows and feet, and this is like magic in a bottle. My skin is so much softer.Published 4 months ago by ksay
Yes, this product is the most boring productive shower gel ever!!Published 4 months ago by Mrs. Holmes
This is a great exfoliant with a nice amount of soap. Love it, recommend it and will purchase again.Published 4 months ago by tg
Love this body wash. When used in the shower, it's convenient to use & sure does the job. I use the Philosophy Exfoliating Face Wash & it is also a very good product.Published 5 months ago by Karen Hart
I use this scrub all over every time I take a shower. It leaves my skin very soft and smooth.Published 6 months ago by Ungra417
I'm a big Philosophy fan. I have never tried the exfoliating body wash and I'm glad I did. On the day's I shave I just use it to exfoliate and not as a wash. Read morePublished 9 months ago by Lindsay

subset: commoncrawl


text:
User reviews
We haven't found any reviews in the usual places.
No eBook available
Compilation of basic banking laws within the jurisdiction of the ..., Volume 4By United States. Congress. House. Committee on Financial Services
Get Textbooks on Google Play
Rent and save from the world's largest eBookstore. Read, highlight, and take notes, across web, tablet, and phone.
Go to Google Play Now »
©2012 Google


text:
Heaven At The Hard Rock Riviera Maya- All Inclusive - Adult Only
Heaven At The Hard Rock Riviera Maya- All Inclusive - Adult Only in Riviera Maya
Heaven At The Hard Rock Riviera Maya- All Inclusive - Adult Only
Hotel Guest Rating: 9.5/10
Km. 72 Carretera Cancun-Tulum
Puerto Aventuras 77710
Hotel Freebies Available*
• Free Parking show dates
Welcome to the Heaven At The Hard Rock Riviera Maya- All Inclusive - Adult Only
The name says it all: the Heaven at the Heaven at the Hard Rock Riviera Maya - All Inclusive - Adult Only has all the rock-star amenities Priceline guests expect, from free Wi-Fi and private hot tubs to a selection of pools and dining options.
Hotel Features
At this adults-only playground, you can spend the day lounging beside four private swimming pools and then dance the night away at three exclusive nightspots. Done up in the hottest color schemes, the 577 plush rooms and suites have it all, including LCD TVs with satellite programming, personal liquor dispensers and fully stocked minibars. There are hot tubs big enough for couples to enjoy, some on private terraces with eye-popping views. Dreamy marble bathrooms are stocked with robes and slippers and high-end health and beauty products. There are three gourmet eateries reserved for guests at Heaven, and you can also sample the fare at the resort's six other dining spots. Take a long walk on the private beach, or try water sports at the natural sea cove. If that's not enough relaxation, the exclusive spa has a yoga studio, a state-of-the-art fitness area and 75 treatment rooms, including many for couples. Parking is free.
Hotel Location
You might never want to leave the hotel, but it would be a shame to miss a day exploring the bustling streets of nearby Playa del Carmen. About 25 miles away is Tulum, a stunning archaeological site. For a taste of the area's natural beauty, the Sian Ka'an Biosphere Reserve is about 32 miles south. Cancun International Airport is 48 miles from the resort.
Guest Favorites
Couples find everything they need at the Heaven at the Hard Rock Riviera Maya - All Inclusive - Adult Only, from rooms with private hot tubs to gourmet restaurants to nightclubs and water sports.
Top Amenities (see all)
- Internet access
- Indoor and outdoor pools
- Fitness facility
- Business center/services
- Breakfast Room
- Non smoking rooms available
- Cable/satellite TV
- Hair dryer
Heaven At The Hard Rock Riviera Maya- All Inclusive - Adult Only Amenities
- 24 hour room service
- Adjustable thermostat
- Air conditioning
- All meals and snacks
- AM/FM Alarm clock radio
- Balcony
- Banquet facilities
- Bar/Lounge
- Beach activities
- Beach adjacent to property
- Bellman/Porter/Bellboy
- Breakfast Room
- Business center/services
- Cable/satellite TV
- CD/DVD Player
- Coffee maker
- Color television with remote control
- Concierge services
- Daily activities
- Daily Entertainment
- Doorman
- Electronic locks
- Evening theme parties
- Evening Turndown Service
- Fitness facility
- Gift shop/News stand
- Golf nearby
- Hair dryer
- Hair salon/Barber
- Handicap Access
- High Speed Internet
- In room refreshment center (mini bar)
- In-room safe
- Indoor and outdoor pools
- Internet access
- Iron/Ironing Board
- Laundry/Valet services
- Medical services
- Meeting facilities
- Mini bar
- Multilingual staff
- Non smoking rooms available
- Non-stop service at 9 restaurants and 6 bars.
- Parking - complimentary
- Premium/Upgraded Linens
- Private Bathroom
- Refrigerator
- Rental car desk
- Room service - 24 hours
- Safe deposit boxes
- Sauna
- Scheduled transportation to Playacar Plaza and Moon Palace Golf & Spa Resort
- Scuba diving
- Snorkeling
- Spa Facility/Services
- Taxes and gratuities
- Telephone w/voicemail
- Tennis - outdoor
- Tour desk
- Unlimited domestic & imported beverages
- Volleyball
- Wake-up services
- Water sports (non-motorized)
- Whirlpool/Hot tub
- Wireless Internet
- Hard Rock Hotel Riviera Maya (0.1mi)
- Condominium Bellmare from $135 (0.3mi)
- Coral Maya Turquesa Condo Hotel from $160 (0.3mi)
- Catalonia Riviera Maya Resort & Spa- All Inclusive from $258 (0.5mi)
- Dreams Puerto Aventuras Resort & Spa - All Inclusive from $376 (0.7mi)
Most Popular Guest-Rated Hotels in Riviera Maya
Most Popular Business-Friendly Hotels in Riviera Maya
Most Popular Romantic Hotels in Riviera Maya
- Secrets Maroma Beach Riviera Cancun - Adults Only All Inclusive
- Hotel Aventura Mexicana
- Viva Wyndham Azteca Resort - All Inclusive
Most Popular Family-Friendly Hotels in Riviera Maya
- Dreams Puerto Aventuras Resort & Spa - All Inclusive
- Riu Palace Riviera Maya - All Inclusive
- Mahekal Beach Resort


text: Chris Brown, Justin Bieber & Akon in the Studio – Collaboration? by jbz 14/06/2014 | 8:12 12 Posted in News Justin Bieber in studio with Chris Brown, Akon & Maejor Ali – working on new music. Excited! Tags:akon, chris brown, collaboration, music Related Bieber News Justin Bieber to "Comeback Stronger" in 2015, New Album + Tour! Justin Bieber Recording With Michael Jackson's Son, Prince Jackson- Report Says Poo Bear & Justin Bieber to Release 'Finished Version' of 'Hard to Face Reality' on Nov 19th Exclusive: Justin Bieber Collaborating with Skrillex And Diplo, New Music Coming Soon! Comments Lovethebiebzzz 14/06/2014 | 8:57 I bet it's gonna be a blast! Love you Justin <'33 All the best Reply Birk 14/06/2014 | 9:11 I want to hear another Justin Bieber/Chris Brown track! I hope this is true and it will be on Justin's new album! Reply Lailani 14/06/2014 | 9:43 Wow Akon he's talented. Chris and Justin are super hot and are hotties Reply Bieber Fever 14/06/2014 | 10:27 Yaay chris brown and justin ♥ Reply BELIEVER LOVES JUSTIN BIEBER LOL 14/06/2014 | 10:30 cant wait to hear it and i love you JB Reply Hannah Bieber 14/06/2014 | 12:02 Omg I love akon !!!!! Im so excited Reply Belieber 14/06/2014 | 1:30 Yay another Chris Brown & Justin bieber colab. hopefully. Excited. Reply Julia 14/06/2014 | 3:14 What's with the west side dumb a** Reply Lailani 15/06/2014 | 9:12 No he's not. He's amazing and super hot. Reply EmmaBieberxoxo 14/06/2014 | 7:34 Yay new songs! Reply BelieberDude96 14/06/2014 | 7:54 I'm excited! Reply lambor500S 15/06/2014 | 12:19 Can't wait to hear the new music I know it is going to be hot. Also, Justin remember to be your on man & don't let anyone influence you into doing anything crazy! Take care Much love! Reply Leave a Reply Cancel reply Your email address will not be published. Required fields are marked * Name * Email * Website Math Captcha * three + = 9


text:
Choose your preferred language. We speak English and 41 other languages.
Most often used by people in the United Kingdom
All languages
Choose this apartmentSelf-catering with all the facilities you need
Saved to list
Save to a list
Leeds, United Kingdom
Marsh Lane, Leeds, LS9 8AY, United Kingdom – Show map
Excellent location — rated 9/10! (score from 26 reviews)
Rated by guests after their stay at Gateway Apartments.
|Room type
|Standard Two-Bedroom Apartment (3 Adults)
|Deluxe Studio (2 adults)
|Standard One-Bedroom Apartment (1 Adult)
|Deluxe Two-Bedroom Apartment (4 Adults)
|Deluxe One-Bedroom Apartment (2 Adults)
|Standard Studio (1 Adult)
Low rates
No booking fees • Save money! Best price guarantee — enter dates to see these prices!
63 properties in Leeds
Including hotels, apartments, villas and more.
26 verified reviews
We verify all reviews from guests who have stayed at Gateway Apartments. Find out more.
They speak your language!
Gateway Apartments's staff speak: English
Booking is safe
When you book with us your details are protected by a secure connection.
WiFi is available in the hotel rooms and is free of charge.
Private parking is possible on site (reservation is not needed) and costs GBP 12 per day.
Express check-in/check-out
Non-smoking rooms, Family rooms, Lift, Heating, Non-smoking throughout
15:00 - 22:00 hours
07:30 - 11:00 hours
Cancellation and prepayment policies vary according to apartment type. Please enter the dates of your stay and check the conditions of your required room.
Children and extra beds
All children are welcome.
All children under 3 years stay free of charge when using existing beds.
All children under 2 years are charged GBP 25 per person per night for children's cots/cribs.
All older children or adults are charged GBP 45 per person per night for extra beds.
The maximum number of extra beds/children's cots permitted in a room is 1.
Any type of extra bed or child's cot/crib is upon request and needs to be confirmed by management.
Supplements are not calculated automatically in the total costs and will have to be paid for separately during your stay.
Pets are not allowed.
Cards accepted at this property
Hover over the cards for more info.
Ideal alternatives for you
Based on 26 reviews
Value for money
Show reviews from:
Sort by:
Village Urban Resort Leeds NorthLatest booking: 2 hours ago There are 3 people looking at these apartments.
The room
Staff attentive and easy to contact when needed. Arrangements for checking in and getting to car parking space were excellent and we were even helped with taking our luggage to the apartment. Were then given a good overview of all the facilities. Some earlier reviewers had left negative feedback about the check-in procedure, but we found it to be perfect, so this has obviously been improved.
It was very warm in the building and in the apartment despite being very average temperature outside. Couldn't leave windows open at night as there was some traffic noise, so we were quite hot at night. Not sure what could be done about this...but just be aware. We all wished we'd taken some lighter weight clothes!
Efficiency of staff Safe Car Park Cleanliness Kitchen facilities En suite facilities 5* company and facilities all the way through - would definitely recommend and use again, but hopefully for longer next time
Liked everything about Gateway Apartments
Bed was comfortable, staff were very attentive
It was a little warm
only location is good
not value for money
very helpful staff
The studio was ok.
No check in reception. Had to phone and wait for a guy to arrive to let me into the car park, whilst blocking the entrance due to no signage for entrance to apartment. Once in the car park there was no signage how to get anywhere. Then had to walk out the car drive in ramp to phone again to get into apartment block. Asked to fill in a form with credit card details for a guy to take away. I think not...would have been nice to have tea or coffee on hand. Will NEVER use again.
I like everything about gateway apartment. The apartment was nice and clean and the staff were also very nice and friendly. I will use them again. 5* company.
Very friendly service. Ahmad & Raza were brilliant. One of the best serviced apartments that we have stayed in all over the world.
It was big enough for my family and it had a lot of facilities
Our fridge wasn't working, and it wasn't fixed or replaced and we were asked to either move which we didn't want to do because we had already settled, or stay there with no fridge
Functional and decent value for money without being too far from city centre.
Nothing in particular.
The room was very nice and clean, very well fitted out kitchen, bedrooms and bathrooms
We arrived to park our car in the car park at the gateway, overall it took us over an hour to check in and out of that car park due to having to wait for staff to check us in to the car park and provide a parking pass. Then after waiting for so long to eventually check in we still had to pay the £12 parking fee. As we had to wait so long we were late to meet friends in the city centre and had to rush getting ready to go out. Also when leaving the apparentment in the morning we then had to wait for a member of staff to check us out the car park after buzzing the buzzer numerous times. Not a very well run system by the company.
Dealing with onsite manager/supervisor was just fantastic - he was extremely courteous and helpful. I reached late in the evening, and he came down to greet me at the main entrance and take me to the apartment. The apartment itself was fabulous and very clean. I will definitely stay here again and I look forward to meeting him again!
Staff were very helpful when we had to have our booking changed because of a burst pipe. Loved the 2 bedroomed apartment with a balcony.
Quite difficult to find, but helpful directions from staff.
we enjoyed everything from beginning to end, we got there abit late however the night supervisor met us at the car park showed us to our parking space and then took us to our apartment, he showed us the layout, where everything was and how it worked, he couldnt be more helpfull, the apartment was very nice, uber cozy.
having to go home
Excellent! I loved everything, welcoming, cosy, warm, the staff are lovely! Just amazing!
Really good location in Leeds and very friendly staff. The studio did it's job @ the end of the day.
Place could have been a bit cleaner & I don't think it was anywhere near worth the price I paid. I was attending a convention and needed to be fairly close & this was the last place with availability otherwise I wouldn't have paid the money to stay there, stayed in 2 bedroom apartments for less!
Location into town centre. Parking
The constant telephones calls from the staff.
We stayed in a 2 bed spacious apt, spacious inc of all home comforts. Freeview channels, Free Wifi. Towels provided fully fitted kitchen with all utensils. Close proximity to town. Taxi to town shopping or nightlife was only £5. Quiet,clean,comfy & modern.
Massive let down was the not enough hot water, there was only 2 of us! You had to wait for the boost system to kick in. Also the power shower was not working on our stay.
We've negotiated with thousands of hotels to get the very best deals. We call them Secret Deals and they only last for a limited time.
You can get these deals for free by subscribing to our newsletters. You can even choose your favourite destinations to receive personalised deals.
Don't worry – your email address is safe with us. We'll never share your private information and you can unsubscribe at any time.


text:
Choose your preferred language. We speak English and 41 other languages.
Most often used by people in the United States
All languages
FREE cancellation on most rooms!
Instant confirmation when you reserve
Show me hotels in nearby cities:
|Best Western Bordeaux Gare Saint-Jean 15 Rue Charles Domercq, 33800 Bordeaux, France (1.4 miles from Le Clozet)
Score from 502 reviews: Very good There is 1 person looking at this hotel.In an 18th-century mansion house decorated in a style typical of Bordeaux, this 3-star hotel is located 325 ft from Saint-Jean TGV Train Station. More…
" Excellent staff, ideal location, clean contemporary rooms in a hotel with lots of character. "
$94 Average price per night
|Aquitain Hôtel 47 rue Eugène Leroy, 33800 Bordeaux, France (1.4 miles from Le Clozet)
Score from 403 reviews: Very goodThe Aquitain Hôtel offers rooms with flat-screen TV, free Wi-Fi internet access and some overlook the interior garden. It is located near the Bordeaux Saint-Jean Train Station. More…
" The hotel was ideally located for my son's apartment, which we were there to clear out as he is changing universities in the near future. "
$86 Average price per night
|Mercure Bordeaux Centre Gare Saint Jean 28/30 rue Tauzia, 33800 Bordeaux, France (1.6 miles from Le Clozet)
Score from 383 reviews: Good There are 2 people looking at this hotel.This 4-star Mercure is located 165 ft from Tram C station, a 3 tram-stop ride from the heart of Bordeaux and a quarter mile from Bordeaux Train Station. More…
" We liked the quality of bed linen, comfort of beds and pillows and the size of the room. Breakfast was very good, but you could buy the same quality much cheaper near the Station. "
$109 Average price per night
|Appart'hôtel Victoria Garden*** Bordeaux 127 Cours De La Somme, 33800 Bordeaux, France (2.1 miles from Le Clozet)
Score from 753 reviews: Good There is 1 person looking at this aparthotel.This residence is in central Bordeaux, a 15 minute tram ride from the National Opera House and Saint André Cathedral. It features 2 saunas and offers air-conditioned apartments. More…
" The staff spoke perfect English, very friendly, booked taxi for me for the airport. When I emailed them before my arrival with a question they got back to me straight away. The hotel was clean and had ... "
$65 Average price per night
|Quality Hotel Bordeaux Centre 27, rue du Parlement Sainte Catherine, 33000 Bordeaux, France (2.6 miles from Le Clozet)
Score from 1143 reviews: Excellent There are 5 people looking at this hotel.In a 19th-century old mansion, the Quality Hotel Bordeaux Centre is located near the lively Saint-Pierre district, surrounded by restaurants and boutiques. More…
" Location Room service Free internet Comfy bed Clean room "
$105 Average price per night
|L'Hôtel Particulier 44 rue Vital Carles, 33000 Bordeaux, France (2.7 miles from Le Clozet)
Score from 520 reviews: Excellent There are 2 people looking at this guesthouse.The 19th-century guesthouse of L'Hôtel Particulier is in Bordeaux, 325 ft from Saint André Cathedral. Most of the rooms and apartments have views of Saint-André Cathedral or the courtyard. More…
" Wonderful location, exceptional reception staff, kitchen in large room, separate toilet and bathroom. Loved entering from quite busy street into calm and relaxing environment tasteful decor everywhere. ... "
$97 Average price per night
We've negotiated with thousands of hotels to get the very best deals. We call them Secret Deals and they only last for a limited time.
You can get these deals for free by subscribing to our newsletters. You can even choose your favorite destinations to receive personalized deals.
Don't worry – your email address is safe with us. We'll never share your private information and you can unsubscribe at any time.


text:
Style Watch PollCeleb Fashion Hit or Miss?
Vote on this week's styles including Jennifer Aniston, Rihanna and more stars! You decide – are they fashionistas or flops? By Melissa Liebling-Goldberg
Credit: Lisa O'Connor/ZUMA
Updated: Friday Aug 22, 2008 | 11:25 AM EDT
More from PEOPLE
Latest News!
- Gone With the Wind Turns 75 (PHOTOS)
- Read the Cover Story: Family and Friends Remember Robin Williams
- Nick Jonas Surprises Fans at FAO Schwarz with a Casual Performance of Jealous on the Big Piano
- FROM TIME: Thinking About a Trip to Cuba? 5 Things You Should Know
- Elizabeth Olsen Chops Off Her Hair; the Year of the Bob Continues


text:
In absence of any index the table rows are accessed through IAM ((Index Allocation Map).
Can I directly access a row programmatically using IAM?
Does absence of index mean that the only way to read specific row is full table scan reading all table?
Why IAM cannot be engaged for more specific direct access?
"If the table is a heap (in other words, it has no clustered index), the bookmark is a row identifier (RID), which is an actual row locator in the form File#:Page#:Slot#" [1a]
There was no further definition of slot. Well, other sources tell that Slot# is really row number. Correct? or some further juxtaposing with IAM needed to determine specific row?
Now, introduction of clustered index means that no data can be directly accessed but only through eventually clustered index lookup or traversing clustered leaf nodes sequentially.
Do I understand correctly that introduction of clustered indexes is beneficial only for selecting continuous adjacent (ranges of) rows and only through clustered index keys?
Which else benefits are in clustering a table?
Do I understand correctly that clustered index introduction worsen the performance benefits of non-clustered indexes engagement for non-exact match queries? No direct access, sequential access cannot be parallelized, non-clustered indexes are increased by clustered index keys, etc., correct?
Well, I see that clustering a table makes sense for quite specific and well understood contexts while creation of primary keys always default in clustering a table. Why is it?
What do I miss in clustered indexes understanding?
Inside Microsoft® SQL Server™ 2005: The Storage Engine
By Kalen Delaney - (Solid Quality Learning)
Publisher: Microsoft Press
Pub Date: October 11, 2006
Print ISBN-10: 0-7356-2105-5
Print ISBN-13: 978-0-7356-2105-3
Pages: 464
[1a] p.250 Section Index organization from Chapter 7. Index Internals and Management
Here is helpful online copypaste from it
though without any credits to source
Related questions:
- No direct access to data row in clustered table - why?
- Why/when/how is whole clustered index scan chosen rather than full table scan?
- Reasons not to have a clustered index in SQL Server 2005
Update: @PerformanceDBA,
- "please, forget the doco you reference and start again"
Starting me again on the basis of what?
Any references, any advices. techniques how to start again?
- **"A Clustered Index is always better"
Can you answer my question Why/when/how is whole clustered index scan chosen rather than full table scan? The doubt is what is the meaning of Full Clustered Index Scan. Does not it read more than Full Table Scan?
- ""If there is an IAM, then there is an Index"
So, there is no IAM if there is no index at all?
There is IAM if there is CI?
How am I supposed to verify/study it?
if all docs write the opposite:
- there is IAM on non-indexed table
- there is no IAM if there is clustered index.


text:
Asian Babe Get Pounded - Pompie
Gorgeous Asian Amateurs from Porn Nerd Network
Lana Violet is a stripper with a fetish for bondage
Thai Student
Asian babe Jade teasing her fans - Mavenhouse
Asian amateur babe give a hot blowjob in POV
Teen cutie Momoko Tabata in a swiming suit outside her perky small tits hardening in the sun
PublicAgent Tiny Japanese pussy filled with big cock
Long haired slut photoshoot - Mavenhouse
Petite Asian Loves To Ride - Pompie
Babe Takes Huge Load - Pompie
very hot asian playing with her tis on webcam
Busty Japanese babe fucked at home uncensored
Süsse Deutsche Studentin!
Riley Reid fucking live on cam
Rio Kagawa´s Holes Filled With Pleasurable Sex Toys
Japanese babe sucking 10 dicks uncensored
Miyama Ranko Rubs Her Pussy While Sucking Two Dicks
Filipina babe fucked hard
Asian babe Jade modeling - Mavenhouse
Bathroom fuck, all natural
TeensDoPorn young looking Chinese sucks a bigcock deep
Indian porn actress homemade sex video
Riley Reid and Maddy O'Reilly's live fuck fest!
Oriental babe Syn modeling - Mavenhouse
First Hidden Cam in Real Massage Salon
Yui Sarina is in a sexy cat suit fingers her pussy before stuffing a cock into her mouth and draining it dry
DaneJones Lovely young short hair girl with big natural boobs climaxes with big cock inside her


text:
Green Coffee
Welcome to the green (unroasted) coffee offerings page. Browse our coffees below, or use the green coffee menu above to view coffees from specific regions. Order our green coffee by the full pound, or as discounted 2 Lb., 5 Lb. , 10 Lb. or 20 Lb. packages. All coffee ships in clear plastic zip bags except 20#s which ship in a cotton bag you can use to store the coffee. Read More...
Peru FTO Cajamarca - Leoncio Perez MicrolotA great basic cup of coffee, this microlot from Leoncio Perez has a robust brown sugar sweetness, candied nut, and light flavor of red apple. Finishing sweetly, this balanced coffee shows great at City+, but can also withstand a bit of heat. Nice to have a solid FTO in stock! City+ to Full City+. Learn More$5.95/lb
(or less)
Peru FTO Junin - Trujillano MicrolotMild to medium complexity, this lot from Trujillano shows substantial sweetness of raw and unrefined sugars, along with top notes of apple and even florals. Its a nice cup, well balanced, and one that shows best in the middle roast ranges. Brilliant malic acidity, and a sweet brown sugar and buttery flavor complete the cup. City+ to Full City. Learn More$6.25/lb
(or less)


text:
Harrison Beach Hotel Blog
Harrison Hot Springs, BC
Spring EventsFebruary 27th, 2014
Spring is an amazing time to visit Harrison Hot Springs. The weather is beautiful, the flowers are blooming, and the attractions are just beginning to open. Come out and see what all the fuss is about!
March 2014:
- Harrison Festival Society presents Mutato at Memorial Hall (Mar 8)
- Health & Wellness Fair at Memorial Hall (Mar 29)
- Heritage Walk/Run to help raise money for Kilby Historic Site and the Agassiz/Harrison Museum (Mar 29)
April 2014:
- Harrison Festival Society presents Ken Whiteley at Memorial Hall (Apr 5)
- Tulips of the Valley Festival (Late April – TBA)
- Opening day of Hell's Gate Airtram (Apr 17)
- Harrison Festival Society presents Lorne Elliot at Memorial Hall (Apr 26)
- Opening Day at the Agassiz Speedway (Apr 26)
May 2014:
- Harrison Festival Fundraiser (May 10)
- Family Night at the Agassiz Speedway (May 10)
- 8th annual Harrison Art Show (May 17-18)
- Featuring Street Stock, Mini Stock, Hornets and Midgets at Agassiz Speedway (May 24)
- Harrison Hot Springs Relay for Life (May 31)
For more information on events around Harrison Hot Springs, please click here…
Harrison Hot Springs PoolsJanuary 27th, 2014
If you are looking to relax and rejuvenate, come and visit Harrison Hot Springs! The public mineral pools are open daily and are especially soothing in the winter. Below you will find hours and rates for the public pools. If you would like more info, please give us a call, 1-866-338-8111.
Regular Hours:
- Monday through Thursday 10:00 am – 8:00 pm
- Friday 10:00 am – 9:00 pm
- Saturday 9:00 am – 9:00 pm
- Sunday 9:00 am – 8:00 pm
Admission: (One time swim.)
- Adult (age 15 – 64) $9.00
- Child (age 5 – 14) $6.75
- Toddler (age 4 and under) Free
- Senior (age 65+) $6.75
- Family (2 adults and 2 kids) $26.75
And just in case you were wondering, here is a brief history of the pools (Source: TourismHarrison.com):
Settlers are said to have 'discovered' the hot springs in 1858 while en-route to the gold fields. Their boat capsized, and expecting to meet their doom in the frigid waters, they instead discovered that the lake at that spot was not freezing but rather warm. Local Indians called the Hot Springs Kwals, meaning boiling water. The hot springs were revered as a "healing place" by natives of the Coast Salish people, who traveled by canoe.
It was later called St. Alice's Well after one of the daughters of British Columbia's first governor. A map dating back to 1846 bears the name Harrison Hot Springs, named in 1828 by Governor Simpson after Benjamin Harrison, a deputy governor of the Hudson's Bay Company from 1835 to 1839. Although the philanthropic Harrison was never in North America, he served as treasurer of Guy's Hospital in London for fifty years. The St. Alice Hotel and Bath House were built soon after the railroad reached Harrison Mills in 1885.
The two BC hot springs that exist in the area are Potash and Sulpher which are 40 degrees C (120 degrees F) and 62 degrees C (145 degrees F) respectively. The water is pumped from one of the springs and cooled to provide a indoor public mineral hot springs pool that visitors can enjoy at 38 degrees C (100 degrees F)
Happy New Year!December 31st, 2013
Merry Christmas!December 24th, 2013
Top Ten Winter ActivitiesNovember 15th, 2013
Top Ten Winter Activities in Harrison Hot Springs
1. Ski, Snowboard, or Tube at Hemlock Ski Resort, only 45 minutes from Harrison Hot Springs!
2. Soak and relax in the Harrison Hot Springs public mineral pools.
3. Take a cooking class at Limbert Mountain Farms.
4. Participate in the local Circle Farm Tour.
5. Treat yourself to a day at the spa.
6. Discover one of the many art exhibits at the Ranger Station Art Gallery.
7. Wine and Dine at one of the many fabulous restuarants…we love Morgans!
8. Check out the line-up of concerts hosted by the Festival Society. www.harrisonfestival.com.
9. Browse the unique shops and treat yourself to something special.
10. Relax and enjoy a stroll through town or walk around the lagoon.
Come out to beautiful Harrison Hot Springs and you are sure to have a good time! Give us a call if you have any questions or if you would like to book your winter vacation today 1-866-338-8111.
-Katie, Director of Sales & Marketing


text:
Edward Finley, Managing Director of Deutsche Bank Trust Company Services, discusses socially responsible investing.
By clicking below, I acknowledge and agree to Penton's Terms of Service
and to Penton's use of my contact information to communicate with me about Penton's or its third-party
partners' products, services, events and research opportunities. Penton's use of the information I
provide will be consistent with Penton's Privacy Policy.
Wealth Management
Sponsored Introduction Continue on to (or wait seconds) ×


text:
Loading stream...
Now Playing
Connect with Us
Podcasts & RSS Feeds
|All Content
|View all podcasts & RSS feeds
Most Active Stories
- Montgomery may ban smoking, Sirius-XM settlement
- Governor Bentley Challenges Legislators to Lead on Budget Crisis
- Blastoff for NASA's Orion Capsule! Muscle Shoals and the Rolling Stones
- Alabama GOP Chief: "No Third term," Airbus is hiring
- High School Graduation rate improves, Montgomery "no smoking" ban
The Two-Way
7:47 am
Thu August 9, 2012
Jobless Claims Dipped Last Week; Still In Range They've Been In All Year
By Mark Memmott
There were 361,000 first-time claims for unemployment insurance last week, the Employment and Training Administration says. That's down 6,000 from the week before (that previous week's total was revised up by 2,000).
Claims have stayed in a range between 350,000 and 400,000 all year. The unemployment rate, meanwhile, has also varied little: it's low this year has been 8.1 percent and the high has been 8.3 percent.
At best, economist Joel Naroff tells Bloomberg News, the labor market is "slowly but steadily improving." The Associated Press says claims are running at a level consistent with only "modest gains in hiring."
Copyright 2012 National Public Radio. To see more, visit http://www.npr.org/.


text:
Printable Area
By ~Leslie~ on August 31, 2004
Photo by French Tart
Photo by French Tart
"Absolutely the most delicious, moist cake ever with a decadent topping. Very simple to make, my family just loves this!"
Serving Size: 1 (164 g)
Servings Per Recipe: 12
"Yes, awesome is the perfect word to describe this wonderful moist cake! It really deserves more than a five star rating. I made this cake using half and half in place of milk and used fresh pears, and cut down the sugar a bit. The caramel topping was just to die for on the cake. I baked mine in my air convection oven at 325 degrees, and was done in 40 minutes. I can't wait to make this cake again, it was just delicious! Sarahsmomi, thank you so much for sharing another winner!...Kitten:)"
"I made this last night and it was utterly delicious! I did do some changes, which I think helped the resulting cake. I grated the apples (I used four smallish green ones) and instead of 1 cup of veg oil, I reduced it to 2/3c and put in 1 cup of milk. I also increased the amount of vanilla to 1 tbsp, and the cinnamon to 3 tsp. Eaten warm, it reminded me of very good carrot cake - except it wasn't carrot! DH LOVED the cake!"
"Outstanding! Made this morning and served this evening for a large family gathering and was very pleased with the results. I used 4 golden delicious apples, 1T vanilla and added 1/2 tsp cardomom. I also sprinkled it with walnuts after pouring on the glaze- it was truly enjoyed by all...can't wait to try with pears!"
"I mixed the cake just like it says in the recipe, but when I got to the part that said to "pour" , I had some serious issues. There was no way this was going to "pour" ! It was so thick that it was more a "dough" than a "batter". Question to the person who posted this: Is something missing in the ingredients that would make this able to "pour" ? Because try as I might...and following this recipe to a "T", it cannot pour. If it was supposed to be "spread in the pan" (which is how this turned out while following the recipe exactly) could you restate that in your recipe so other cooks don't think they've done something wrong while following the recipe?"
"First off, a good portion of these many (113 as I write) reviews can't be for the recipe as written. A number of the older ones talk about how great it is to find a recipe for cake with no fat... despite the cake having 1 cup of oil plus butter in its topping, as the recipe stands right now. I don't see any "Edited to add" note on the recipe, so I'm not sure when the cake changed, either. I decided it was worth trying since many of the most recent reviews still seemed positive.
The cake itself was fine. I liked that it let me use 4 cups of apples, it was easy to prepare and the end product was moist. Having made a couple of variations on this recipe as well, I will say that my family liked a less sweet cake (omitting up to 1 c sugar total), particularly if I used the topping, and that they also liked the texture when I left about 1/2 c of chopped apples out of the batter to press onto the top after smoothing it. For a "hearty breakfast" style cake, we liked subbing 1/3 of the flour for whole wheat, and adding quick cook oats and chopped pecans to the top. I also incorporated the recent suggestions to add more vanilla and cinnamon. My batter was also very stiff; "pour" felt more like "manhandle" the batter into the pan!
Overall, okay for a starter recipe... at least as it was written the day I tried it. :)"
"I thought this was very easy to make and a wonderful moist yummy cake. Definitely should serve with ice cream. I grated the apples because I don't like chunks of fruit in cakes. Only changes I made was I added I tsp of nutmeg and a couple shakes of cloves to the batter. It cooked right on time and came out great. My husbands only complaint that he couldn't really taste the apples, more like a really moist heavy spice cake."
"This cake was very easy to make and it was a hit. It is very moist and tasty. I followed recipe exactly but did add some powdered ginger and clove. It was super yummy out of the oven. I served it at a party the following day. Still tasted good however, next time, I won't put the sauce on until it is ready to be served."
"Delicious! My friend brought over some pears from her tree. I had never baked with pears before, look what Ive been missing. I'm so glad I found your recipe. I will be taking this cake to many pot lucks, as it is so different from the usual offerings."
"My family loved this cake for dessert tonight, topped it with French Vanilla ice cream ---it was heavenly!!! However I had to bake it for more than 45 mins. ( I think mine came out close to 1 hour!) Still, it came out great!!!"
"This stuff is really easy and good!!! Poked holes in the top like another reviewer suggested, using a fork, before pouring the glaze on. Thanks for the recipe. I made a few slight changes - used coconut oil for the oil, did 1 tsp pumpkin pie spice and 1 tsp cinnamon instead of 2 tsps cinnamon and for the glaze, I didn't use as much butter. I think it would've been too soggy if I had. Not sure what 1 lb. butter translates to, but I only did something around the neighborhood of 1/4 cup. Will definitely be making this again"
"NO wonder your family loves this! We did too!! I also added a few chopped apples to the topping for a little extra apple flavour explosion!! Delicious, merci Leslie Darlink! We ate this hot, like a pudding cake and Malcolm has CREAM on his slice! Saved for apple and pear harvest time - made for the Aussie/Kiwi Recipe Swap #26 - loved it! FT:-)"
"Made it, but found it horribly sweet. I used pears - but found the massive amount of sugar made it feel sticky, and too sweet - in a *not* so good way. It just made me feel bloated and like it wasn't worth the calories. I won't be making this again."
"I made this with some sliced apples left over from a gathering. I chopped my apples some what large and layed them on top of the batter. My DD and I ate over 1/2 of it the first day. Unless I'm serving this to a group I'm going to have to make a 1/2 recipe. If we didn't have nut allergies I would love to add some walnuts. And I can see myself using the topping for other things. This will be a fall favorite."
"Very moist and delicious cake. I made it in a springform pan. Next time I will 1/2 the topping recipe when using the springform pan."
"I made this cake as is except for adding more cinnamon, and some cloves, nutmeg, and ginger. I took it into the lab i work in and people loved it! I bake a lot, but this recipe has earned me the most compliments hands down!"
"Sooo good!!!! Made as stated and cake was gone in less than two days!!! Wi"
"This is really good but I had issues with it looking like a crumbly mess. I added another egg with no real change so I got back on to read reviews more to see if anyone else had the issue and seen they did. So I added the apples and kept mixing, spread it in the pan and baked. It came out good, has a nice taste but my ds said it needs icing. I used part Splenda in with the topping and you can't really tell it has a topping but it is really moist. I also poked holdes before pouring the topping on. As far as using 1 lb of butter it is 1/4 of a pound or 1 stick not a whole pound. Thanks for a nice recipe. I used 6 small apples."
"A cake I make to sell at work. Try using Bramley cooking apples, the tartness and flavour works well with the toffee. A great recipe and well done for putting it on here!!"
"Yumm! I halved the recipe and got an 8x8 out of it. It was moist and delicious. I added a bit of nutmeg and cloves too. For those who don't have eggs or don't want to use them, simply use 1tbsp ground flaxseed & 3tbsp water (simmered 5 min. then cool. makes 1 egg). I don't use eggs and you would never know it didn't have any. I'll be using this recipe again. Thanks!"
"This cake is outstanding!! Wonderfully moist and totally delicious! I am not usually a fan of cooked apples - but this recipe was right on! I will make this one again!!! Thanks Leslie!"


text:
Looking for a Used Grand Cherokee in your area?
CarGurus has 56,208 nationwide Grand Cherokee listings starting at $995.
Average User Score
4.4 ⁄ 5 stars
Based on 23 reviews
2003 Jeep Grand Cherokee Overview
Overall User Score
Based on 23 reviews
The 2003 Jeep Grand Cherokee offers a better ride, improved brake pedal feel, and easier steering over last year's models.
Drivers like the 2003 Jeep Grand Cherokee for its handling, appearance, and 4WD system. They dislike its poor gas mileage and interior plastics.
What's your take on the 2003 Jeep Grand Cherokee?
Jeep Grand Cherokee Questions
I Have A 2003 Jeep Overland With A 4.7 Ho Engine. When I Am Driving Around ...
see question
Shock Replacement For The Most Luxury Ride
Passanger Windows And Locks
i have replaced bcm and fuze box master door switch .ohm all wires in driver door all good.windows will not work from driver door or locks but the passanger will unlock everything but the driver. door...
I Have A 2003 Grand Cherokee Limited. Recently My Jeep Has Been Making A Lo...
I've already changed a lot of parts due to a similar problem. I changed all four tirod ends,both front wheel beerings,the ball joints in front, the track bar,right&left CV axels,also rebuilt the fro...