Musicology Today, 13/3 (51) (2022), 225-242. Online and pdf here.

Many ethnomusicologists consider that their “field” recordings should also convey knowledge about the social and cultural context that lies beyond the immediate acoustic trace. But how exactly does one represent a “field” in an audio recording? And what is the relation between how music sounds in the ethnomusicologist’s recording, and how people on the “field” want it to sound? I will address these questions by comparing Speranța Rădulescu’s recordings of the brass band from Zece Prăjini with other recordings of the same ensemble. What “field” do the ethnomusicologist’s recordings reflect?

"Joc/Folk dance: Bătută" - track 9 on side B of the tape Fanfara din Zece Prăjini / The Wind Band of Zece Prăjini. Etno Pro/Muzeul Ţăranului Român C-006, 1994. Feat. barking dog.

Hora cu strigături — track 3 on the CD Peasant Brass Bands from Moldavia: Zece Prăjini, Ethnophonie CD 002, 2000. Compare with next track ("Hora lui Branea").

Hora lui Branea — track 8 on the CD Fanfara Speranţa: Vol. 1, S.C. Alidor S.R.L., 2001. Compare with previous track ("Hora cu strigături").

The brass band plays a bătută dance during a village fair in Buruieneşti. Compare with the bătută performance above ("Joc/Folk dance: Bătută").

The brass band plays a sârbă dance during a village fair in Buruieneşti. Rhythm and melody melt in the ambiance of the event.