Berger's proposition of a phenomenological ethnomusicology is clearly a convoluted one, if not one of platitude. Perhaps the joke (the platitude) is on me because I'm far off from beginning to understand the idea of "phenomenology"--I did a touch of google-research/reinforcement to walk away with this conception: "An experience is directed toward an object by virtue of its content or meaning (which represents the object) together with appropriate enabling conditions."
OK. I'm not quite sure if I buy Berger's argument that phenomenological ethnography is that distinct from how "the new ethnographers" value experience anyways. Maybe the step back to separate experience from object (from content/meaning) takes the next step in ethnographic reflexivity? This could very well be the case, but I can't help but think this added philosophy burdens the discussion of musical and cultural content that are contained within ethnographies.
Did we read Kiri's piece because her case study is representative of a phenomenological tact? This piece was fun and seemed to push the limits of anthropological and ethnographic work just in that the world of GTA has so many layers of cultural significance and experience. As a piece of mass-media, Kiri's fieldwork with the GTA games is interesting in how all of her experience with the game and it's community is perhaps made up most of content and meaning (and maybe not "object" because the game is the common denominator regardless of locale/community).
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