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Attitudes towards acculturation, and thus the range of acculturation strategies available, have not been consistent over time. For example, for most of American history, policies and attitudes have been based around established ethnic hierarchies with an expectation of one-way assimilation for predominantly White European immigrants. [27]
A conceptualization describes cultural assimilation as similar to acculturation [5] [6] while another merely considers the former as one of the latter's phases. [1] Throughout history there have been different forms of cultural assimilation examples of types of acculturation include voluntary and involuntary assimilation. [7]
Like in those examples, sound segments typically assimilate to a following sound, [note 2] but they may also assimilate to a preceding one. [note 3] Assimilation most commonly occurs between immediately adjacent-sounds but may occur between sounds that are separated by others. [note 4]
Comparative musicology is known as the cross-cultural study of music. [9] Once referred to as "Musikologie", comparative musicology emerged in the late 19th century in response to the works of Komitas Keworkian (also known as Komitas Vardapet or Soghomon Soghomonian.) [10] A precedent to modern ethnomusicological studies, comparative musicology seeks to look at music throughout world cultures ...
Cultural assimilation is the process by which a person or a group's language and/or culture come to resemble those of another group. The term is used to refer to both individuals and groups, and in the latter case it can refer to either immigrant diasporas or native residents that come to be culturally dominated by another society.
For example, the reflexive prefix is realized as oral je-before an oral stem like juka "kill", but as nasal ñe-before a nasal stem like nupã "hit". The ã makes the stem nasal. Some Finnish-speakers find it hard to pronounce both 'b' and 'p' in loanwords (pubi, pub) and so they voice (bubi) or devoice (pupi) the entire word.
Here is an example of how applied ethnomusicology goes further than just considering music's role within culture, but what music is "conceived to be" within a culture. [105] Clearly, a crucial part of applied ethnomusicology is fieldwork and the way in which fieldwork is conducted as well as the way the fieldworker speaks on and acts towards ...
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