Social Mobilization Theory -

an interdisciplinary study within the social sciences that generally seeks to explain why social mobilization occurs, the forms underwhich it manifests, as well as potential social, cultural, and political consequences. The three current, leading theories explaining these phenomena include:

Resource Mobilization- The assumption here is that for a social movement to first exist and then to thrive, it needs to operate similar to a business which makes efficient use of available resources.[1] Scholars have suggested a typology of five types of resources:

Material (money and physical capital);
Moral (solidarity, support for the movement's goals);
Social-Organizational (organizational strategies, social networks, bloc recruitment);
Human (volunteers, staff, leaders);
Cultural (prior activist experience, understanding of the issues, collective action know-how)[2]
Political Opportunity/Political Process- Certain political contexts should be conducive (or representative) for potential social movement activity. These climates may [dis]favor specific social movements or general social movement activity; the climate may be signaled to potential activists and/or structurally allowing for the possibility of social movement activity (matters of legality); and the political opportunities may be realized through political concessions, social movement participation, or social movement organizational founding.



Folk Media -

formerly comparative musicology, is the study of music in its cultural context, cultural musicology. It can be considered the anthropology or ethnography of music. Jeff Todd Titon has called it the study of "people making music". It is often thought of as a study of non-Western musics, but can include the study of Western music from an anthropological perspective. "Ethnomusicology as western culture knows it is actually a western phenomenon." [1]

While musicology contends to be purely about music itself (almost always Western classical music), ethnomusicologists are often interested in putting the music they study into a wider cultural context. Ethnomusicology as it emerged in the late 19th century and early 20th century, practiced by people such as Béla Bartók, Zoltán Kodály, Vinko Zganec, Franjo Ksaver, Carl Stumpf, Erich von Hornbostel, Curt Sachsand Alexander J. Ellis, tended to focus on non-European music of an oral tradition, but in more recent years the field has expanded to embrace all musical styles from all parts of the world.

Ethnomusicologists apply theories and methods from cultural anthropology as well as other disciplines in the social sciences and humanities. Many ethnomusicological works are created not necessarily by 'ethnomusicologists' proper, but instead by anthropologists examining music as an aspect of a culture. A well-known example of such work is Colin Turnbull's study of the Mbuti pygmies. Another example is Jaime de Angulo, a linguist who ended up learning much about the music of the Indians of Northern California [2]. Yet another is Anthony Seeger, professor at the University of California, Los Angeles, who studied the music and society of the Suya people inMato Grosso, Brazil [3].