1. Why would someone argue that the "virtual field" cannot be a place for "real" fieldwork? (This question derives from Shadows in the Field, Chapter 6, which you may use or ignore as you wish.)
2. In Chapter 4 of Shadows in the Field, Deborah Wong briefly touches on the idea of ethnomusicology as a force for social change. Do you think ethnomusicology should be a force for social change? If yes, what are some ways this can occur? If no, how should an ethnomusicologist avoid causing social change?
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