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2283 results in Ethnomusicology

Page 52 of 115

  • 16 - Four recurring themes in histories of Chinese music

  • from Part VI - Asian music histories
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 397-415

  • Summary

    This chapter examines the convergence of historical and anthropological practices that connected vernacular music practices to time and place. It establishes the ways in which the very collections of folk song yielded the possibility for history and history writing that proliferated to form the narratives of nineteenth-century Romanticism, particularly its political forms as nationalism. Folk song entered world-music history eponymously, that is, as narratives about people, the Volk. The chapter explores Johann Gottfried Herder's influence as a translator of epic, direct and indirect, deserved and undeserved, on the synthesis and fragmentation of world-music histories that accompanied the expansion of nationalism into colonialism and the subsequent human crises of modern history in the twentieth century and beyond. As epic, Herder's Cid relies on the language of power that divides Europe from Africa, the history of Europe from that of its other.

  • 15 - A story with(out) Gauchos: folk music in the building of the Argentine nation

  • from Part V - Music histories of the folk and the nation
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 371-394

  • Summary

    This chapter focuses on one central period within the flows across the Atlantic in the pursuit of wealth: the eighteenth-century Brazilian gold rush in the region that came to be known as Minas Gerais, or general mines. The complex hybrid cultural expressions forged within and through the transcontinental flows provide a unique insight into the complexities of the Golden Atlantic and the ways in which music has been deployed to engage with multiple encounters in contexts of intricate power relations. Music was part of everyday life in the mines. According to José Maria Neves, the colonial repertory in Minas employed Baroque, pre-Classical, and Classical elements. In many parts of Minas, a number of different dance associations turn out for the festival of the rosary, and each represents a distinct community, which is enacted through the performance of a distinct and identifiable musical genre.

  • 6 - Native American ways of (music) history

  • from Part II - The history of music before history
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 155-180

  • Summary

    This chapter explores how First Nations, Inuit, and Métis music history is beginning to be reconceptualized, by recognizing localized ways of history within indigenous communities. As scholars of Native American song and dance cultures rethink historical paradigms, there is growing acceptance that different cultural views of history should be regarded as complementary. The chapter provides some examples to emphasize that themes of regaining balance or renewing beliefs are more central to Native American music history than exact chronology. The focus of Native American historical work on renewal and revitalization seems to resonate with Aboriginal performance traditions as ways of remembering. In many Native American communities, ceremony may involve the enactment of a creation story or classic narrative. Historians such as L. G. Moses, have argued about the change in valence that Native American music and dance was given in the course of the twentieth century.

  • 26 - The politics of music categorization in Portugal

  • from Part IX - Musical discourses of modernity
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 661-677

  • Summary

    The invention of the phonograph toward the end of the nineteenth century brought music to the forefront of folk-song scholarship, hitherto focused almost entirely on lyrics. Transformed into sound objects, the oral musical traditions, could be collected, stored, and subjected to sustained scholarly scrutiny. Musics are collected in the southeastern Mediterranean, west of the Jordan River, known variously as Eretz Yisrael, Israel, Palestine, and the Holy Land. This chapter focuses on the different ways in which collectors of traditional music have negotiated specific artistic and scholarly interests and agendas with competing ideologies of nationalism in four large scale music recording and archiving projects based in and around Jerusalem. In the utopian vision, spiritual renewal, attained through the creation of a society based on Jewish cultural and ethical values, was the primary goal of Zionism, and a prerequisite for political emancipation.

  • 27 - The world according to the Roma

  • from Part IX - Musical discourses of modernity
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 678-702

  • Summary

    The Laura Boulton collection's history includes disputes between the collector and various institutions, and among and within the institutions as well, about the extent and nature of its contents. Through repatriation, the cultural and scholarly value of archives like Boulton's, this chapter suggests ways to move ethnomusicology forward as an ethical as well as scholarly enterprise, by confronting the moral obligations the discipline has incurred. The diversity of Boulton's sources, representing hundreds of different performers, dance, cultural traditions, communities, and languages, of which Boulton's knowledge was uniformly superficial at best, further hinders assessment of the collection as a scholarly or public resource. The recordings and films Boulton had made were her only claim to significance as an ethnomusicologist. Musical archives are only meaningful, only valuable for any purpose at all, when they are embedded in and actualize networks of forward-looking reciprocity. Their value in a history of world music is inseparable, morally and ethically, from such reciprocity.

  • 17 - On the history of the musical arts in Southeast Asia

  • from Part VI - Asian music histories
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 416-440

  • Summary

    Charles Fonton's project echoes Enlightenment approaches to music, music aesthetics, and the double nature of music as both art and science. Fonton starts with an account of the origins and history of oriental music. Music can be used as a clue and as a key that can disclose vital facets of human culture. The debates about music that raged in eighteenth-century France signal that the Enlightenment was dealing with materials and arguments that were too complex to be answered or solved in a satisfactory manner. In the emergence of later discourses of orientalism, the Enlightenment came to produce a bewildering number of simultaneous conversations intrinsic to the cultural and geographic exchange. By examining the different ways world music took shape in French music and musical scholarship in the eighteenth century, this chapter shows how the reflective horizon of Enlightenment authors and composers stretches beyond the West.

  • 24 - Global exoticism and modernity

  • from Part VIII - The globalization of world music in history
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 606-634

  • Summary

    Drawing on ethnographic fieldwork in South India, media sources, and secondary literature, this chapter invites thinking cross-culturally beyond sublime qualities of sound to reach for more compelling accounts of musical dignity, or how performers cultivate and defend their sense of self-worth between the work of art and the art of work. It talks about developing a framework via India and other case studies for thinking historically about musical pasts and human inequalities, including those that privilege the very act of historicizing itself. The chapter focuses on the modern Enlightenment categories of labor and dignity, an approach rooted in an earlier call for tactical humanism, or the use of a shared political language to find a place to stand vis-à-vis cultural difference and global disparities. Five interrelated themes in particular figure prominently in the discourse on musical pasts represented in the chapter: mobilities, values, bodies, technologies, and rights.

  • 25 - Encountering African music in history and modernity

  • from Part IX - Musical discourses of modernity
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 637-660

  • Summary

    In Carl Stumpf's approach, tone psychology was directed toward individual and experimental research and it played an important role in comparative psychology, one of Stumpf's primary interests. With the Berlin Phonogram Archive established, Stumpf specified three goals for comparative musicology: the analysis of sound using musical criteria, examination of the psychological role of music for human beings and the study of musical instruments. Together with Stumpf and Otto Abraham, Erich M. Von Hornbostel made contributions that are recognized in the history of world music as instrumental in the establishment of comparative musicology. Hornbostel and Stumpf were interested in the comparison of acoustics and music. Hornbostel published an article on comparative acoustic and music psychological studies, in which he specifies the methods to be used in the comparative study of world music: experiments with non-European subjects, pitch-measurements on musical instruments and studies that employ phonographs.

  • 32 - The ethics of ethnomusicology in a cosmopolitan age

  • from Part XI - Beyond world-music history
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 786-806

  • Summary

    In ethnomusicology, anthropology, folklore, popular-music studies, and related disciplines, categorization has been the subject of recurrent debate. Drawing upon the ethnographic and historical research on nationalism and cultural politics in modern Portugal, this chapter addresses the politics of music categorization. It focuses on three distinct periods marked by political transformations that had a major impact on Portuguese society and culture. The first period saw two major political regimes: the monarchy and a short lived republican government that was established in 1910 and ended with a coup d'état in 1926. The second is a period of turmoil leading to the establishment of the totalitarian regime dubbed Estado Novo led by António de Oliveira Salazar in 1933 and lasting just over forty years before ending with the April 25, 1974 revolution. The third period of democratic rule extends from1974 to the present, the second decade of the twenty-first century.

Page 52 of 115