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2 results

  • 7 - Encounter music in Oceania: cross-cultural musical exchange in eighteenth- and early nineteenth-century voyage accounts

  • from Part III - Music histories of global encounter and exchange
  • 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 183-201

  • Summary

    There are traditions of scholarship and thought that take the concept of a world-music history as a point of departure. This chapter examines early scholarly literature, central issues such as processes in which twentieth-century works that set out to narrate and comments on the history of world music. It explores the role that the world-music concept, viewed historically, has played in the recent history of music scholarship. For the people whose culture turned into Western civilization, music was developed inexorably to greater complexity until it reached various kinds of climax in the nineteenth and twentieth centuries. The chapter summarizes some of the landmarks among the early works that may claim in some way to be histories of world music. A few scholars, however, devoted themselves substantially to the notion that there is a world history of music in which Western music plays an important role.

  • 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.