Studies on a Global History of Music

A Balzan Musicology Project

Reinhard Strohm

• Publisher: Routledge
• Year: 2018
• Print ISBN: 9780367592264
• eBook ISBN: 9781351672740
• Edition: 1
• Topic: Media & Performing Arts
• Subtopic: Ethnomusicology

The idea of a global history of music may be traced back to the Enlightenment, and today, the question of a conceptual framework for a history of music that pays due attention to global relationships in music is often raised. But how might a historical interpretation of those relationships proceed? How should it position, or justify, itself? What would 'Western music' look like in an account of music history that aspires to be truly global?

The studies presented in this volume aim to promote post-European historical thinking. They are based on the idea that a global history of music cannot be one single, hegemonic history. They rather explore the paradigms and terminologies that might describe a history of many different voices. The chapters address historical practices and interpretations of music in different parts of the world, from Japan to Argentina and from Mexico to India. Many of these narratives are about relations between these cultures and the Western tradition; several also consider socio-political and historical circumstances that have affected music in the various regions. The book addresses aspects that Western musical historiography has tended to neglect even when looking at its own culture: performance, dance, nostalgia, topicality, enlightenment, the relationships between traditional, classical, and pop musics, and the regards croisés between European, Asian, or Latin American interpretations of each other's musical traditions.

These studies have been derived from the Balzan Musicology Project Towards a Global History of Music (2013–2016), which was funded by the International Balzan Foundation through the award of the Balzan Prize in Musicology to the editor, and designed by music historians and ethnomusicologists together. A global history of music may never be written in its entirety, but will rather be realised through interaction, practice, and discussion, in all parts of the world.

Index

Given names of composers and authors (except for Korean authors and composers) are abbreviated; given names of performers and other personalities are occasionally written out in full, for easier identification. Titles of musical works are listed only very selectively.

A-ak (Kor., traditional court music) 117

A-lo-pen (Iranian missionary) 122

‘A solis ortus cardine’ (‘Kvn tuušniŋ bučgakindæn’) 99, 100

Aaha, aaji e basante (R. Tagore) 70

Aaktae (Kor. Court Music Department) 202, 209

Abah, Olot 249, 251, 253

Abakha Ilkhan 107

ʿAbd Rabbih 90

Aberdeen 453

Aberdeen, University of 446

Abraham, RK 263, 272

Abu-Lughod, JL 108

academies, French 28, 30, 32

Ackermann, P 118, 135, 157, 174

Adel, K 333, 342

Adelung, C 45, 58

Adorno, TW 213, 214, 267

aesthetic 256–258, 260, 263, 267–270, 273

Afghanistan 120–121, 124, 126

Africa 8, 23, 43, 54, 191, 226, 438, 440

African cultural survivals 442

Agawu, VK 15, 372, 376, 425, 436

A...

Table of contents

• Cover
• Half Title
• Title Page
• Copyright Page
• Table of Contents
• List of illustrations
• List of music examples
• Preface
• Notes on contributors
• INTRODUCTION
• ENLIGHTENMENT
• EAST ASIA
• SOUTH AND SOUTH-EAST ASIA
• AMERICA
• Index