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IMS Musicological Brainfood 3, No. 1 (2019)

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IMS Musicological Brainfood 3, No. 1 (2019) IMS Musicological Brainfood3, no. 1 (2019) Global musicology is a provocation. It is not just entirely feasible to write a history of Western a matter of including the Other but allowing the music without Western music as the focus. Also, Other the change the way we understand our‐ for the first time, we have a group-authored ar‐ selves. In this issue ofIMS Musicological Brain‐ ticle; as the scholarship becomes more global, food, we consider how a global perspective chal‐ the interconnections across time and space that lenges music theory and music history. Its alter‐ define the object of study, make it difficult to ity both distances us from what we assume we contain expertise in a single author. The global know, and encourages us to see how our identi‐ is just too complex: is group scholarship itself a ties are so connected with the Other that it is symptom of global musicology? Working Group Future Histories of Music Theory “Global” is hot. Witness:global history of ideas, Recently,agroupofusmetinFrankfurtatthe global history of philosophy, global history of Max Planck Institute for Empirical Aesthetics science, global medieval studies, global history under the auspices of theResearch Group His‐ of music, etc. Laudably, the recent and various tories of Music, Mind, and Body,toshareouron‐ global-historical turns have been accompanied going work in the history of music theory. Our by self-critical reflections on the methods and aim was to consolidate mounting interest in di‐ motives of such global expansions. Of course, versifying the scope of available music-theoreti‐ global-historical perspectives are nothing new cal sources. Some of us presented work in the to music studies: consider Al-Farabi’sKitāb al- history of Western theory, while others brought Mūsīqī al-kabīr (tenth century), François-Joseph to the table Chinese, Arabo-Persian, and com‐ Fétis’sHistoire générale de la musique (1869–77), parative perspectives. During the course of the or Sourindro Mohun Tagore’sUniversal History meeting, we found ourselves reflecting on an es‐ of Music: Compiled from Diverse Sources, Togeth‐ sentialsimilarityofmethod:ourgoalofbroaden‐ er with Various Original Notes on Hindu Music ing the scope of music-theoretical inquiry re‐ (1896). While it would neither be desirable nor quired us to distance ourselves from concepts expedient to rehabilitate such obsolete historical that we had long taken for granted, and interro‐ methodologies, it would, as Reinhard Strohm gate aspects of musical experience long held to has argued in a recentBrainfood provocation,1 be beyond question. The concept of the musical be an equally fatal error to abandon history al‐ note, techniques of listening, metrical hierar‐ together. At the same time, there is little to be chies, philosophical approaches to attention, the gained by retracing the rich body of work pro‐ purpose of textbooks, and the nature of musical duced by our colleagues in the field of ethnomu‐ metaphors: all of these suddenly seemed open to sicology. From the specific perspective of the radical redefinition. The study of musical cul‐ history of music theory, rather, the global turn tures or theories of music that are geographi‐ brings with it a new set of challenges and oppor‐ cally, chronologically, or otherwise distant from tunities. the ones in which we have been trained in‐ 3 IMS Musicological Brainfood3, no. 1 (2019) evitably produces both obstacles to—and unex‐ We also considered parallels between Chi‐ pected opportunities for—understanding. The nese and Greek music-theoretical traditions. For fruitful,ifattimeschallenging,outcomesofsuch someone familiar with the myth of Pythagoras defamiliarization encouraged us to consider the and the hammers, for example, the story told in role of distance in delimiting and shaping our re‐ Lüshi Chunqiu( 吕⽒春秋) of how Ling Lun trav‐ search, and to contemplate various possibilities eled westward to cut pitch pipes and discovered of expanding and diversifying the corpus of his‐ the twelve lü will certainly ring a bell. Yet pitch torical theoretical-aesthetic texts and materials pipes are not monochords, nor are thelü equiva‐ available for study. lent to any Greek tuning system, despite the two For example, we interrogated the concept of fullcenturiesofmisunderstandingsthatresulted themusicalnote,aconstructsofamiliarandfun‐ from Joseph Roussier’sEssai sur la musique des damental to Western musical theory and prac‐ anciens (1770).Still,bothfoundingmythsgesture tice that it seems that it has always just been toward complex conceptual networks linking there. But even fundamental concepts have his‐ mathematically conceived scale systems with tories, and in the West that of the note was ap‐ matters of aesthetics, politics, and cosmology. parently lost for a time following the dissolution Finally,weraisedaglasstothefirstvolumeof of the Roman Empire. Its ninth-century redis‐ theLexikon Schriften über Musik,aseriesedited covery through the musical writings of Boethius by Melanie Wald-Fuhrmann and Felix Wörner. and other late-Roman authors laid the founda‐ In an effort to expand the canon of music-theo‐ tionforanew,hybridmusictheorythatcreative‐ retical and aesthetic-critical texts, the series will ly adapted the speculative theory of antiquity to devoteathirdvolumetowritingsfromacrossthe the practical goal of disciplining liturgical chant globe. The editors hope their project will help by means of a rational understanding of its pitch cultivate awareness of, and accessibility to, the content. But the Carolingians’ concept of the rich heritage of music-theoretical and music- note as the “element” of music diverged in im‐ aesthetical texts outside Western cultures, with portant ways, we learned, from that generally the goal of helping pave the way for more inclu‐ accepted by modern scholars. sive, global thinking within the German-speak‐ We also undertook an expedition into the ing musical community and beyond. The series sonic world of medieval Persian music. It was an itself will soon be complemented by critical, unsettling, un-notated experience: all that re‐ commented editions and translations of texts. mains is literature, poetry, and manuscript illu‐ Numerous treatises have already been identified minations, whose lavish exuberance brought the and selected for inclusion in the printed volume, absence of sound into stark relief. Instead of and the editors plan to commission digital ver‐ getting hung up on the unanswerable question, sions of many of these in a subsequent stage of “What did the music sound like?,”we considered the project. a model of “re-mediated listening,” of attending Be it from the “aha!” moment of an unex‐ to sound through different media, not in order pected similarity or surprising difference—a mo‐ to hear long-vanished musical practices, but in ment neither to be naively embraced nor sum‐ order to investigate the role of the auditory in marily dismissed—such recontextualizations in‐ Persian cultural practices. Such listening is not vited us to unsettle well-known certainties and merely the historical artifact of a modern per‐ so to revisit, reassess, and reconsider. This is cer‐ spective on pre-modern, un-notated musical tra‐ tainly true for scholars focused on “Western” ditions, but rather a mode of engagement al‐ music theory and aesthetics. Perhaps it is for ready embedded in medieval Persian poetry and othersaswell.AsYosihikoTokumaruremindsus, philosophies of listening. These observations can “every culture can and should be studied from have fruitful analogues in other kinds of writings every division of musicology.”2 Throughout our dealingwith ,ratherthanin,music,andalongthe conversations we found ourselves longing for way they have the capacity to expand notions of a future that would better enable interactions listening, sound, music theory, and musical prac‐ and collaborations across linguistic borders. This tice. could include 4 IMS Musicological Brainfood3, no. 1 (2019) • support for translations and critical editions; a crowd-sourced bibliography of music-theoret‐ • new forums and research groups; icaltexts.Wehavepostedacontribution form on • crowd-sourced bibliographies of global or the SMT/AMS History of Theory Study/Interest comparative music theories; Group’s website, and all contributions (visible in • the creation of a global history of theory ped‐ real time here) will be added to the bibliography agogies; or publicly available on theHistory of Music The‐ • expanded paradigms of what music theory ory resource page. If you would like to feature can entail. the contribution form on your own websites or Even as we begin to imagine how these ventures social media, we will gladly provide the code. An might take shape, we are aware that there are initial list of the texts that will be included in the practical and intellectual considerations we can‐ Lexikon series can be foundhere ;andweallwel‐ not yet articulate. If broadening the archive of come additional ideas as well as suggestions for historical musical theory and aesthetics is to collaboration! Please write to us. be productive, it must entail shifts in scholarly practices and institutional conventions. It will Signed require openness to different conclusions and • DavidE.Cohen (Max Planck Institute for Em‐ new, perhaps unexpected results arising from pirical Aesthetics) global networks and encounters that decenter • Roger Mathew Grant (Wesleyan University) the experiences with which many of us, as West‐ • Andrew Hicks (Cornell University) ern scholars, are more
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