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IMS Musicological Brainfood3, no. 1 (2019)

Global is a provocation. It is not just entirely feasible to write a of Western a matter of including the Other but allowing the 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 and . 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 of Music Theory

“Global” is hot. Witness:global history of ideas, Recently,agroupofusmetinFrankfurtatthe global history of , global history of Max Planck Institute for Empirical 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 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 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‐

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evitably produces both obstacles to—and unex‐ We also considered parallels between Chi‐ pected opportunities for—understanding. The nese and Greek music-theoretical . 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 twelvelü 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 , 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 , poetry, and illu‐ Numerous treatises have already been identified minations, whose lavish exuberance brought the and selected for inclusion in the printed volume, absence of 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, of listening. These observations can “every 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

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• support for translations and critical editions; a crowd-sourced bibliography of music-theoret‐ • new forums and 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 timehere ) 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 ) the experiences with which many of us, as West‐ • Andrew Hicks (Cornell University) ern scholars, are more familiar. • NathanJohnMartin (University of Michigan) We challenge ourselves to work beyond what • Caleb Mutch (Indiana University) we have previously assumed to be borders. We • Carmel Raz (Max Planck Institute for Empir‐ encourage our professional to consider ical Aesthetics) papers and sessions that sit at the boundaries of • Melanie Wald-Fuhrmann (Max Planck Insti‐ disciplines such as history, philosophy, sociol‐ tute for Empirical Aesthetics) ogy, and . We aspire therefore to an • Felix Wörner(Max Planck Institute for Em‐ intellectual openness to new models of scholar‐ pirical Aesthetics and Basel University) ship, new methods of collaboration, and new • Anna Zayaruznaya (Yale University) platforms of exchange. Because we cannot antic‐ ipate the blind spots and pitfalls of this under‐ References taking, we aim to cultivate a humble exuberance 1 Reinhard Strohm, “, Heritage, His‐ toward materials, both new and familiar. We are tory: A View on Language,”IMS Musicologi- acutely aware of how much there is to learn and cal Brainfood 2, no. 1 (2018): 5–10,https:// are eager to begin learning in order to facilitate brainfood.musicology.org. the enrichment and expansion of our histories of 2 Yosihiko Tokumaru, “Contemplating Musi‐ music theory. cology from Japanese Perspectives,”IMS Mu‐ What next: If thisBrainfood provocation has sicological Brainfood2,no.1(2018):3–5, https: struckachordwithyou,considercontributingto //brainfood.musicology.org.

TheWorking Group Future Histories of Music Theory, convened by Carmel Raz and Nathan Martin as a project of theResearch Group Histories of Music, Mind, and Body at the Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, aims to foster discussion around recent and emerging trends in the history of theory, including global and material histories; , embod‐ iment, and affect; and digital and empirical methods. The group sponsors workshops, seminars, re‐ search residencies, and publication projects with the aim of advancing research on historical music theory in the broadest sense.

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David R. M. Irving

I’ve long been struck by how historical musicol‐ concept and apply it to early modern repertories ogists working on what they call “Western and practices is both misleading and problem‐ Music” (in English, at least) consider the concep‐ atic. Just as ethnomusicologists seek to study tual boundaries of their subject to be self-evi‐ in their contexts and relativistically, that dent. There are conventions for studying, per‐ is, on their own terms, it behooves the historical forming, and listening; a standardized or at least musicologist to approach earlier music practices codified set of genres, instruments, and voice according to their own time-bound concepts, types; and a central canon of notated works, ac‐ and not anachronistically. As Matthew Gelbart cumulated or recovered over the period of more has trenchantly observed: than a millennium. Western (WAM) is we cannot unproblematically apply the idea of art understood to have specific geographic origins, music without distorting history before the end of but it is also believed to possess a capacity to the eighteenth century, [but] we cannot ignore it (and its shaping of judgments and historiography) transcend physical and social boundaries. Wide‐ after the turn of the nineteenth century in some spread belief in the transcendental potential of circles, and after the mid-nineteenth century any‐ thisartformhasextendedtoaestheticandphilo‐ where.3 sophical domains, leading to a prevailing view of A great deal of music lies beyond the boundaries WAM’s “universality,” and the autonomy of the of normativity we have constructed around our musical “work” and of “absolute music.”1 Theart largely score-based understandings of WAM; we form is thus implied to have immanent hege‐ can immediately see the desires for an idea of monic potential. WAM is commonly imagined as normativity in such a label as “Common Prac‐ unique, exceptional, essentialist—and yet some‐ tice.”4 Earlier repertories also challenge this no‐ how “universal,” accessible, and a form of cos‐ tion: Kay Kaufman Shelemay and Kirsten Yri mopolitan currency. In public discourse (and have used examples of contemporary and recent some scholarly discourse) a number of practi‐ “” practice in Europe and North tioners, critics, and patrons think of these condi‐ America to question whether “early music” can tions applying uniformly to more than a millen‐ even be considered “Western Music,” given the nium of “Western” practice, reflecting in some deep dimensions of hybridity and cross-cultural ways what Lydia Goehr has termed “conceptual exchanges inherent in medieval and early mod‐ imperialism”: the tendency since circa 1800 to ern music.5 project and impose new ideals retrospectively Itisimportanttoacknowledgethequalitative onto historical understandings of the past, “to difference of European music in the sixteenth to make it look as if had always thought eighteenth centuries—the first truly “global age,” about their activities in modern terms.”2 In the inwhichtangibleandsustainedlongitudinalnet‐ early modern period, however, notions of the ob‐ works of exchange first arose—especially with ject and function of “art music” were radically guidance from researchers in historical perfor‐ different from those we ascribe to that concept mance practice who look to a world of diversity today, many of which are inherited largely intact before the rise of broad patterns toward stan‐ from the Romantic era. dardization in the nineteenth and twentieth cen‐ The idea and concept of WAM—grounded turies.6 The early modern period coincides with largely in the canon and the work-concept—is the first age of European overseas colonialism arguablyinapplicableforrepertoryandpractices and the rise of the major seaborne empires to from before circa 1800, and to stretch back that globaldominance.Fromcirca1500to1800,Span‐

6 IMS Musicological Brainfood3, no. 1 (2019) ish, Portuguese, Dutch, French, and English unstudied musical practice somewhere in the forces seized land in the Americas, Africa, and world; rather, it is an interpretation and analysis Asia and established colonies and commercial of large-scale frameworks, connections, compar‐ outposts by force (but occasionally by treaty or isons, and exchanges that explicate and eluci‐ coercion), as did various companies of Sweden, date a specific action or process. Another way to Denmark, and other nations. Significantly, they put it is to think of “global history” approaches did so armed with a great deal of technology, to music as a form of macro-history: the study forms of militarism, and musical instruments ab‐ of large-scale patterns and processes that eluci‐ sorbed from Asia over the period of many cen‐ date the actions and structures underpinning lo‐ turies prior to the first “Columbian exchange”; calized or shared practices. I would contend that the material trappings and of historical musicologists and/or (ethno-)musicol‐ early modern European hegemony did not arise ogists cannot embark on new critical approaches exnihilo.EventheWesternEuropeanpolitiesand to “world history” or “global history” without nations that did not embark on overseas expan‐ first taking stock of significant methodological sion were involved: they profited from invest‐ developments and epistemological reflections in ment or political and commercial alliances with sister disciplines, especially the well-established those that did, effectively engaging in a form of field of global history. An assessment and cri‐ “complicit colonialism.”7 The systematic extrac‐ tique of theoretical work that has been ongoing tion of natural resources in the Americas, under‐ since the last decade is fundamental for the de‐ pinned by the trans-Atlantic slave trade, enabled velopment of approaches that are appropriate Europeans to achieve their longstanding dream for the disciplines of historical musicology and of entering the Asian market, with means that . becamegraduallymoreaggressive.Intheeastern Our colleagues in history and its subdisci‐ Mediterranean and the borderlands of Eastern plines have already made a significant distinc‐ Europe, trade by Western European nations with tion between approaches to “world history” and their contiguous neighbors continued, especially “global history”; the latter is a relatively recent theOttomanEmpireandRussia,butthroughthe disciplinary development, with many works early modern period the terms of engagement since 2000 bearing this term and theJournal of changed dramatically, owing to the wealth and Global History being established in 2006. Jürgen the territorial expansion accrued through over‐ Osterhammel and Niels Petersson have defined seas colonialism. Immense wealth flowed into the two fields in the following way: “‘World his‐ Western Europe, causing unprecedented eco‐ tory’ is the history of the various civilizations, nomicgrowthandtriggeringthestartofawiden‐ especially their internal dynamics, and a com‐ ing global wealth gap (what economic historians parison of them, whereas ‘global history’ is the call “the Great Divergence”). These contexts had history of contacts and interactions between a profound impact on all aspects of musicking. these civilizations.”8 Economic historian Patrick Thus WAM—if we can call it that—has been O’Brien on the other hand, in his prolegomenon entangled with the rest of the world’s societies forthefirstissueoftheJournal of Global History, for the last half-millennium, to varying degrees, sees global history as a history of either connec‐ and in different shapes and forms. It cannot be tions or comparisons, pointing out that histori‐ studied in a vacuum; it must be situated in a ans tend to emphasize and exaggerate differ‐ global ontological framework of connected his‐ ences as well as points of conjuncture.9 Applying tories. Here a global history approach becomes these ideas to music involves some methodolog‐ indispensable. It is important for historical mu‐ ical challenges, especially given the profound sicologists not to misunderstand what is meant disciplinary shifts in the twentieth century that by “global history of music,” thinking, for in‐ have arisen from a deliberate and self-conscious stance, that it means just studying musics of the rejection of comparativism, and a move toward past outside the traditional locus of Western Eu‐ self-enclosed relativistic studies (i.e., the move rope. The global history approach is not simply from comparative musicology to ethnomusicol‐ a matter of shifting the spotlight to a niche of ogy). A “world history” of music would attempt

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to make a comprehensive survey of the music the significant exception that it chose, selectively traditions of all societies, involving large- and on its own terms, to incorporate exotic ele‐ scale collaborative work; “global history,” on ments through textual, visual, and sonic represen‐ the other hand, could be seen as a critical ap‐ tations. proach to connections and patterns emerging from worldwide intercultural contact, existing in It is thus assigned an essentialized agency that many forms. sets it apart from all other forms of musical prac‐ Yet in spite of clear evidence of unprece‐ tice; it is seen as a force that can influence other dented levels of global movement and intensive cultures, but which is impervious to outside in‐ cultural interactions through music for the past fluence, except when it chooses actively to en‐ half millennium, WAM is still often seen as a cul‐ gage with its Others. Part of this is due to the turally exclusive and elite art form, owing in longstanding scholarly focus, during much of large part to the ways in which it is represented the twentieth century, on WAM as a canon of in academic and public discourse, and in rever‐ “works” rather than cultural practice, and the ential and museum-like performances. It is often “whitewashing” of much music historiography assumed, by default, to represent the pinnacle and discourse, which has occluded the presence of indigenous Western European musical expres‐ of ethnic Others in the formation of what we sion, and to embody a pan-European creative now call WAM. It is time to look beneath works disposition. famously wrote in and focus on cultural practice, the global ‐ 1985 that “Western music is just too different tions of Western Europe, and the reverse impact from other musics, and its cultural contexts too of the world on Western Europe. different from other cultural contexts.”10 The So how did Europe’s global projects of colo‐ still-dominant tendency toward circumscribed nialism, trade, and scientific enquiry impact on and autochthonous narratives of musical transi‐ concepts and practices of music in early modern tion in Western Europe has long obscured the Europe,beneath the level of self-conscious exoti‐ question of external cultural influence, except in cism? I say “beneath exoticism” rather than “be‐ the case of musical exoticism (embracing Orien‐ yond exoticism” (Timothy Taylor’s attractive for‐ talism). I locate this tendency within the ideas mulation11) because although the principal of essentialism, exceptionalism, and Eurocen‐ paradigm for studying European engagement trisminmusichistoriographyanddiscourse,and with the rest of the world has been the analysis the continuing desire by musicologists, ethno‐ of musical exoticism, I would contend that this musicologists, and independent scholars to see is the surface level of engagement: European WAM as “exceptional” and “unique,” rather than works made predominantly by Europeans for thoroughly contingent on global processes and Europeans. Of course, the underlying discourses constitutive of a clear set of environmental, so‐ of these works have entered into a feedback loop cial, political, economic, intellectual, and reli‐ that reinforced attitudes and stereotypes and in‐ gious circumstances. justices; for us as musicologists, though, our Until relatively recently, the overwhelming overwhelming focus on cultural representation trend in mainstream historical musicology and and its attendant discourses arguably diverts us ethnomusicology has been to see the phenome‐ from asking how deeper degrees of global inter‐ non of Western musical impact throughout the connections and in many cases economic hege‐ world as a unidirectional process of cultural im‐ mony have shaped and influenced the making position and coercion. There seems to be an im‐ of WAM itself. What, precisely, are these sub‐ plicit assumption underlying much discourse, strataofexternalinfluencesonmusicalpractice? which could be summarized as follows: They include: hidden hybridities that have been so thoroughly naturalized and normalized—we Western Art Music, which developed in a kind of could say indigenized—within European prac- culturalvacuum,wieldedapowerfulinfluenceover tice that their exotic origins are forgotten (in‐ the rest of the world’s musics, but at the same time struments, dances, genres, performance styles); remained untouched by the rest of the world—with wealth extracted systematically through colo‐

8 IMS Musicological Brainfood3, no. 1 (2019) nialist exploitation that provided the bountiful ontological issues that underpin the defining ad‐ economic support and patronage of large-scale jective of its very object of study.13 It is time to musical activities in Western Europe; materials rethink ideas of “the West” in music history as of music (such as woods and metals) that were unexceptional and thoroughly contingent on incorporated permanently into the instrumen‐ global patterns and trends. Let’s write global his‐ tarium; and—through the beginnings of global toriesofmusicalpracticeswithinorderivedfrom music and criticism—the reflexive Europe that eschew or at least gobeneath the processes of oppositional self-definition that concept of Western Art Music. shaped European philosophical perspectives on music, especially concepts of “modernity” from References the sixteenth to eighteenth centuries. The en‐ 1 As Mina Yang pointed out, “ counter of Europeans with the world fundamen‐ adherents often characterize the music of tally changed the way Europeans thought about Bach and Beethoven as a universal language themselves, and their musics. All these phenom‐ that transcends historical and geographical ena were set in play through the unprecedented boundaries and stands apart from the com‐ expansion of global movement and worldwide plex realities of politics. Recent scholarship social interaction in the early modern period. strongly challenges this assertion, divulging WAM is caught in a paradox: that of claims classical music’s complicity in nationalist and for uniqueness being pitted simultaneously racialist projects of the last two hundred against clear evidence of its internal (and inter‐ years, and argues that Western music’s ‘uni‐ nalized) hybridity. Many discourses surrounding versal’ qualities have been invoked in the WAM have included narratives of exceptional‐ past to avow the superiority of European cul- ism and essentialism, belief in its potential to ture.” Mina Yang, “East Meets West in the attain cultural universality, and its capacity to Hall: Asians and Classical Music in effect ethical and moral improvement. Mean‐ the Century of Imperialism, Post-Colonial‐ while, critics of WAM underscore its cultural ism, and Multiculturalism,”Asian Music 38, contingency as an artistic product of the Euro‐ no. 1 (2007): 2. pean elite, its association with hegemony and 2 LydiaGoehr,The Imaginary Museum of Musi‐ cultural imperialism, and the exclusionary na‐ calWorks:AnEssayinthePhilosophyofMusic, ture of discourses about this music that are rev. ed. (New York: , based on race, class, politics, and religion. Yet 2007), 245. both sides of the debate contain fallacies, since 3 Matthew Gelbart,The Invention of “Folk Mu‐ WAM—in its practices and materials—is ar‐ sic” and “Art Music”: Emerging Categories from guably a hybrid, global phenomenon, which Ossian to Wagner (Cambridge: Cambridge emerged from the very conditions of worldwide University Press, 2007), 274. exchange that gave rise to the concept of “the 4 Susan McClary has aptly described the eigh‐ West” itself.12 WAM was crafted and conditioned teenth-century emergence of as a through the long-term absorption of ideas, prac‐ “historical anomaly, a myth of common prac‐ tices, and materials across cultures throughout tice . . ., [and] a blip on the screen that stands the world over the past half-millennium. The rise . . . in need of cultural analysis.” Susan Mc‐ of this music to a position of prestige, and its Clary, “Editorial,”Eighteenth-Century Music gradual commodification, is intertwined with 6, no. 1 (2009): 5. the rise of material wealth within early modern 5 Kay Kaufman Shelemay, “Toward an Ethno‐ Europe,andtheriseofmaterialwealthinEurope musicology of the Early Music Movement: can in turn be attributed to overseas colonial em‐ Thoughts on Bridging Disciplines and Musi‐ pires, and the complicit colonialism of internal cal Worlds,”Ethnomusicology 45, no. 1 (2001): European trade. While other disciplines in the 1–29; Kirsten Yri, “Thomas Binkley and the have already critiqued the idea of Studio der Frühen Musik: Challenging ‘the “the West” as a monolithic entity, musicology Myth of Westernness’,”Early Music 38, no. 2 has only relatively recently begun to tackle the (2010): 273–80.

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6 On the idea of difference in musicology, see And as much as its antonym ‘non-Western,’it Olivia A. Bloechl, Melanie Lowe, and Jeffrey [theword‘Western’]isanessentializingterm, Kallberg, eds.,Rethinking Difference in Music suggesting a homogeneity that is largely spu‐ Scholarship (Cambridge: Cambridge Univer‐ rious.” Nicholas Cook, “Western Music as sity Press, 2015); Reinhard Strohm, “The Dif‐ ,” inThe Cambridge History of ferenceofEarlyEuropeanMusic,”inEssayson World Music, ed. Philip V. Bohlman (Cam‐ Music in Honour of Fallows, bridge:CambridgeUniversityPress,2013),89. ed. Fabrice Fitch and Jacobijn Kiel (Wood‐ In my current work I am endeavoring to trace bridge: Boydell, 2011), 380–87; Ruth A. Solie, the internalized hybridity and heterogeneity ed.,Musicology and Difference: Gender and of European music further back by several Sexuality in Music Scholarship (Berkeley: Uni‐ centuries. versity of California Press, 1993). 13 Richard Taruskin sets out the geographical 7 See Ulla Vuorela, “Colonial Complicity: The and cultural scope ofThe Oxford History of ‘Postcolonial’ in a Nordic Context,” inCom‐ Western Music as follows: “Europe, joined in plying with Colonialism: Gender, Race and Eth‐ Volume 3 by America. (That is what we still nicity in the Nordic Region, ed. Suvi Keskin‐ casually mean by ‘the West,’ although the nen,SallaTuori,SaraIrni,andDianaMulinari concept is undergoing sometimes curious (Farnham: Ashgate, 2012), 48–74. change: a Soviet music magazine I once sub‐ 8 Jürgen Osterhammel and Niels P. Petersson, scribed to gave news of the pianist Yevgeny Globalization: A Short History (Princeton, NJ: Kissin’s ‘Western debut’—in Tokyo.).”Richard Press, 2005), 19. Taruskin,The Oxford History of Western Mu‐ 9 Patrick O’Brien, “Historiographical Tradi‐ sic (New York: Oxford University Press, 2005), tions and Modern Imperatives for the Re‐ 1:xiii. Georgina Born and David Hesmond‐ storation of Global History,”Journal of Global halgh, in their edited volumeWestern Music History 1, no. 1 (2006): 3–39. and Its Others, state that they decided “to re‐ 10 Joseph Kerman,Musicology (London: Fonta‐ fer to the longstanding concept of ‘Western na, 1985), 174. music’ while distancing ourselves from those 11 Timothy D. Taylor,Beyond Exoticism: Western traditions of analysis which have taken such Music and the World (Durham, NC: Duke Uni‐ a category for granted, or which have privi‐ versity Press, 2007). leged it, or both.” Georgina Born and David 12 ThankstoNicholasTochkaforhisinputonthe Hesmondhalgh, “Introduction,” inWestern expression of this idea. Nicholas Cook writes: Music and Its Others, ed. Georgina Born and “‘Westernmusic’referstoaclassicaltradition David Hesmondhalgh (Berkeley: University now most strongly rooted in Asia, and a pop‐ of California Press, 2000), 47, fn. 1. For a more ulartraditionthatisinrealityaglobalhybrid. recent take on the idea of Western Music, see ...Theconceptof‘theWest’...goesbackno Cook, “Western Music as World Music.” further than the late nineteenth century. . . .

DavidR.M.Irving holdsaPhDinmusicologyfromCambridgeUniversityandisanICREAResearch at the Institución Milá y Fontanals—CSIC, Barcelona, from March 2019. His research spans from music in early modern intercultural exchange to early modern global history and his‐ torical performance practice. He is the author ofColonial : Music in Early Modern Manila (2010) and is currently working on a monograph titledHow the World Made European Music: A Global History of Early Modern Synthesis. He is co-general editor of the forthcoming Cul‐ turalHistoryofMusicseriesfromBloomsbury(2021)and,fromMarch2019,co-editorofthejournal Eighteenth-Century Music.

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Directorium President: Daniel K. L. Chua (HK) Vice Presidents: Egberto Bermúdez (CO), Andrea Lindmayr-Brandl (AT) Last President: Dinko Fabris (IT) Secretary General: Dorothea Baumann (CH) Treasurer: Beate Fischer (CH) Executive Officer: Lukas Christensen (AT) Directors-at-Large: Antonio Baldassarre (CH), Andrea Bombi (ES), Per Dahl (NO), Sergio Durante (IT), Manuel Pedro Ferreira (PT), Florence Gétreau (FR), John Griffiths (AU), Jane Hardie (AU), Klaus Pietschmann (DE), Christopher Reynolds (US), Nozomi Sato (JP), (US), Laura Tunbridge (UK), Christiane Wiesenfeldt (DE), Suk Won Yi (KR) Directorium Consultant: Jen-yen Chen (TW)

Editors ofActa Musicologica Philip V. Bohlman (US), Federico Celestini (AT)

Chairs of the IMS Regional Associations “East Asia”: Jen-yen Chen (TW) “Eastern Slavic Countries”: Natalia Braginskaya (RU) “Latin America and the Caribbean”: Juan Pablo González (CL) “Study of Music of the Balkans”: Evanthia Nika-Sampson (GR), Mirjana Veselinović-Hofman (RS)

Chairs of the IMS Study Groups “Cantus Planus”: James Borders (US) “Cavalli and 17th-Century Venetian Opera”: (US) “Digital Musicology”: Johanna C. Devaney (US), Frans Wiering (NL) “Early Music and the New World”: Egberto Bermúdez (CO) “History of the IMS”: Dorothea Baumann (CH), Jeanna Kniazeva (RU) “Italo-Ibero-American Relationships”: Annibale Cetrangolo (IT) “Mediterranean Music Studies”: Dinko Fabris (IT) “Music and ”: Tatjana Marković (AT) “Music and Media”: Emile Wennekes (NL) “Musical ”: Björn R. Tammen (AT) “Shostakovich and His Epoch”: Olga Digonskaya (RU), Pauline Fairclough (UK) “Stravinsky: Between East and West”: Natalia Braginskaya (RU), Valérie Dufour (BE) “Tablature in Western Music”: John Griffiths (AU) “Transmission of Knowledge as a Primary Aim in Music ”: Giuseppina La Face (IT)

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As a member of the IMS you will enjoy a wide One important benefit of being a member is that range of exclusive benefits that will serve you you canjoin an IMS Regional Association or throughout your career. The annual membership IMS Study Group for free. By joining, you’ll includes be able to • online access to all past and current is‐ • support the advancement of musicology in suesofActa Musicologica,theofficialpeer- your region or field of study; reviewed journal of the IMS (print mailing of • help set agendas for research; current issues is also available); • establish new contacts—to share ideas, dis‐ • the electronicIMS Newsletter, which keeps cuss problems, and further your research; members informed of internal affairs; • have the opportunity to play leadership roles. • online access to theIMS Publication Ar‐ As an international , we recognize that chive, which includes electronic versions of the distribution of wealth is unequal across the previously publishedIMS Newsletters andIMS world. We have therefore tried to reflect the sit‐ Communiqués; uation by keeping our fees as low as possible • discounts with publishers when purchas‐ compared to similar organizations. There are ing books and journals (e.g., MIT Press, Ox‐ also substantially reduced fees for students and ford University Press, Routledge), or when retirees. We do not offer free membership but, if subscribing to online resources (e.g.,Grove for any reason, fees should be prohibitive, please Music Online); contact us and we will check if we can help alle‐ • discounts on IMS events, such as the Quin‐ viate the problem. quennial IMS Congresses, symposia of the In order to keep our fees low and to provide IMS Regional Associations and IMS Study support, we encourage those of you who would Groups, as well as other joint conferences; like to help in this area to give a little more.Your • and more. generosity is much appreciated.

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IMS Musicological Brainfood

published by the International Musicological Society (IMS) PO Box 1561, 4001 Basel, Switzerland

Editors: Lukas Christensen, Daniel K. L. Chua Layout and typesetting: Lukas Christensen

Musicological Brainfood is a fresh intermittent IMS dish—an “amuse-bouche”—that may delight or possibly perturb you. These pithy, informal paragraphs are cooked up by leading musicologists to advance, refresh, or reinvigorate different aspects of our field; and they are anything but bland. Remember, these are “provocations” with flavors designed to prod, needle, and pinch your brain. They are not meant to be representative, and they are surely not official or definitive. Enjoy!

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