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Música Em Contexto Música em Contexto http://periodicos.unb.br/index.php/Musica Éthiopiques vs EthioSonic: about world music and globalized music Francis Falceto French Centre of Ethiopian Studies in Addis Abeba ORCID: https://orcid.org/0000-0002-7236-1193 https://independent.academia.edu/FALCETO [email protected] Falceto, Francis. 2019. “Éthiopiques vs EthioSonic: about world music and globalized music”. Música em Contexto 13, no. 2: 118-130. Disponível em http://periodicos.unb.br/. ISSN: 1980-5802 DOI: Recebido: 03 de outubro, 2019. Aceite: 8 de dezembro, 2019. Publicado: 25 de dezembro, 2019. Éthiopiques vs EthioSonic: about world music and globalized music Francis Falceto Abstract: This article deals with music influences post-WW2 between North and South and vice versa. It traces the concept of World !usic" emergence$ then the adoption of %frican #rooves b& mi'ed bands as well as non-%frican musicians$ openin# the wa& to globali(ed music". )ecause *thiopia remained never coloni(ed over +,,, &ears -apart from .ve &ears under fascist Italian occupation/$ the modern part of the countr&0s musical culture remained totall& un1nown to the rest of the world. 2ecordings of modern -or urban/ *thiopian music were simpl& ine'istent outside of the countr& before 3456$ when other musics from %frica had 1ind of loud-speakers in the colonial capital cities 7aris$ 8ondon$ )russels or 8isbon$ for e'ample. % focus about *thiopian musics through two music series -9thiopi:ues and ethioSonic/ complete the scope of this stud&. Keyword: *thiopia. !odern music. 2ecordin#. World music. Éthiopiques vs EthioSonic: sobre a world music e a música globalizada Resumo: *ste artigo trata das influ;ncias musicais m<tuas entre os hemisf9rios Norte e Sul pós-Segunda >uerra !undial. Tra?a o conceito de sur#imento da World !usic"$ seguida da adoç@o de #rooves africanos por bandas mistas e também por m<sicos n@o africanos$ abrindo caminho para a m<sica globali(ada". Aomo a *tiópia nunca foi coloni(ada por mais de +.,,, anos -e'ceto cinco anos sob ocupa?@o italiana fascista/$ a parte moderna da cultura musical do paBs permaneceu totalmente desconhecida para o resto do mundo. >rava?ões de m<sica etBope moderna -ou urbana/ simplesmente ine'istiam fora do paBs antes de 3456$ en:uanto outras m<sicas da Dfrica EF se encontravam presentes nas capitais coloniais como 7aris$ 8ondres$ )ru'elas ou 8isboa. Gm enfoque sobre as m<sicas etBopes por meio de duas s9ries musicais -9thiopi:ues e ethioSonic/ completam o escopo deste estudo. Abstract: *tiópia. !<sica moderna. >rava?ões. World music. Éthiopiques vs EthioSonic: sobre la world music y la música globalizada Resumen: *ste artBculo trata sobre las influencias musicales mutuas entre los hemisferios norte & sur despu9s de la Segunda >uerra !undial. Tra(a el concepto del sur#imiento de la World !usic"$ seguido de la adopción de ritmos africanos por bandas mi'tas & tambi9n por m<sicos no africanos$ allanando el camino para la m<sica #lobali(ada". Aomo *tiopBa nunca fue coloni(ada durante mFs de +.,,, aHos -e'cepto durante cinco aHos baEo la ocupación fascista italiana/$ la parte moderna de la cultura musical del paBs permaneci= totalmente desconocida para el resto del mundo. 8as #rabaciones de m<sica etBope moderna -o urbana/ simplemente no e'istBan fuera del paBs antes de 3456$ mientras :ue otras m<sicas africanas &a estaban presentes en capitales coloniales como 7arBs$ 8ondres$ )ruselas o 8isboa. Gn enfoque en la m<sica etBope a trav9s de dos series musicales -9thiopi:ues & ethioSonic/ completa el alcance de este estudio. alabras!clave: *tiopBa. !<sica moderna. >rabaciones. !<sica del mundo . Música em Contexto | ISSN: 2595-0169 | Vol. 13 | N. 2 | dezembro 2019 | p. 118-130 "rancis "alceto Ithiopi:ues vs *thioSonic Introduction #enerall& about la musi:ue africaine". This sin#ular is shoc1in# to me. !ore than I am e'tremel& surprised$ deli#hted and i#norance$ I see it as den& of the incredible honored to be amon# &ou toda&3$ after diversit& of musical #enres$ st&les or cultures nearl& three decades of close fre:uentation of the %frican continent. Nobod& in *urope of music from *thiopia and Eritrea. I was not would speak about la musi:ue europ9enne" formatted for that. Not formatted to speak at K sin#ular K$ so obviousl& ridiculous and Jarvard in such a conference$ not formatted inappropriate it seems to an&bod&. %n& to become an observer of the musical *uropean feels the real diPerences between cultures of this re#ion of %frica, not music from$ let0s sa&$ Sweden$ France and formatted to become a researcher K and Spain. I am sure that for all %mericans$ possibl& a .nderL %s a teenager$ I had no speakin# about la musi:ue am9ricaine"$ particular vocation. I belon# to this sin#ular and in #eneral terms$ is lau#hable #eneration of bab& boomers who wanted to enou#h$ 1nowin# that there are at least three chan#e the world$ to make freedom universal %mericas... So$ followin# the hosts of this and compulsor&$ and share in an e#alitarian conference$ let0s do a pleasant violence to wa& all the wealth -includin# cultural/ of our academic En#lish and let0s consider it li1e a planet. %bsolute as well as precocious music 8atin lan#uage that adds a visible and lover$ I was furious at the lac1 of open hearable Ms0 to underline the plural of music. structures of education and trainin# in m& Two is speci.call& related to musics in countr&. *thiopia: For the same reasons of a hu#e Sometimes the fate of the researchers is diversit& of musical #enres$ st&les or cultures$ stran#el& the result of mere chance. I am reluctant to let the reader or the listener 8et me .rst underline how much I appreciate thin1 that music in the plural can be meant the Ms0 plural in the title of the conference: b& an invariable word$ the same than the one %frica 2emi': 7roducin# and 7resentin# in the sin#ular. %s an anecdote$ I mention the %frican Musics %broad". So man& *n#lish *thiopian !usic-s/ Festival" I have been co- speakers friends of mine told me repeatedl& curatin# in %ddis %baba for ten &ears -2,,3- that music is invariable in En#lish$ and that 2,3,/ with m& friend Jeru& %refe-Aine. To one shouldn0t add an s to e'press the cool down the fundamentalist En#lish pluralL *ven the automatic computeri(ed speakers$ I had su##ested to put the s of spellin# corrector underlines musics when I *thiopian !usic-s/ in brac1ets K which was t&pe it with a .nal Ms0NL I had serious actuall& a #raphic wa& to emphasi(e on the problems with this so-called invariabilit&$ and pluralit& of *thiopian musics we were for two reasons. presentin# in this festival. One is related to %frican music in #eneral. In This short introductor& lin#uistic issue is also French for instance$ man& people speak a prete't for me to apologi(e in advance for m& limited and sometimes prett& bro1en *n#lish speakin#L 3 This paper was #iven as a ke&note lecture in the frame of a one-da& conference 7roducing and 7resenting %frican !usic abroad" at Jarvard Gniversit& on Februar& 5$ 2,3+. Música em Contexto | ISSN: 2595-0169 | Vol. 13 | N. 2 | dezembro 2019 | p. 118-130 119 "rancis "alceto Ithiopi:ues vs *thioSonic A brief reminder about modern would hi#hli#ht and deplore a parado'ical music emergence situation: What an evolution$ what a #iant step ahead Records of traditional music are scarcely in the appreciation and scatterin# of %frican found in Ethiopia. It is almost ironic that an musics worldwide since the invention of the enthusiastic researcher of traditional music tal1in# machine in the late 34th centur&N If living in Ethiopia must obtain records of Ethiopian traditional music from abroad – man& recordin#s have been done since then$ from Europe and the United States. (Kebede most of the pre-World War 2 production was !"#$ 8%& rarel& available in the northern hemisphere but above all in the concerned %frican %ctuall&$ modern music in %frica -and in countries. The small mar1et there was other continents affected b& coloni(ation as essentiall& formed b& open-minded well/ has #enerall& proceeded from the *uropean settlers -there had someN/ and contribution of colonial and militar& wealth& enou#h natives of the colonies li1e marchin# bands. Basicall& trained to perform hi#h-ran1in# civil servants$ merchants$ e'- a *uropean repertoire of marchin# band nobilit&$ etc.2 It was not an&bod& then who music$ native %fricans have #raduall& could afford to possess a shellac pla&er and mastered these instruments comin# from phonograms. It is mainl& after World War 2 elsewhere$ enou#h to transpose their own that some musics from %frica, devotedl& local music. Thus were little b& little recorded and released b& pioneers scholars$ elaborated the modern musics of %frica. This became publicl& available in northern slow cultural evolution can be summari(ed in countries for a bunch of happ& few. Still we a simple e:uation: !odern music U were far from toda&0s lar#e distribution. This traditional music V appropriation of was also the time when these same *uropean -or colonial/ instruments. researchers agreed on a new word to name The earl& ethnomusicologists had and specif& their research .eld: s&stematicall& ruled out from their researches ethnomusicology -as opposed to all musics that borrowed an&thin# from conventional musicolog& that didn0t pa& coloni(in# *urope$ startin# with its enou#h consideration to non-European instruments. !oreover$ the& used to see music/. %ll this recorded and released music these developments onl& as devastatin# the was then strictl& traditional"$ even if modern musical traditions.
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