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Vol. 1 Nos. 1-2 Published for the CIMA by the Music Research Institute, Richmond CA USA October 1999 Intercultural Musicology The Bulletin of the Centre for Intercultural Music Arts, London, U.K. CIMA Council of Management Steven Stanton, Chair compositions in which elements of Akin Euba, Director Robert Kwami, Deputy Director non-Western traditional music are Lucy Duran Editorial Note combined with those of Western Maxine Franklin Susan Jackson art music require a scholarly Cynthia Tse Kimberlin approach which integrates John Mayer The aim of Intercultural Musicology techniques of ethnomusicology with Richard Nzerem Malcolm Troup is to provide a forum for discourse that those of historical musicology. Mike Wright includes the development of a theoretical framework for the nascent The editors are particularly International Advisory Council field of intercultural musciology. interested in materials dealing with Charles Camilleri (Malta) S. A. K. Durga (India) interculturalism after 1950 and Samha El-Kholy (Egypt) This field includes the study of (a) welcome contributions that generate Cynthia Tse Kimberlin (USA) one’s own indigenous music culture Fernando Maglia (Argentina) discourse on the concept of Sun Xing-Qun (China) using techniques applicable to other intercultural musicology (e.g., Valerie Ross (Malaysia) music cultures (b) music cultures Klaus Hinrich Stahmer (Germany) research reports, previews and Justinian Tamusuza (Uganda) other than one’s indigenous culture (c) reviews of performances, notes on Mike Wright (U.K.) music created by combining elements the works of composers and from various cultures, and (d) other performers, biographical data on Co-Editors forms of intercultural activity, for Cynthia Tse Kimberlin & Akin Euba composers and performers, example, the study of performers who theoretical concepts bearing upon specialize in non-indigenous music creative methods in intercultural idioms. music, information on new writings and recordings). Diversity of By this definition, intercultural perspectives necessary for an musicology is a broad based field that international readership are includes elements of ethnomusicology CONTENTS welcome but the opinions and historical musicology. For expressed by individual authors Editorial Note.........................1 example, it embraces not only studies may not necessarily reflect that of Articles ................................. 2 of traditional musics worldwide but the editors. Review ................................15 also writings of Asian and African Reports............................... 19 scholars on Western art music. It also Intercultural Musicology will be Announcement.................... 21 includes scholarship that allows published twice a year (May and Contributors.........................22 multiple perspectives from those who November) beginning October Advertisements................... 23 seek to enhance and expand our 1999. Guidelines for prospective CIMA Archival List ..............24 c u r r e n t t h i n k i n g a b o u t authors are listed hereunder. ethnomusicology and historical musicology. For example, studies of Guidelines for Authors 2 Intercultural M usicology O ctober 1999 1. Submit one copy of material related to your contribution on hard Please address correspondence to Articles copy and also on diskette, if possible either of the editors. on an "ASCII" file using Word Cynthia Tse Kimberlin Non-European Musical Perfect or Microsoft Word for IBM Music Research Institute, Compositions Today: PC compatible computer. P.O. Box 7036 2, 2. Manuscripts must be typed Point Richmond, CA 948 07 Reflections of an on one side of the sheet and double U.S.A. Argentine Composer spaced (including footnotes, e-mail: kimberln@ crl.com quotations, song texts, references by Fernando Maglia (Argentina) cited, indented materials and Akin Euba, Translated by Orlando Musumeci captions for illustrations). Department of Music, University of Pittsburgh, A General Historical background 3. Manuscripts should be in Pittsburgh, PA 1526 0 I would first like to give a English and observe British or U.S.A. I United States conventions of usage, e-mail: aeuba+ @ pitt.edu background of Argentina regarding its spelling and punctuation. If a * * * people and ethnic groups and also manuscript is submitted in another the conquests that took place in the language, an English translation must country in historical times. be included. The Centre for Intercultural Music Arts, a British Charity, was founded The Spanish colonization of 4. The text should not exceed in 198 8 . The Centre aims to Argentina, beginning in the fifteenth 2000 words (or roughly 8 pages promote intercultural music and century, led to successive waves of double spaced format on 8 − " x 11" music theatre and to educate the migration from Spain to Argentina sheets). public in their creation and and this not only exerted a strong performance. influence of European civilization but 5. References cited are carried gave Argentina its particular cultural within the text, e.g. (Kimberlin 1995: The Centre was inaugurated in identity. 134) by listing the author's surname response to the challenges posed by and the publication date and page composers and performers who are Following the Spanish conquest, the number(s) of the source of the exploring new dimensions in music Indians who originally inhabited information. by integrating elements from different Argentina (such as the Mapuches, cultures. Tobas, Tehuelches, Guaraníes, 6 . Bibliographic citations must Onas, Matacos and Coyas) were be typed on a separate sheet. Give The Centre believes that composers decimated by disease, by the violation the complete citation using the from non-western cultures are likely of their environment and lifestyles format illustrated below: to become increasingly influential in and by being mercilessly slaughtered. the world of music and that musical They were thus reduced to small Hood, Mantle interculturalism and other creative marginalized groups, like expatriates 196 0 "The Challenge of ideas generated from or inspired by in their own land. 'Bi-Musicality' ". non-western sources will be among Ethnomusicology 4/2 the major events of the 21st century. Gradually, after centuries of living together, the indigenous races intermarried with the Spanish and Nketia, J.H.K. The Centre organizes an became the Criollo (a name originally 198 6 "Perspectives on African international biennial symposium and used for Spanish persons born in Musicology", in Africa and the festival on the theme “New America). The new Criollo people West: Legacies of Empire. Intercultural Music” and also represented a synthesis of divergent Isaac James Mowoe and publishes a series of books under the cultures and were (in theory) Richard Bjornson, eds. general title of Intercultural Music. The series is edited by Cynthia Tse s u p p o r t e r s o f A r g e n t i n e Kimberlin and Akin Euba. independence. Tan, Sooi Beng * * * 1993 Bangsawan: A Social and The Spanish immigration was Stylistic History of the Popular followed by the Italian and, to a lesser Malay Opera. New York: extent, the Turkish, German, French, Oxford University Press Arabic, and Jewish. There has more 3 Intercultural M usicology O ctober 1999 recently been an Asian migration intercultural origins, was born in the The situation of Argentina and other which continued the process. This suburbs; its roots include nineteenth Latin American composers process gave rise to the policy of century song, the Italian opera, the reinforces the process of cultural "pigmentocracy", whereby the status Spanish zarzuela, southern Criollos transplantation. The education of of persons in society is determined traditions and African-derived these composers is considered according to racial origin and which rhythms. The strength and originality incomplete unless they have studied defines the social and cultural of the tango summarize a way of life in the leading European centres structure of Argentina. In the colonial and reflect the fundamental character including Paris, Rome, Cologne, and period, the Spanish held political of Argentine culture. Berlin. This slavish dependence on power, the Criollos practised Europe is so pervasive that even the agriculture and reared cattle, while The trends described above indicate "nationalist" school established and the Indians and Blacks were a polarization between rural/popular supported by certain composers, marginalized and enslaved and city/"academic" culture which mainly in Europe (Rimsky-Korsakov, respectively. becomes increasingly pronounced Dvorak, Bartó k, Stravinsky) is during the twentieth century. embraced in various guises by Cultural Identity and Artistic Furthermore, the cultural landscape Argentine composers. Within the Production has slowly but surely been subjected nationalist trend, some Latin The Spanish language and the to the concept of "the global village" American composers replaced Catholic rite were imposed on the promoted by the multinational Russian, Bulgarian and Hungarian country by the political authority of broadcasting media. folk songs with native American the viceroyalty and this led to the songs while retaining the formal introduction of Spanish cultural The Artist as a Reflection of the structures and compositional elements, including the guitar, the Society techniques of the European musical symbol of Spain. The guitar The situation of the composer in the composers. Others achieved to a became the favorite instrument of the context of these

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