DOCSLIB.ORG

Ethnomusicology Or Transcultural Musicology?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

EDITED BY FRANCESCO GIANNATTASIO GIOVANNI GIURIATI Perspectives on a 21st Century Comparative Musicology: Ethnomusicology or Transcultural Musicology? stems from the ‘International Seminars in Ethnomusicology’ that F. Giannattasio conceived within the activities of the Intercultural Institute for Comparative Music Studies of the Fondazione Giorgio Cini, devoted st to a wide reflection on aims, methods and objects of study of PERSPECTIVES ON A 21 CENTURY ethnomusicology in the light of the profound changes occurring in COMPARATIVE MUSICOLOGY: this field at the beginning of the 21st Century. It concerns a radical rethinking - at a theoretical and epistemological level - of the history of the discipline, due to the contemporary profound transformation ETHNOMUSICOLOGY OR of the object of study. The volume has the ambition of offering new (EDS) GIURIATI GIOVANNI FRANCESCO GIANNATTASIO views on what a comparative musicology could do in its enquiry into TRANSCULTURAL MUSICOLOGY? contemporary music making processes. Scholars coming from different parts of the world, and from different fields of study such as W. Welsch, L.-Ch. Koch, T. Rice, S. Feld, J. Guilbault, J-L. Amselle, contributed to the volume presenting theoretical approaches as an implicit or explicit reaction to the CENTURY theoretical issues presented by Giannattasio. Together with them, st some Italian scholars (G. Giuriati, C. Rizzoni, G. Vacca, R. Di Mauro, M. Agamennone, F. Gervasi) present their thoughts drawn from research in two contexts identified as case studies: the area of BOOK IM05 Naples and its surroundings, and the Salento. MUSICOLOGY: COMPARATIVE ETHNOMUSICOLOGY OR PERSPECTIVES ON A 21 PERSPECTIVES MUSICALI ioni ez TRANSCULTURAL MUSICOLOGY? rs inte 30,00 € BOOK IM 05 Intersezioni Musicali BOOK IM05 Series editor: Giovanni Giuriati Editorial board: Francesco Giannattasio, Maurizio Agamennone, Vito Di Bernardi, Serena Facci Editing: Claudio Rizzoni Translation: Ruggero Bianchin (chapter 10), David Kerr (chapters 12-15), David J. Graham (revision of chapter 1) On the front cover: details of Paolo Angeli prepared Sardinian guitar (photo: Nanni Angeli) ©2017 NOTA – Valter Colle / Udine nota p.o.box 187 33100 Udine tel./fax (+39) 0432 582001 [email protected] www.nota.it Graphic design & PDF authoring Giuliano Michelini - luckyassociates.com Print Luce - Udine ISBN 9788861631502 EDITED BY FRANCESCO GIANNATTASIO GIOVANNI GIURIATI PERSPECTIVES ON A 21st CENTURY COMPARATIVE MUSICOLOGY: ETHNOMUSICOLOGY OR TRANSCULTURAL MUSICOLOGY? Contents Foreword . Pag . 6 Francesco Giannattasio Perspectives on a 21st Century Comparative Musicology: an Introduction . Pag . 10 Wolfgang Welsch Transculturality - the Puzzling Form of Cultures Today . Pag . 30 Timothy Rice Toward a Theory-driven Comparative Musicology . Pag . 50 Lars-Christian Koch Tonsinn und Musik Carl Stumpf’s Discourse on the Mind as a Condition for the Development of Ethnomusicology and Erich Moritz von Hornbostel’s Proposals for Music-psychological Examination . Pag . 66 Steven Feld On Post-Ethnomusicology Alternatives: Acoustemology . Pag . 82 Jocelyne Guilbault The Politics of Musical Bonding New Prospects for Cosmopolitan Music Studies . Pag . 100 Jean-Loup Amselle From Métissage to the Connection between Cultures . Pag . 126 Giovanni Giuriati Some Reflections on a new Perspective in Transcultural Musicology: the Area of Naples as a Case Study . Pag . 136 4 PERSPECTIVES ON A 21ST CENTURY COMPARATIVE MUSICOLOGY ETHNOMUSICOLOGY OR TRANSCULTURAL MUSICOLOGY? Giovanni Giuriati The Music for the Festa dei Gigli in Nola . Pag . 146 Claudio Rizzoni Tradition and Reframing Processes in the Madonna dell’Arco Ritual Musical Practices in Naples . Pag . 158 Giovanni Vacca Songs and the City Itinerant Musicians as Living ‘Song Libraries’ at the Beginning of the 20th Century in Naples: the ‘Posteggiatori’ . Pag . 176 Raffaele Di Mauro Identity Construction and Transcultural Vocation in Neapolitan Song: a ‘Living Music’ from the Past? . Pag . 186 Maurizio Agamennone Current Research in the Salentine Area: an Introduction . Pag . 222 Maurizio Agamennone An Historical Perspective on Ethnomusicological Enquiry: Studies in the Salento . Pag . 226 Flavia Gervasi Rhetoric of Identity and Distinctiveness: Relations between Aesthetic Criteria and the Success of Salentine Musicians in the Contemporary Folk Revival . Pag . 248 Notes on Contributors . Pag . 272 5 Theorizing on multipart music making Steven Feld On Post-Ethnomusicology Alternatives: Acoustemology 82 PERSPECTIVES ON A 21ST CENTURY COMPARATIVE MUSICOLOGY ETHNOMUSICOLOGY OR TRANSCULTURAL MUSICOLOGY? There seems to no longer be a need for traditional ethnomusicological research and there is a risk that our field of study will be considered archaic and obsolete. For this reason, in this new global soundscape in which we are immersed, it is becoming in- creasingly urgent to make an assessment on ethnomusicology, its status, fields, tasks and methods of investigation. This review is so crucial that it could call into question the very name of our field of study.1 The provocative and poignant introductory paper by Francesco Giannatta- sio (2013) that animated the conferences leading to this volume questioned a number of very troubling tendencies in mainstream ethnomusicology. These include a proliferation of new essentialisms and reifications of ‘ethnicity’, ‘tra- dition,’ ‘identity,’ and ‘the meta-culture of diversity’. How could it be that a discipline that takes as its object musical difference, could become so com- plicit in the banalization of musical difference? The invitation to the 2014 seminar underscored the seriousness of this critique and joined convergent concerns raised by Giovanni Giuriati (2010) that asked participants to engage this ‘[…] urgent necessity […] to set free ethnomusicology from the weight of its founding myths and from an unacceptable stagnancy’. This is a conversa- tion that I am happy to join, for it is of longtime concern. Coming of age in the radical 1960s, I never liked the term ‘ethnomusicology.’ Its 1950s vintage felt terribly burdened by the legacy of colonialism and the cold war. ‘Ethnomusicology’ (even without the original and more problematic hyphen) immediately signaled to me the music of the Other. This missed out on the musical energy and ethos that compelled me in the moment of my own initiation to multiple musical realities, a politicized wave of worldwide exper- imental folk, rock, jazz, electro-acoustics, improvisation, and avant-gardism. At a time when one could embrace the musical cosmopolitanism of so many contemporary experimental fusions, as well as engage in research in remote and distant places that questioned the Eurocentric construction of ‘music,’ why follow the conservative path, policing the borders of what musics are to be deemed ‘traditional,’ or ‘popular,’ or ‘art,’ or ‘Western,’ or ‘non-Western?’ In 1972 I had a first chance to apply my 1960s musical and political radical- ization to the concept of ‘ethnomusicology’ and the alternatives proposed by my professor, Alan Merriam, in his book The Anthropology of Music (1964). The assigned paper I wrote for his graduate theory seminar began with this sentence: ‘What about an anthropology of sound?’ For the next twenty years, into the early 1990s, I developed answers to this question, particularly through empirical studies in rainforest Papua New 1 See Giannattasio, in this volume, p . 11 . 83 Guinea, (cf., e.g. Feld 2012) and through scrutiny of the emergence of the ‘world music’ genre of global pop (cf., e.g., Feld 1995). The anthropology of sound idea continually offered zones of critical response to what I perceived as increasing limitations of the dominant anthropology of music paradigms of the 1960s and 1970s: Alan Merriam’s theorization of ‘music in culture’ (1964) and John Blacking’s theorization of ‘humanly organized sound’ (1973). Central to that critique, the anthropology of sound idea argued for an expanded terrain when engaging global musical diversity. That expansion acknowledged the critical importance of four areas typically left out, or, when included, un-theorized or under-theorized, at programmatic conjunctions of musicology and anthropology. These domains were (1) language, poetics, and voice; (2) species beyond the human; (3) acoustic environments; (4) techno- logical mediation and circulation. While the idea of an anthropology of sound was meant to help decolonize ethnomusicology’s disciplinary paradigms, the presence of ‘anthropology’ still made it too human-centric; the prepositional ‘of’ marked too much dis- tance and separation, and the nominal ‘sound’ seemingly made it more about propagation than perception, more about structure than process. Other intel- lectual equipment was needed to address the sounding worlds of indigenous and emergent global geographies of difference across the divides of species and materials. Since the early 1990s I have tried to further develop some of this intellectual equipment through the notion of ‘acoustemology,’ and it is to this idea that I now turn. Acoustemology imagines an alternative to the classic triad of music in culture, music and culture, music as culture. It tries to imagine an alternative to the musicology vs. anthropology debates that have dominated each ethnomusi- cological identity crisis for the last fifty years. It tries to think with and -be yond ethnomusicology’s best recent theorizations of plural ontologies of mu- sic (e.g., Bohlman 1999), and to add a critical posthuman and posthumanist
Recommended publications
  • Characteristics of Online Music Courses: a Survey Of

    Characteristics of Online Music Courses: a Survey Of

    CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY _________________ A Dissertation Presented to The Faculty of the Moores School of Music University of Houston _____________________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________________ By Dan M. Littles August 2014 CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY _________________ An Abstract of A Dissertation Presented to The Faculty of the Moores School of Music University of Houston _____________________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________________ By Dan M. Littles August 2014 CHARACTERISTICS OF ONLINE MUSIC COURSES: A SURVEY OF MUSIC FACULTY ABSTRACT The purpose of this study was to determine the perceptions of music faculty toward course suitability for online delivery, the pedagogical practices of online music faculty, and the current predominate characteristics of online music courses. A review of the literature found no studies that surveyed music faculty to find the current characteristics of online music courses. A researcher-designed survey was completed by participants (N = 230) from 160 randomly selected institutions accredited by the National Association of Schools of Music (NASM). The majority of participants were from large universities (10,000 or more students) and did not have previous experience teaching music online. Most universities offering undergraduate and graduate courses online have done so for 4 or fewer years. Music history, music appreciation, and religious studies in music were the most commonly offered online undergraduate courses, and music education, music research, and music technology were the most common graduate courses.
  • Gende*-Bending Anth*Opological

    Gende*-Bending Anth*Opological

    !"#$"%&'"#$(#)*+#,-%./.0.)(120*3,4$("5*.6*7$412,(.# +4,-.%859:*+;<*3,2;=21- 3.4%1":*+#,-%./.0.)<*>*7$412,(.#*?42%,"%0<@*A.0B*CD@*E.B*F*8G"1B@*HIII9@*//B*FFH&FFJ K4=0(5-"$*=<:*'021LM"00*K4=0(5-(#)*.#*="-206*.6*,-"*+;"%(12#*+#,-%./.0.)(120*+55.1(2,(.# 3,2=0"*NOP:*http://www.jstor.org/stable/3196139 +11"55"$:*HQRDQRQDDI*DD:FD Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=black. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Blackwell Publishing and American Anthropological Association are collaborating with JSTOR to digitize, preserve and extend access to Anthropology & Education Quarterly.
  • Statistical Techniques in Music Psychology: an Update

    Statistical Techniques in Music Psychology: an Update

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Goldsmiths Research Online Statistical techniques in music psychology: An update Daniel M¨ullensiefen 1 Introduction Music psychology as a discipline has its origins at the end of the 19th century and ever since then, empirical methods have been a core part in this field of research. While its experimental and analytical methods have mainly been related to methodology employed in general psychology, several statistical techniques have emerged over the course of the past century being specific for empirical research in music psychology. These core methods have been described in a few didactic and summarising publications at several stages of the discipline’s history (see e.g. Wundt, 1882; B¨ottcher & Kerner, 1978; Windsor, 2001, or Beran, 2004 for a very technical overview), and these publications have been valuable resources to students and researchers alike. In contrast to these texts with a rather didactical focus, the objective of this chapter is to provide an overview of a range of novel statistical techniques that have been employed in recent years in music psychology research.1 This overview will give enough insight into each technique as such. The interested reader will then have to turn to the original publications, to obtain a more in-depth knowledge of the details related to maths and the field of application. Empirical research into auditory perception and the psychology of music might have its beginnings in the opening of the psychological laboratory by Wilhelm Wundt in Leipzig in 1879 where experiments on human perception were conducted, and standards for empirical research and analysis were developed.
  • Multicultural Considerations in Music Therapy Research Seung-A Kim Ph.D., L.C.A.T., MT-BC Molloy College, Skim@Molloy.Edu

    Multicultural Considerations in Music Therapy Research Seung-A Kim Ph.D., L.C.A.T., MT-BC Molloy College, [email protected]

    Molloy College DigitalCommons@Molloy Faculty Works: Music Therapy Music Therapy 2016 Multicultural Considerations in Music Therapy Research Seung-A Kim Ph.D., L.C.A.T., MT-BC Molloy College, [email protected] Cochavit Elefant Follow this and additional works at: https://digitalcommons.molloy.edu/mustherapy_fac Part of the Music Therapy Commons DigitalCommons@Molloy Feedback Recommended Citation Kim, Seung-A Ph.D., L.C.A.T., MT-BC and Elefant, Cochavit, "Multicultural Considerations in Music Therapy Research" (2016). Faculty Works: Music Therapy. 8. https://digitalcommons.molloy.edu/mustherapy_fac/8 This Book Chapter is brought to you for free and open access by the Music Therapy at DigitalCommons@Molloy. It has been accepted for inclusion in Faculty Works: Music Therapy by an authorized administrator of DigitalCommons@Molloy. For more information, please contact [email protected],[email protected]. Chapter 8 MULTICULTURAL CONSIDERATIONS IN MUSIC THERAPY RESEARCH Seung-A Kim • Cochavit Elefant Our society has become more diverse in the past decade, as evidenced by the influx of immigrants, multiracial and minority groups, and the increasing age gap between generations (Population Reference Bureau, 2015). Consequently, culture has been regarded as a significant construct among researchers. By proposing Culture-Centered Music Therapy, Stige (2002) encourages “all music therapists [to be] more culture-centered in their work and thinking, not by labeling their work as such but integrating cultural perspectives in their thinking” (p. 5). As our own worldviews influence all aspects of music therapy (Dileo, 2000; Wheeler & Baker, 2010), cultural factors provide a significant foundation to all music therapy research. With this perspective, music therapy researchers are essentially multicultural researchers.
  • Defining Ethnomusicology

    Defining Ethnomusicology

    10 1. THE HARMLESS DRUDGE : DEFINING ETHNOMUSICOLOGY DEFINITIONS. For years, people have been asking me the question: "You're an ethnomusicologist?" Shortly after 1950 it was likely to be accompanied by expressions of wonder and of the belief that I was somehow involved with "folk" music, with "primitive music," and particularly with "ancient music," and also that I must have a great deal of companionship with a tape recorder. By 1960 the questioner would likely bring up participation in an Indonesian gamelan, or perhaps an ability to "play" many of the world's odd instruments. In the 1970s, the conversation might well include the term "ethnic" music or even the etymologically outrageous "ethnomusic," and in the eighties and nineties, free association might lead to “diversity” and “world music.” I have always found it difficult to come to a precise, concise, and readily intelligible definition. Dictionaries differ considerably but espouse limited views. In the 120 years in which modern ethnomusicology can be said to have existed, since pioneer works such as those of Ellis (1885), Baker (1882), and Stumpf (1886), attitudes and orientations have changed greatly, and so has the name, from something very briefly called “Musikologie” (in the 1880s), to “comparative musicology” (through about 1950), then to “ethno- musicology” (1950–ca. 1956), quickly to “ethnomusicology” (removing the hyphen actually was an ideological move trying to signal disciplinary independence), with suggestions such as “cultural musicology” (Kerman 1985) and “socio-musicology” (Feld 1984) occasionally thrown in. The changes in name paralleled changes in intellectual orientation and emphasis. It is difficult to find a single, simple definition, to which most people in this field would subscribe, and thus ethnomusicologists have been perhaps excessively concerned with defining themselves.
  • ABSTRACT Title of Thesis: RESEARCH ON

    ABSTRACT Title of Thesis: RESEARCH ON

    ABSTRACT Title of Thesis: RESEARCH ON MUSIC AND HEALING IN ETHNOMUSICOLOGY AND MUSIC THERAPY May May Chiang, Master of Arts, 2008 Directed By: Professor J. Lawrence Witzleben Department of Musicology and Ethnomusicology, Chair. This thesis examines current developments in the research and discourse on music and healing. Ethnomusicology has involved extensive work on documenting traditional music and healing traditions; however, ethnomusicologists have neglected to contribute their knowledge and effort to healthcare-oriented research. Music therapy, on the other hand, has been focusing on the benefit of the patient, but rarely relates its practices to traditional music and healing traditions or non-Western music. Despite the recent establishment of the Medical Ethnomusicology Special Interest Group in the Society for Ethnomusicology and increasing awareness of world music and cultural diversity in music therapy, scholars in the two fields have not yet collaborated with each other extensively. The motivations for this thesis are: to review previous developments in research on music and healing, to find out the reasons for the changes in the research trends of the past decade, and to see possible research directions in the future. RESEARCH ON MUSIC AND HEALING IN ETHNOMUSICOLOGY AND MUSIC THERAPY By May May Chiang Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Professor J. Lawrence Witzleben, Chair Professor Robert Provine Professor Jonathan Dueck © Copyright by May May Chiang 2008 Acknowledgements I would like to show my appreciation to the ethnomusicologists and music therapists with whom I have communicated, especially to Dr.
  • Symbols and Rituals: an Interpretive Approach to Faith- Based Behavior

    Symbols and Rituals: an Interpretive Approach to Faith- Based Behavior

    SYMBOLS AND RITUALS: AN INTERPRETIVE APPROACH TO FAITH- BASED BEHAVIOR By: James A. Forte Presented at: NACSW Convention 2014 November, 2014 Annapolis, Maryland | www.nacsw.org | [email protected] | 888-426-4712 | Symbols and Rituals: An Interpretive Approach to Faith-Based Behavior Presentation at National Association of Christian Social Workers, Annual Conference Annapolis, Maryland November 8, 2014 James A. Forte Professor, Salisbury University Symbols and Rituals (Geertz and Faith Behavior) Memorable Words “The phrase ‘nothing is a practical as good theory’ is a twist of an older truth: Nothing improves theory more than its confrontation with practice” (Hans Zetterberg, 1962, page 189). Symbols and Rituals (Geertz and Faith Behavior) Overview: Framework for Making Sense of Geertz’s Theory Models – Exemplary root theorists Metaphors – Theory’s root metaphors Mapping – Theoretical elements and relations, Translation to eco-map Method - Directives for further inquiry & theory use Middle-range Theory-based applications (Inquiry theorizing and planned change) Marks of Critical thinking about theory Excellence Symbols and Rituals (Geertz and Faith Behavior) Clifford Geertz and The Symbolic Anthropology Approach This approach to religion and spirituality provides an analysis of the system of meanings embodied in the symbols and expressed in rituals which make up the religion or spiritual system (for a focal social group), and the relating of these systems to social-structural and psychological processes (Geertz, 1973, page 125). Symbols
  • Before and After Gender Hau Books

    Before and After Gender Hau Books

    BEFORE AND AFTER GENDER Hau BOOKS Executive Editor Giovanni da Col Managing Editor Sean M. Dowdy Editorial Board Anne-Christine Taylor Carlos Fausto Danilyn Rutherford Ilana Gershon Jason Throop Joel Robbins Jonathan Parry Michael Lempert Stephan Palmié www.haubooks.com BEFORE AND AFTER GENDER SEXUAL MYthOLOGIES OF EVERYdaY LifE Marilyn Strathern Edited with an Introduction by Sarah Franklin Afterword by Judith Butler Hau Books Chicago © 2016 Hau Books and Marilyn Strathern Cover and layout design: Sheehan Moore Cover photo printed with permission from the Barbara Hepsworth Estate and The Art Institute of Chicago: Barbara Hepworth, English, 1903-1975, Two Figures (Menhirs), © 1954/55, Teak and paint, 144.8 x 61 x 44.4 cm (57 x 24 x 17 1/2 in.), Bequest of Solomon B. Smith, 1986.1278 Typesetting: Prepress Plus (www.prepressplus.in) ISBN: 978-0-9861325-3-7 LCCN: 2016902723 Hau Books Chicago Distribution Center 11030 S. Langley Chicago, IL 60628 www.haubooks.com Hau Books is marketed and distributed by The University of Chicago Press. www.press.uchicago.edu Printed in the United States of America on acid-free paper. Distributed Open Access under a Creative Commons License (CC-BY ND-NC 4.0) The Priest Sylvester, in Russia in the sixteenth century, writes to his son: The husband ought to teach his wife with love and sensible punishment. The wife should ask her husband about all matters of decorum; how to save her soul; how to please the husband and God; how to keep the house in good order. And to obey him in every- thing.
  • An Introduction to Music Studies Pdf, Epub, Ebook

    An Introduction to Music Studies Pdf, Epub, Ebook

    AN INTRODUCTION TO MUSIC STUDIES PDF, EPUB, EBOOK Jim Samson,J. P. E. Harper-Scott | 310 pages | 31 Jan 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521603805 | English | Cambridge, United Kingdom An Introduction to Music Studies PDF Book To see what your friends thought of this book, please sign up. An analysis of sociomusicology, its issues; and the music and society in Hong Kong. Critical Entertainments: Music Old and New. Other Editions 6. The examination measures knowledge of facts and terminology, an understanding of concepts and forms related to music theory for example: pitch, dynamics, rhythm, melody , types of voices, instruments, and ensembles, characteristics, forms, and representative composers from the Middle Ages to the present, elements of contemporary and non-Western music, and the ability to apply this knowledge and understanding in audio excerpts from musical compositions. An Introduction to Music Studies by J. She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians". The job market for tenure track professor positions is very competitive. You should have a passion for music and a strong interest in developing your understanding of music and ability to create it. D is the standard minimum credential for tenure track professor positions. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres, e. Mus or a B. For other uses, see Musicology disambiguation. More Details Refresh and try again. Goodreads helps you keep track of books you want to read. These models were established not only in the field of physical anthropology , but also cultural anthropology.
  • 7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog

    7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog

    7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field.
  • The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works

    The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works

    Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your ​ ​ reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart.
  • Beethoven's Eroica Sketches: a Form-Functional Approach

    Beethoven's Eroica Sketches: a Form-Functional Approach

    Thomas W. Posen Dissertation Prospectus. Approved Winter 2020 McGill University Beethoven’s Eroica Sketches: A Form-Functional Approach Introduction, Methodology, and Contributions This dissertation introduces new insights into Beethoven’s compositional process to his third symphony. It accomplishes this aim by reconstructing the transcribed single-line sketches to the Eroica found in the Eroica Sketchbook (Beethoven, Lockwood, and Gosman 2013), and by analyzing the reconstructed sketches with form-functional theory (Caplin 1998; 2013). More broadly, this study reorients the analyst’s perspective by valorizing the sketches instead of critiquing them. Form-function theory provides an ideal framework for finding and understanding the strengths in the sketches for three primary reasons.1 First, it prioritizes the role of local harmonic progressions as a determinant of form. We can realize the harmonies that Beethoven implies in his single-line sketches with a high degree of objective accuracy. By contrast, other musical parameters such as texture, dynamics, or instrumentation, which are vital criteria for other well-defined sonata theories (e.g., Hepokoski and Darcy 2011), are very sparse in the sketches and therefore difficult to reconstruct without substantial subjective interpretations. Second, form-function theory minimizes motivic content as the basis of formal function. This feature is important for describing how Beethoven uses the same musical material for different formal functions in successive drafts, and conversely, how he preserves particular formal functions while changing their musical content. Third, the theory establishes well- defined formal categories that can be applied flexibly at all levels of analysis of the sketches (Caplin 1998, 4). These strictly defined categories enable an analyst to elucidate Beethoven’s formal and phrase- structural strategies in individual sketches and compare them across drafts with firm theoretical foundations in an aesthetically neutral environment.