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Mbira Dza Vadzimu</Em> Music disClosure: A Journal of Social Theory Volume 4 Making Boundaries Article 5 4-15-1995 Appropriate Data / Dada: A Partial Reading of a Fragment of Shona Mbira Dza Vadzimu Music Martin Scherzinger Columbia University DOI: https://doi.org/10.13023/DISCLOSURE.04.05 Follow this and additional works at: https://uknowledge.uky.edu/disclosure Part of the Music Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License. Recommended Citation Scherzinger, Martin (1995) "Appropriate Data / Dada: A Partial Reading of a Fragment of Shona Mbira Dza Vadzimu Music," disClosure: A Journal of Social Theory: Vol. 4 , Article 5. DOI: https://doi.org/10.13023/DISCLOSURE.04.05 Available at: https://uknowledge.uky.edu/disclosure/vol4/iss1/5 This Article is brought to you for free and open access by disClosure: A Journal of Social Theory. Questions about the journal can be sent to [email protected] Appropriate Data/Dada 45 Appropriate Data I Dada A Partial Reading of a Fragment of Shona Mbira Dza Vadzimu Music By Martin Scherzinger Columbia University [Open inverted commas] This paper1 will2 analyze3 a piece of Shona Mbira dza Vadzimu4 music known as Nyamaropa. The analysis will draw upon the insights ofnumerous post­ Schenkerian theories, 5 although no explicit reference is made to these writings. 1 Certain Ready-made. Just Fountain. Ready-made disciplines appear like ballistics to analyze and explain, to cri­ tique and deconstruct this partial ngoma of Zimbabwe: the traditional progression Nyamaropa traditionally played to evoke the so-called 'so- called mudzimu' ... based here on the playing of Mister-traditional Gwanzura Gwenzi of Harare, Zimbabwe on a traditional mbira dza vadzimu .. .built out of mva malopa and iron rods ... softened in the womb furnace. Mister Researcher, just insert and note the play of silence and sound in which it comes to mean. Take note, Mister Inquirer. Mister 'Eye'. Ready-made. Just add water. 2 Insert (Berlin Dada) "Die vergleichende Musikwissenschaft, die sich zur Aufgabe macht, die Tonprodukte, insbesondere die Volksgesaenge verschiedener Voelker, Laender und Territorien behufs ethnographischer Zwecke zu vergleichen und nach der Verschiedenheit ihrer Beschaffenheit zu gruppieren und sondern." (1885, 14) ...and thus arises the Berlin School of Comparative Musicology. 'Systematische Musikwissenschaft' is studied at the Technische Universitaet, Berlin, 'Historische Musikwissenschaft' at the Freie Universitaet and 'Vergleichende Musikwissenschaft' in a separate Department of the Freie Universitaet. Composi­ tion, a fourth category, is taught at the various 'Hochschulen'. 3 Certain Insert Music analysis is emphasized at the Technische Universitaet, while courses in disClosure: Making Boundaries 46 Martin Scherzinger Appropriate Data/Dada 47 the study of musical form are obligatory at all of the aforementioned institutions. that the discourse of 'facts', particularly as it manifests in a certain Victorian an­ The 'professionalization' of music analysis is witnessed by both the vast body thropological gaze--of remarkable tenacity and persistence- is in itself part of an of literature which has appeared in its name recently and by the various analysis­ Imperialist episteme, and that Empire and empiricism can be connected by more oriented curricula offered by leading western universities and music institutions. cogent word-plays than punning.] American universities generally divide their programs for graduate study into the same four groups, namely 'Musical Composition', 'Ethnomusicology', 'History of ...T hese changing intellectual traditions can seem to reflect a change in the Music' and 'Theory of Music'. The central aim of the latter program is to provide name of the discipline from 'Comparative Musicology' to 'Ethnomusicology' in the the student with a range of analytic approaches to music theory. 1950s and 1960s. The earliest definition of Comparative Musicology per se is pro­ The analysis of music today, as an autonomous discipline or as an obligatory posed by Guido Adler in his codification of the whole of Musicology in 1885: component of a broader curriculum has come to occupy a central position in the " ... comparative musicology has as its task the comparison of the musical works-­ study of music generally. Since Heinrich Schenker's formulation of music's irre­ especially the folksongs-of the various peoples of the earth for ethnographical ducible basis ('Hintergrund') in the l 920's, a proliferation of distinct analytic purposes ... " (1885, 14) Other writers elaborate these margins of the methods has emerged. These range from 'cognitive' approaches to analysis ethnomusicological debate: (Rudolph Reti, Leonard Meyer, Eugene Narmour), whereby the process of listening 1935: Robert Lachmann: "Non-European music is handed down without the to music is considered as a dynamic unfolding of expectations, to 'set-theoretical' means of writing; its investigation demands, therefore, other methods than those analysis (Allen Forte, John Rahn) explicitly modeled on formal theory in logic and for Western art music." (1935, 1) mathematics. 1941: Glen Haydon: "Non-European musical systems and folk music consti­ tute the chief subjects of study; the songs of birds and phylogenetic-ontogenetic 4 Appropriate Data parallels are subordinate topics." ( 1941 , 218) What voice speaks this ngoma that is not one? 1946: Willi Apel: "Comparative musicology.. [is] ...the study of exotic music What ritual? What (w)rites this music of the Other, the Odder? ... Exotic music ... [is comprised of]. .. the musical cultures outside the European tra­ dition. " (1946, 167-250) 5 A Syllogism The non-European component is echoed by Herzog (1946), Koole (1955), Music analysis, a fully fledged academic practice in its own right today, is a Netti (1956), Rhodes (1956), Schneider (1957), Kunst (1959) and Seeger (1961) manufactured discipline producing certain effects, which, by virtue of its central­ among many others. ized position and institutional support, has the power to determine the limits of By 1961 the term 'Comparative Musicology' had been abandoned except as a musical value. It is, on this view, one device whereby favored repertories of listen­ historic reference, although it periodically reappeared as applying to a portion of ing are constructed and transmitted. Hence, there is an important interplay between the broader field of ethnomusicology. The anti-comparative stance was motivated the canon of music generally and the manner in which it is spoken about. African by the idea that meanings may differ from one culture to another and that compari­ music tends to be approached from an anthropological perspective ... son of these diverse things may become a comparison of unlike things. John Black­ (Small footnote to the footnote: A history of definitions of the field of ing in 1966 expresses this point of view: " ... we may be comparing incomparable ethnomusicology may reveal a silent movement from a study of certain kinds of phenomena ... if we accept the view that patterns of music sound in any culture are music, namely 'non-western', 'exotic', or 'orally transmitted' music, to a processual the product of concepts and behaviors peculiar to that culture, we cannot compare definition which focuses on the way in which it is to be studied .. them with similar patterns in another culture unless we know that the latter are de­ [Big toe note to the small footnote to the footnote: These rived from similar concepts and behavior." (Quoted in Merriam, 1977, 193-4) ethnomusicological narratives are taken in the above note to share certain rhetori­ Mantle Hood understands the deployment of comparison to be premature and dan­ cal tropes and strategies and thus I inevitably engage in a kind of idealism that gerous: "It seems a bit foolish in retrospection that the pioneers of our field be­ claims that these tropes have determining power and bear the same charge in dif­ come engrossed in the comparison of different musics before any real understand­ ferent historical settings. But taken as a foundational ruse rather than as a histori- ing of the musics being compared had been achieved." (1963, 233) In 1969 he ' cal fact, this idealization may problematize a range of other questions around the writes: " ... a vast number of musical cultures ... are yet to be studied claims to facticity of a category of musical research called 'African music' claiming disClosure: Making Boundaries disClosure: Making Boundaries 48 Jvfartin Scherzinger Appropriate Data/Dada 49 6 A radical relativization of musical material takes place in Nyamaropa. Ev­ conclusively a function of these background matrices. This analysis will only ex­ ery note is subordinated to an underlying harmonic and rhythmic matrix embed­ amine the harmonic7 8 patterning in Nyamaropa. 9 ded within the structure of the music. No moment can be identified which is not the following terms: "Close musical analysis brings theoretical speculation back to systematically... before comparative methods can give musicology a truly world­ real music ... " (Kramer, 1988) wide perspective." (1969, 299)The new definitions of Ethnomusicology are con­ I will offer brief expositions of only two analytic discourses which are held to structed in terms of a sharp rupture with the past, emphasizing process over form, fall outside the 'formal' analytic domain, namely Schenkerian and 'cognitive' ap­ the orientation of the student over any rigid boundaries of discourse, the context of
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