Ursula Hemetek Marko Kölbl Hande Sağlam (eds.) Ethnomusicology Matters Infl uencing Social and Political Realities Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Music Traditions Vol. 1 (formerly Schriften zur Volksmusik 1–25) Series of the Department of Folk Music Research and Ethnomusicology at the University of Music and Performing Arts Vienna Series‘ editor: Ursula Hemetek Musik Traditionen Bd. 1 (ehemals Schriften zur Volksmusik 1–25) Reihe des Instituts für Volksmusikforschung und Ethnomusikologie an der Universität für Musik und darstellende Kunst Wien Reihenherausgeberin: Ursula Hemetek Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Ursula Hemetek | Marko Kölbl | Hande Sağlam (eds.) Ethnomusicology Matters Influencing Social and Political Realities böhlau verlag wien köln weimar Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Open Access: Except when otherwise noted, this work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit HYPERLINK https://creativecommons.org/ licenses/by/4.0/ Published with the support of the University of Music and Performing Arts Vienna This publication has been double blind peer reviewed. Bibliografische Information der Deutschen Bibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über https://dnb.de abrufbar. © 2019 by Böhlau Verlag GmbH & Co. KG, Kölblgasse 8–10, A-1030 Wien Alle Rechte vorbehalten. Das Werk und seine Teile sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen bedarf der vorherigen schriftlichen Einwilligung des Verlages. Cover illustration: (c) Galyna_P/Shutterstock.com Satz: SchwabScantechnik, Göttingen Druck und Bindung: Hubert & Co. BuchPartner, Göttingen Printed in the EU Vandenhoeck & Ruprecht Verlage | www.vandenhoeck-ruprecht-verlage.com ISBN 978-3-205-23287-2 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Table of Contents Ursula Hemetek, Marko Kölbl, Hande SaĞlam Introduction ......................................7 Anthony Seeger How Does Ethnomusicology Matter? The Socio-Political Relevance of Ethnomusicology in the 21st Century ...... 15 Adelaida Reyes The Beneficence and the Tyranny of Paradigms: Kuhn, Ethnomusicology and Migration ...................... 33 Britta Sweers The Position of University-Based Ethnomusicology from an Interdisciplinary Perspective ........................ 53 Samuel Araujo Music, Research and Public Interest A Dialogical Praxis for Social Justice ........................ 77 Tan Sooi Beng Bridging the Racial Divide in Malaysia: Crossing Borders through Research and Process Theatre ............ 93 Beverley Diamond Affect, Ontology, and Indigenous Protocol: Encounters in Canada ............................... 117 Rasika Ajotikar Reflections on the Epistemic Foundations of Music in Modern India through the Lens of Caste: A Case from Maharashtra, India .......................... 135 Cornelia Gruber Politics of Women Dancing in Madagascar: Relating Critical Perspectives on Gender ..................... 163 5 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Table of Contents Selena Rakočević Practicing Ethnomusicology/Ethnochoreology Within Post-Socialist Realities: The Case of Serbia with Some Comparative Experiences from Former Yugoslav Countries ................... 191 Dan Lundberg Music Archives, Identity and Democracy. The Role of Archives from New Perspectives .................. 215 Naila CeribašiĆ On Engaging Up and Expertise in Ethnomusicology: The Example of Expert Services in the Programme for Safeguarding Intangible Cultural Heritage ........................... 233 Philip V. Bohlman “And from the Ruins of Time They Blossom”: On the Moral Imperative in Ethnomusicology .................. 257 Notes on Contributors ............................... 281 6 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Ursula Hemetek, Marko Kölbl, Hande Sağlam Introduction Usually, scholars who work in a certain discipline do think that what they do is rel- evant. So it comes as no surprise that the editors of this volume think that ethnomu- sicology matters. On the other hand, there have long been complaints by ethnomusi- cologists worldwide about the fact that ethnomusicology is considered a marginalized field. The relevance of the discipline varies of course according to the respective backgrounds: the national traditions of the discipline and its presence in academic institutions. Accordingly, the names of the discipline also vary: folk music research, cultural anthropology of music, musical ethnology, just to name a few.1 The structural positioning of ethnomusicology within institutions and universities is of course crucial when considering its influence. Very often we find it as a sub-discipline of musicol- ogy, especially in Europe, which makes sense of course considering that it came into existence as comparative musicology (see Titon 2015). On the other hand, folk music research as a part of ethnomusicology looks back on different historical founding nar- ratives. The history of the discipline is not the topic of this volume, but to a certain extent it does influence the structural positioning of the discipline nowadays, which again is important in connection with power relations. The authors of this volume primarily try to underline ethnomusicology’s relevance not by its strategical positioning, but by its research topics and results that can influ- ence social and political realities. However, the whole picture probably has to be taken into consideration when reading this book. The genesis of this publication is very much connected to both: the results of research are influential as well as structural positioning. The symposium which laid the ground for this volume was called Musics Matter! Ethnomusicology and its Socio-political Relevance Today (28-30 September 2017) and it was held to mark the inauguration of the ICTM Secretariat in Vienna. The Secretar- iat of the International Council for Traditional Music is a rather influential institution in the world of ethnomusicology, and was located previously in New York, Los Ange- les, Canberra and Ljubljana. It is the operational centre of the ICTM. The Council was founded in 1947 and is the key international organisation serving the field of eth- nomusicology worldwide. Its mission is to deal in a scholarly manner with the entire 1 We are well aware that there are diverse research histories as well as political backgrounds involved. In spite of this we decided to choose “ethnomusicology” as the umbrella term. 7 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Ursula Hemetek, Marko Kölbl, Hande Sağlam range of diverse musics that exist in our world. The positioning of the Secretariat at the University of Music and Performing Arts Vienna (mdw) signified an increase in the prestige of ethnomusicology within the university. The ICTM Secretariat is located at the mdw’s Department of Folk Music Research and Ethnomusicology, which has for decades been an important networking platform for the world’s many different “musics” as well as for the various music- and dance- related expressive forms that are situated outside the mainstream. Having brought the Secretariat to the department, Ursula Hemetek’s research agenda—music and minori- ties—received more attention: this field of research has a great deal to do with socio- political relevance, and this agenda is actually a point of departure for the contents of this book. International ethnomusicological personalities were invited to the aforementioned symposium to discuss the field’s socio-political relevance in light of current lines of ethnomusicological discourse, which are of considerable political significance. Most of the contributions which make up this book were submitted as articles specifically for this publication, and after a double-blind peer reviewing process they have now been published. It is amazing to see how manifold the ethnomusicological approaches can be that contribute towards influencing political and social realities: analysing philo- sophical paradigms or the potential power of music itself, the positioning of the dis- cipline as university politics, the application of gender discourses, discussing the role of heritage and archives as well as indigenous ontologies, and of course applied ethno- musicology itself as a political intervention in the interests of social justice. Within the discipline of ethnomusicology, the links between scholarly research and socio-political realities are largely pre-specified by interpersonal relations in field- work. Fieldwork often implies the forming of personal bonds with individuals and/or groups—accordingly, ethnomusicologists are commonly involved with communities and the socio-political conditions surrounding them. It is the very nature of human relationships that creates the aspiration to socio-political change in a large amount of ethnomusicological research, as the articles of this volume clearly show. Hence, ethnomusicology matters precisely because of its involvement with indi- viduals and communities. For ethnomusicological research to gain socio-political rel- evance, however, a certain political intention—a vision for the way in which political realities can be influenced—is crucial. This intention manifests itself in a wide range of forms—from political statements to applied and engaged