Globalisation and Western Мusic Нistoriography
Keywords:
globalisation, musicology, music history, ethnography, “post-European”, fragmentationAbstract
Globalisation of musicology and music history aims to fuse the divisions created during Western music’s acme, and is referred to as “post-European historical thinking”. Therefore, “post” and “pre” European historical thinking have much in common. One aspect of this process of fragmentation was that music history was separated from theory and that Western Music Histories succeeded General Music Histories (a development described in some detail in the article). Connecting global music history with “post-European” historical thinking is one among numerous indications of Western awareness that European culture has reached some sort of a terminal phase. Concurrently, countries that have been developing by following Western Europe as a prototype, are leading today some past phase of Western development, which, with the ideas of cultural relativism prevailing, are not considered inferior.
References
Ambros, A. W. (1868) Geschichte der Musik, Breslau: F. E. C. Leuckart.
Berggreen, A. P. (1869) Nygræske Folke-Sangeog Melodierudsatte for pianoforte, Copenhagen: C. A. Reitzels Forlag.
Bontempi, G. A. A. (1695) Historia musica, nella quale si ha piena cognitione della teorica, e della pratica antica della musica harmonica; secondo la dottrina de’ Greci, i quali inventata prima da Iubal avanti il Diluvio, e poi dopo ritrovata da Mercurio, la restituirono nella sua pristina, antica dignità: E come dalla teorica, e dalla pratica antica sia poi nata la pratica moderna, che contiene la scientia del contrapunto, Perugia: Constantini.
Bourgault-Ducoudray, L.-A. (1876) Trente mélodies populaires de Grèce et d’Orient recueillies et harmonisées, Paris, Bruxelles: Henry Lemoine et Cie.
Burney, C. (1776, 1782, 1789, 1789) A General History of Music from the Earliest Ages to the Present Period, volumes i-iv. London: published by the writer.
Celestini, F. and Bohlman, P. V. (2014) “Editorial: Musicology and the Discourses of Global Exchange”, Acta Musicologica lxxxvi/1, 1-3.
Danto, A. (1997) After the End of Art. Contemporary Art and the Pale of History, Princeton: Princeton University Press.
Fauriel, C. (1824–1825) Chants populaires de la Grèce moderne, i-ii, Paris: Firmin-Didot.
Fétis, F.-J. (1830) Curiosités historiques de la musique. Complément nécessaire de la musique mise à la portée de tout le monde, Paris: Janet et Cotelle.
Fétis, F.-J. (1869, 1872, 1872, 1874, 1876) Histoire générale de la Musique depuis les temps les plus anciens jusqu’ à nos jours, i-v, Paris: Firmin Didot.
Forkel, J. N. (1788, 1801) Allgemeine Geschichte der Musik, Leipzig: Schwickert.
Forkel, J. N. (1802) Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke, Leipzig: Hoffmeister und Kühnel.
Fukuyama, F. (1992) The End of History and the Last Man, New York: Avon books.
Hawkins, J., Sir (1776) A General History of the Science and Practice of Music, i-v, London: Payne and Son.
Kiesewetter, R. G. (1834) Geschichte der europäisch – abendländischen oder unsrer heutigen Musik. Darstellung ihres Ursprunges, ihres Wachsthumes und ihrer stufenweisen Entwickelung; Von dem ersten Jahrhundert des Christenthumes bis auf unsre Zeit. Für jeden Freund der Tonkunst, Leipzig: Breitkopf und Härtel.
Kiesewetter, R. G. (1842) Die Musik der Araber, nach Originalquellen dargestellt, Leipzig: Breitkopf und Härtel.
Kircher, A. (1650) Musurgia universalis, sive ars magna consoni et dissoni, in X libros digesta, Rome: Lodovico Crignani.
Printz, W. C. (1690) Historische Beschreibung der Edelen Sing- und Kling-Kunst, in welcher Deroselben Ursprung und Erfindung, Fortgang, Verbesserung, unterschiedlicher Gebrauch, wunderbare Würckungen, mancherley Feinde, und zugleich berühmteste Ausüber von Anfang der Welt biß auff unsere Zeit in möglichster Kürtze erzehlet und vorgestellet werden, aus Denen vornehmsten Autoribus abgefasset und in Ordnung gebracht, Dresden: Johann Christoph Miethens.
Samson, J. (2013) Music in the Balkans. Leiden, Boston: Brill.
Schneider, M. (1957) “Primitive Music”, In E. Wellesz (ed.) Ancient and Oriental Music, vol. i of The New Oxford History of Music, London, New York, Toronto: Oxford University Press, 1–82.
Tomlinson, G. (2003) “Musicology, Anthropology, History”, In M. Clayton, T. Herbert and R. Middleton (eds.) Cultural Study of Music, a critical introduction, New York: Routledge, 31–44.
Westrup, J. A., Abraham, G., Dent, E. J., Hughes, A., Dom, Wellesz, E. (eds.) (1954–1990) The New Oxford history of Music, i-xi. London, New York, Toronto: Oxford University Press.
http://www.balzan.org/en/prizewinners/reinhard-strohm (accessed 3rd April 2015).
https://www.princeton.edu/music/events_archive/viewevent.xml?id=476 (accessed 27th April 2015).
Downloads
Published
Issue
Section
License
Copyright (c) 2015 MUZIKOLOGIJA-MUSICOLOGY
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported License.
You are free to:
- Share — copy and redistribute the material in any medium or format.
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
-
Ауторство — You must give appropriate credit, provide a link to the license, and indicate if changes were made.
You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. -
Некомерцијално — You may not use the material for commercial purposes.
-
NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
