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This booklet hardly needs a preface; the contents, I think. speak for themselves.It contains a short and carefully brought up to date resume of all that I. as a private University Lecturer in Amsterdam. have tried to teach my pupils. It is intended as a general introduction to ethnomusicology, before going on to the study of the forms of separate music-cultures. I sincerely hope that those, who wish to teach themselves and to qualify in this branch of knowledge, will find a satisfactory basis for selftuition in the matter here brought together. Regarding the possibility of a new edition, any critical remarks or infor mation as to possible desiderata would be very gratefully received. J.K. PREFACE TO THE SECOND EDITION My request for critical remarks and desiderata has not been ignored. My sincere thanks to all who took the trouble to let me know what they missed in my booklet. Through their collaboration the contents have undergone a considerable improvement and enlargement as compared to the original edition issued in 1950 by the Royal Tropical Institute, Amsterdam. under the title 'Musicologica'. I have taken care to add many particulars from non-European sources. with the result that now the book is no longer so Europe-centric as it was. Furthermore, I have done my best to mention in a special bibliography all the more important ethnomusicological publications, with the exception of those issued in the Russian, Arabic. Chinese, Indonesian, Javanese.
In this highly praised and seminal work, Alan Merriam demonstrates that music is a social behavior—one worthy and available to study through the methods of anthropology. In it, he convincingly argues that ethnomusicology, by definition, cannot separate the sound-analysis of music from its cultural context of people thinking, acting, and creating. The study begins with a review of the various approaches in ethnomusicology. He then suggests a useful and simple research model: ideas about music lead to behavior related to music and this behavior results in musical sound. He explains many aspects and outcomes of this model, and the methods and techniques he suggests are useful to anyone doing field work. Further chapters provide a cross-cultural round-up of concepts about music, physical and verbal behavior related to music, the role of the musician, and the learning and composing of music. The Anthropology of Music illuminates much of interest to musicologists but to social scientists in general as well.
Robert Lachmann’s letters to Henry George Farmer, from the years 1923-38, provide insightful glimpses into his life and his progressive research projects. From an historical perspective, they offer critical data concerning the development of comparative musicology as it evolved in Germany during the early decades of the twentieth century. The fact that Lachmann sought contact with Farmer can be explained from their mutual, yet diverse interests in Arab music, particularly as they were then considered to be the foremost European scholars in the field. During the 1932 Cairo International Congress on Arab Music, they were selected as presidents of their respective committees.
This booklet hardly needs a preface; the contents, I think, speak for themselves. It contains a short and carefully brought up to date resume of all that I, as a private University Lecturer in Amsterdam, have tried to teach my pupils. It is intended as a general introduction to ethnomusicology, before going on to the study of the forms of separate music-cultures. I sincerely hope that those, who wish to teach themselves and to qualify in this branch of knowledge, will find a satisfactory basis for self tuition in the matter here brought together. Regarding the possibility of a new edition, any critical remarks or infor mation as to possible desiderata would be very gratefully received. J. K. PREFACE TO THE SECOND EDITION My request for critical remarks and desiderata has not been ignored. My sincere thanks to all who took the trouble to let me know what they missed in my booklet. Through their collaboration the contents have undergone a considerable improvement and enlargement as compared to the original edition issued in 1950 by the Royal Tropical Institute, Amsterdam, under the title 'Musicologica'. I have taken care to add many particulars from non-European sources, with the result that now the book is no longer so Europe-centric as it was.
This booklet hardly needs a preface; the contents, I think, speak for themselves. It contains a short and carefully brought up to date resume of all that I, as a private University Lecturer in Amsterdam, have tried to teach my pupils. It is intended as a general introduction to ethno-musicology, before going on to the study of the forms of separate music-cultures. I sincerely hope that those, who wish to teach themselves and to qualify in this branch of knowledge, will find a satisfactory basis for self tuition in the matter here brought together. Regarding the possibility of a new edition, any critical remarks or infor mation as to possible desiderata would be very gratefully received. J.K. PREFACE TO THE SECOND EDITION My request for critical remarks and desiderata has not been ignored. My sincere thanks to all who took the trouble to let me know what they missed in my booklet. Through their collaboration the contents have undergone a considerable improvement and enlargement as compared to the original edition issued in 1950 by the Royal Tropical Institute, Amsterdam, under the title 'Musicologica'. I have taken care to add many particulars from non-European sources, with the result that now the book is no longer so Europe-centric as it was.
First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
This innovative book reassesses the history of musicology, unearthing the field’s twentieth-century German and global roots. In the process, Anna Maria Busse Berger exposes previously unseen historical relationships such as those between the modern rediscovery of medieval music, the rise of communal singing, and the ways in which African music intersected with missionary work in the German colonial period. Ultimately, Busse Berger offers a monumental new account of the early twentieth-century music culture in Germany and East Africa. ?The book unfolds in three parts. Busse Berger starts with the origins of comparative musicology circa 1900, when early proponents used ideas from comparative linguistics to test whether parallels could be drawn between nonwestern and medieval European music. She then turns to youth movements of the era—the Wandervogel, Jugendmusikbewegung, and Singbewegung—whose focus on joint music making influenced many musicologists. Finally, she considers case studies of Protestant and Catholic mission societies in what is now Tanzania, where missionaries—many of them musicologists and former youth-group members—extended the discipline via ethnographic research and a focus on local music and communities. In highlighting these long-overlooked transnational connections and the role of global music in early musicology, Busse Berger shapes a fresh conception of music scholarship during a pivotal part of the twentieth century.