https://www.youtube.com/watch?v=UfLxosgmIuE. ; London: Osterhammel, Jürgen. 2006. de Mascarenhas, Domingos. Tomlinson, Gary. A Concise History of Rock Music. “Western Music as World Music” In The Cambridge History of World. of global diversity in music. Selecteer uw cookievoorkeuren . As Robert Young points out, “if Said denies that there is any actual Orient which could provide a true account of the Orient represented by Orientalism, how can he claim in any sense that the representation is false?” (Young 1990:130). Audio: Peşrev in makam Bestenigar / usul berefşan (16/8 meter) composed by Dimitrie Cantemir. University Press of Florida Book: Toward a Global History of Latin America’s Revolutionary Left. Speakers included Nicola Spakowski (University of Freiburg), Max Peter Baumann (University of Würzburg), Jin-Ah Kim (Humboldt University, Berlin), Zhang Boyu (Central Conservatory of Music, Beijing), Keith Howard (SOAS, University of London), Rinko Fujita (University of Vienna) and Oliver Seibt (Goethe University, Frankfurt).Outside Europe, the workshop Musical Cultures under Relationships of Power: Eastern Europe and the Middle East was held at the Hebrew University of Jerusalem on 25 and 26 October 2015. Provincializing Europe: Postcolonial Thought and Historical. Towards a global music history : intercultural convergence, fusion, and transformation in the human musical story / Mark Hijleh. The visitorships were held at the collaborating institutions under the supervision of a Steering Committee member, but were not appointments by or at the respective universities.The research visitors engaged with the history and historiography of music in cultures of other continents, and/or with its interactions with western music history, and/or with the question of an intercontinental/global history of music. Orientalism. Woodbridge: University of Rochester Press. and Clive Brown, 281–302. 2520 Schoenberg Music Building Europe, Empire and Spectacle in. Century Collection of Ottoman Music.” Journal of the Royal Asiatic Society 22: Fauser, Annegret. Of course, as many scholars have pointed out, “authentic” representations of non-European musics may be equally as problematic as orientalist imaginings of them (see e.g. 2001. Chakrabarty, Dipesh. Stock, … Reinhard Strohm is Emeritus Professor of Music at the University of Oxford. Avra Xepapadakou (University of Crete, Greece): Western European Opera and Operetta Companies Touring in the South-eastern Mediterranean during the Nineteenth and Early Twentieth Centuries (April-May 2017)Research Visitors 2015/2016 appointed in 2014Department of Musicology, The Hebrew University, JerusalemDr. Frete GRÁTIS em milhares de produtos com o Amazon Prime. Cook 2013). Towards a Global Music Theory crafts a globally aware approach to understanding music, specifically shaping it to the actualities of the here-and-now. Jia, Shu Bing (Musicology Department, Central Conservatory of Music, Beijing, China): The Dissemination of Western Music through Catholic Missions in High Qing China, 1662-1795 (January-February 2015)Faculty of Music, University of OxfordDr. 2013. The rise of Western art music, in particular, can be linked inextricably to the genesis and evolution of global capitalism from the sixteenth century onwards, and seen to depend on … 2010. “Beyond the Exotic: How ‘Eastern’ is Aida?” Cambridge Opera, Neubauer, Eckhard. 1751. Cambridge: Cambridge, Locke, Ralph P. 2005. Ihsan Özgen, Linda Burman-Hall and Lux Musica. White Mythologies: Writing History and the West. Joyce Lindorff (Temple University, US), harpsicord, with Jean-Christophe Frisch, flute, and David R.M. Prehistoric music, once more commonly called primitive music, is the name given to all music produced in preliterate cultures (), beginning somewhere in very late geological history.Prehistoric music is followed by ancient music in most of Europe (1500 BC) and later music in subsequent European-influenced areas, but still exists in isolated areas. “Der makam bestenigar, berefşan.” Cantemir’s Bestenigar peşrev, transcribed by Mustafa Kevseri (c. 1740, fol. Fast and free shipping free returns cash on delivery available on eligible purchase. Sign Up Now! Music for Global Human Development (M4GHD) is an approach to applied ethnomusicology that entails participatory action research projects in music & development (humanized in aims and methods), centered on global collaborations between academics, NGOs, government organizations, musicians, and others, applying ethnomusicology to real-world social issues, … Its title was Many Kinds of Music History: a Crosscultural Enquiry. 2007. Fonton’s subject position is therefore not “European” in a straightforward sense—indeed, the Levantines of the Ottoman Empire (perhaps in a similar way to the “Eurasians” of India) were often regarded with suspicion and distaste by “real” Europeans (Coller 2010). Almost every form of art music or popular music that we cultivate or study today is in some way related to the patterns of intercultural reciprocity that were set in place during this age of incipient globalization. Said, Edward W. 1993. It focuses on examining the global musical repercussions of transcontinental exchanges, … Cookie Policy(function (w, d) { var loader = function () { var s = d.createElement("script"), tag = d.getElementsByTagName("script")[0]; s.src = "https://cdn.iubenda.com/iubenda.js"; tag.parentNode.insertBefore(s, tag); }; if (w.addEventListener) { w.addEventListener("load", loader, false); } else if (w.attachEvent) { w.attachEvent("onload", loader); } else { w.onload = loader; } })(window, document); Towards a Global Music History Intercultural Convergence, Fusion, and Transformation in the Human Musical Story 1st Edition by Mark Hijleh and Publisher Routledge. Yet in his discussion of Fonton, Klotz repeats the canard that there is “an absence of notational systems” or “written clues” in relation to non-European musics, thereby reiterating the idea that the Orient is knowable only through European perceptions of it (Klotz 2013:281). 3, composed in China.A conference-workshop on Topical Encounters and Rhetorics of Identity in Latin American Art Music was convened by Melanie Plesch (research visitor 2014/2015) at the Faculty of Music, Oxford University, from 13 to 15 February 2015. They used the visitorships to carry out further research on their special topics, or widen the purview of their studies, and communicated about their work with colleagues, students and the public. Nevertheless, to quote Gary Tomlinson again, “[w]e should say not that Europeans have begun to hear non-European musics, but that [we] have begun to scrutinize the peculiar deafness that at once constitutes our modernity and conceals the global forces in it” (Tomlinson 2007:196). London: Routledge. In a contribution to the recent Cambridge History of World Music, for example, Sebastian Klotz (2013) discusses perceptions of “world music” during the Enlightenment, with particular reference to an essay on Ottoman music by Charles Fonton[1] (1725–93) (for a critical edition of Fonton’s essay, see Neubauer 1999). ISBN Numbers: 9781683401698 . Music of the Raj: A Social and Economic History of Music in Late. This was convened by Jason Stoessel (research visitor 2013/2014). The literature on European appropriations of “Turkish” music is particularly instructive, since the Ottoman Empire, as a major Islamic power that posed a threat to Christendom throughout the early modern period, has often functioned as Europe’s paradigmatic Other. Thus, several authors have detailed the way in which European music writing has represented non-European cultures as a means of self-fashioning and in order to reinforce various ideological constructs, from universalism to romanticism and evolutionism (Tomlinson 2007; Zon 2013; Bohlman 2013). Buy Towards a Global Music History: Intercultural Convergence, Fusion, and Transformation in the Human Musical Story by Hijleh, Mark online on Amazon.ae at best prices. … “Beyond Orientalism: The International Rise of Japan and. by Philip V. Bohlman, 277–97. Compre online Towards a Global Music History: Intercultural Convergence, Fusion, and Transformation in the Human Musical Story, de Hijleh, Mark na Amazon. The papers were given by Melanie Plesch (The University of Melbourne), Julio Mendívil (Stiftung Universität Hildesheim), Paulo de Tarso Salles (Universidade de São Paolo, Brazil), Omar Corrado (Universidad de Buenos Aires), Roberto Kolb-Neuhaus (Universidad Autónoma de México), Omar García Brunelli (Instituto Nacional de Musicología, Argentina), Acácio Pieade (Universidade do Estado de Santa Catarina, Brazil), Juan Francisco Sans (Universidad Central de Venezuela). Fonton’s transcriptions of Ottoman music, for instance, may usefully be compared with contemporaneous Turkish-language sources such as the Kevseri Mecmuası (c. 1740), which reveals that, far from being imaginative exotica, they correspond (albeit with inevitable distortions) to the music played in mid-eighteenth-century Istanbul (Ekinci 2012; Wright 2007:22–5). Hip Hop Studies has a long history at UCLA, starting with one of the pioneering academics in the field,... From 1980 to 1994, Los Angeles (now Tokyo-based) composer Carl Stone hosted the radio program Imaginary Landscape on KPFK.Broadcasting every week for several years the show has been a key space for avant-garde electronic... Hip Hop Studies at UCLA: The Hip Hop Studies Working Group and Seminar, Imaginary Landscape: Composer to Composer Talks (1980s-1990s). Speakers were Charles Burnett (The Warburg Institute, University of London), Manuel Pedro Ferreira (Universidade Nova de Lisboa), Felicitas Schmieder (FernUniversität Hagen, Germany) and Jason Stoessel (University of New England, Australia). Ferguson, Niall. 445 Charles E. Young Drive 2000. 47v). Difference. Research visitors of 2013/2014 were Klein, Goldman and Spiller.The event was introduced by Prof. Dr. Reinhart Meyer-Kalkus (Wissenschaftskolleg zu Berlin) and Reinhard Strohm.The events in Berlin also included a meeting of the Steering Committee of the project at the Humboldt University on 15 January, and a public panel discussion between Balzan Prizewinners Manfred Brauneck, Ludwig Finscher and Reinhard Strohm.Convened at the Istituto Italiano di Cultura, Berlin, by Professor Gottfried Scholz, it was entitled Die grössere Welt: Transkulturelle Projekte der Musik- und Theaterforschung. Papers were delivered by Philip Bohlman, Michael Fend, Emily Dolan, Keith Chapin, Glenda Goodman, Katherine Butler Schofield, Joan-Pau Rubiés, Ruth HaCohen, Matthew Gelbart, Miguel Á. Marín, David R. M. Irving and Estelle Joubert.Full details on individual workshops and conferences can be found at the following websites:http://www.music.ox.ac.uk/assets/Conference-Programme.pdf;http://mcr.wadham.ox.ac.uk/wp-content/uploads/2015/10/Musical-cultures-under-relationships-of-power-Eastern-Europe-and-the-Middle-East.pdfConclusionTowards a Global History of Music has come to an end, but Reinhard Strohm has discussed the wish to continue these studies of a global history of music with Jin-Ah Kim (2015 research visitor who convened the Zurich workshop), and many of the other specialists involved in the project, as well as funding institutions and advisers around the world. “Air de Cantimir.” A peşrev in the mode Bestenigar by Dimitrie Cantemir (1673–1723), transcribed by Charles Fonton (1751, p. 137). So while Klotz is undoubtedly correct to argue that aspects of Fonton’s essay reflect the values of the French Enlightenment, in order to properly contextualise it one must also place it within the framework of Ottoman history; or rather, one must attend to the complex entanglement of European and non-European history. 1990. 2005. By avoiding this approach in favour of an analysis that focuses only on discourse, we risk setting up a solipsistic debate about Self and Other in which the Other is nowhere to be found. 2013. https://doi.org/10.4324/9781315109688 UCLA. 2005. Jonathan Goldman (Faculté de Musique, Université de Montréal, Canada): The Invention of a Gamelan Tradition in Avant-Garde Music, 1970-1995 (May-June 2014)Dr. Tobias Robert Klein (Humboldt-Universität zu Berlin, Germany): Panafrica and the “Idea of Non Absolute Music”: An Exercise in the Global History and Aesthetics of Music (January 2014)Prof. Henry Spiller (University of California Davis, USA): Javanese and Sundanese Music and Dance in European Historical Reflections (January 2014)King’s College, University of LondonDr. Log In You must be logged into Bookshare to access this title. Anna G. Piotrowska (Jagiellonian University, Kraków, Poland): Gypsy Music in European Culture (October-November 2015)Institut für Musikwissenschaft, Universität WienDr. The workshop opened up a remarkable narrative of intercontinental parallels and relations between ceremonial and martial music-making in early modern times.Places of Interaction: Histories of Music and Dance in India, Africa, and South-East Asia was held at the British Academy in London on 16 and 17 June 2016, with convenors Margaret Walker (Queen’s University, Kingston, Canada), James L. Mitchell (Khon Kean University, Thailand) and Reinhard Strohm. 2008. Ethnomusicology Review Cowgill, Rachel and Rushton, Julian, eds. Civilization: The Six Killer Apps of Western Power. 2011. Coller, Ian. Indeed, as Dipesh Chakrabarty and others have argued, the construct of history itself, with its emphasis on development and progress, is deeply intertwined with ideas of Western superiority and the mechanisms of imperialism (Chakrabarty 2008; Young 1990). Recent discussions in historical musicology suggest that there is a growing interest in the relationship between Western music and the position of Europe in world history. Towards a Global Music Theory: Practical Concepts and Methods for the Analysis of Music Across Human Cultures: Hijleh, Mark: Amazon.sg: Books Kim, Jin-Ah (Institut für Musikwissenschaft, Humboldt-Universität, Berlin, and Hankuk University of Foreign Studies, Seoul/Yongin): Transfer, Reception and Appropriation of Music: East Asia and Western Europe (April-May 2015)Research Visitors 2013/2014Humboldt-Universität zu BerlinProf. The Global Eighteenth Century. “The Music of Non-Western Nations and the Evolution of British, Ethnomusicology.” In The Cambridge History of World Music, edited by. “From Tyranny to Despotism: The Enlightenment’s Unenlightened. Subject(s): Latin American - History Where non-European musics are discussed, it is invariably through the prism of colonial literature, or with reference to their appropriation by European composers. However, by analysing it solely within the framework of European history, Klotz fails to take into consideration the broader (“global”) context of Fonton’s essay, which is essential to explain what distinguishes it from the work of, say, Jean-Benjamin de Laborde (1780). Towards a Global Music History: Intercultural Convergence, Fusion, and Transformation in the Human Musical Story: Hijleh, Mark: Amazon.nl. History.” In The Cambridge History of World Music, edited by Philip V. Bohlman, 255–76. His research project aimed to promote post-European historical thinking, beginning withthe consideration of what ‘western music’ would look like in an account of music history aspiring to be truly global. Already a Member? nihavend»?” Studii şi cercet. Los Angeles, CA 90095-1657 Papers were delivered by François Picard (Université de la Sorbonne, Paris), Yang Chien-Chang (National Taiwan University, Taipei), Tobias Robert Klein (Berlin), Nicholas Cook (University of Cambridge), Jonathan Goldman (Université de Montréal) and Henry Spiller (University of California, Davis). Other scholars have researched the role of music in the colonial encounter, emphasising the way in which cross-cultural musical experiences shaped identities both in the colonies and in metropolitan centres (Agnew 2008; Irving 2010; Woodfield 2000). Towards a Global Music Theory: Practical Concepts and Methods for the Analysis of Music Across Human Cultures: Amazon.it: Hijleh, Mark: Libri in altre lingue Barbara Titus (University of Amsterdam): The West in Musical Retrospect: South African Maskanda Music as Historiography (March-May 2016)Musikwissenschaftliches Institut, Universität ZürichDr. London: Vintage. Enquiries and offers of collaboration are welcome. Melanie Plesch (Department of Music, University of Melbourne, Australia): Towards an Understanding of the Rhetorical Efficacy of Latin American Art Music: Topics of Landscape (January-February 2015)Musikwissenschaftliches Institut, Universität ZürichProf. Keynote speakers were Katherine Butler Schofield (King’s College, University of London) and Anna Maria Busse Berger (University of California, Davis). Save up to 80% by choosing the eTextbook option for ISBN: 9781351613804, 1351613804. Essai sur la musique orientale comparée à la musique européene [sic]. A highlight of the Places of Interaction workshop was a song and dance performance by Urja Desai Thakore accompanied by Manjeet Sing Rasiya and Surjeet Sing Aulakh.In 2016, Eastern Mediterranean and Western Asian Music, Ancient and Modern, a workshop on medieval and more recent middle Eastern musical life, took place from 4 to 6 November 2016 at the Faculty of Music, Oxford University, with Gabriela Currie, Lisa Nielson and Avra Xepapadakou convening. Co-convenor with Laurenz Lütteken was Tobias Robert Klein (research visitor 2013/2014). These studies have been derived from the Balzan Musicology Project Towards a Global History of Music (2013-2016), which was funded by the International Balzan Foundation through the award of the Balzan Prize in Musicology to the editor, and designed by music historians and ethnomusicologists together. 4 vols. Learn about membership options, or view our freely available titles. New ed. After an opening session with a dialogue talk by Ruth HaCohen and Edwin Seroussi (The Hebrew University, Jerusalem), sketching the general framework for discussing musical cultures under relations of power, the two-day event consisted of the following sessions: Power, politics and musical legacy chaired by Marina Ritzareva; Revisiting ‘national’ in music chaired by Alexander Rosenblatt; East of Europe? As Gary Tomlinson writes: Across the century from 1750 to 1850 music lodged itself at the heart of a discourse that pried Europe and its histories apart from non-European lives and cultures. Convenors were David R. M. Irving and Estelle Joubert (research visitors 2013/2014). Find many great new & used options and get the best deals for Towards a Global Music History by Mark Hijleh (2018, Hardcover) at the best online … [Untitled treatise and music collection]. Cook, Nicholas. Other speakers included James Mitchell, Rainer Lotz, James Kirby (University of Edinburgh), Margaret Walker, Tiziana Leucci (CNRS, France), Ann David (University of Roehampton, London), Nalini Ghuman (Mills College, Oakland), Gerhard Kubik (University of Vienna and C. J. Jung Institut, Zurich), Barbara Titus (University of Amsterdam and 2016 Balzan Research Visitor), Luis Velasco Pufleau (University of Salzburg and 2016 Balzan Research Visitor), Andrée Grau (University of Roehampton, London), Judit Frigyesi (Bar Ilan University, Israel), Sen Suddhaseel (University Kolkata, India). A concluding discussion of the project Towards a Global History of Music with all workshop speakers, Steering Committee members and advisors was held at Humboldt University on 17 January.On 27 May 2014, the workshop Theorizing across Cultures: Ethnomusicological and Historical-Musicological Perspectives was held at King’s College, University of London. Echoes of this are also found in Jürgen Osterhammel’s recent global history of the nineteenth century, where he describes the spread of opera to Asia and the Americas in order to illustrate the globalisation of aesthetic practices (Osterhammel 2011:28–30). Image of the Turks.” International Journal of Middle East Studies 33: 49–68. Mark, H. (2018). Strohm Reinhard (Wadham College, University of Oxford, United Kingdom) Speakers were Christina Richter-Ibáñez, Eva Moreda Rodriguez, Daniela Alejandra Fugellie, Thomas Cressy, Kayoung Lee and Christin Hoene (8 April), and Tom Western, Dariusz Brzostek, Ana Hofman, meLê Yamomo, Thomas R. Hilder and Andrea F. Bohlman (9 April).This was the last of the long series of international workshops, seminars and meetings that were distributed over the five years of Reinhard Strohm’s highly articulated project, which has united six important academic institutions and a great number of researchers from all over the world, thus providing a global approach – both in terms of the project’s vastness and its depth – to the history of music, the fruit of different voices and points of view.2016/2017On 22 and 23 January 2016, a workshop Towards a Global History of Martial and Military Music: Comparative Perspectives for the Early and Pre modern Period was held at the Institut für Musikwissenschaft, Universität Wien, with Morag Josephine Grant (Berlin) as convenor. Towards a Global Music History: Intercultural Convergence, Fusion, and Transformation in the Human Musical Story (1st ed.). The keynote address was delivered by Kofi Agawu (Princeton University). While postcolonial theory has been most thoroughly applied in the social sciences—and has long been integral to disciplines such as anthropology and ethnomusicology—its impact can also be seen in the rise of global historical studies. Yet the problem here, at least as far as musicology is concerned, may lie in the paradoxes of postcolonial theory itself, and more specifically in the influential work of Edward Said (1978, 1993). A History of Music is the newest comic from Jenkins and Boyle, the team behind the 2006 fair use comic Bound by Law. Young, Robert. Europe vis-avis the Middle East chaired by Abigail Wood. In a contribution to the recent Cambridge History of World Music, for example, Sebastian Klotz (2013) discusses perceptions of “world music” during the Enlightenment, with particular reference to an essay on Ottoman music by Charles Fonton (1725–93) (for a critical edition of Fonton’s essay, see Neubauer 1999). Ist. By : Mark Hijleh. Encontre diversos livros escritos por Hijleh, Mark com ótimos preços. Cambridge: Cambridge University Press. While this may not be the aim of the authors, it is problematic in as much as it has led to further distortions of the historical record and, I would suggest, has perpetuated inaccurate perceptions of non-European musics. Other speakers were Bernardo Illari (University of North Texas College of Music), Leonardo Waisman (Universidad Nacional de Córdoba, Argentina), Egberto Bermúdez (Universidad Nacional de Colombia), Jutta Toelle (Max Planck Institute for Empirical Aesthetics, Frankfurt), Peter Allsop (Visiting Professor, Central Conservatory of Music, Beijing), Gabriele Tarsetti and Fabio G. Galeffi (Teodorico Pedrini Centre, Fermo, Italy), Lars Peter Laamann (SOAS, University of London), David R. M. Irving (The Australian National University), Daniele V. Filippi (Schola Cantorum Basiliensis) and Mateusz Kapustka (University of Zurich). There is a certain inevitability to such accounts of European “cultural imperialism,” which suggest that, historically speaking, local musical practices are of little consequence in comparison with the universal adoption of Western art music and its aesthetic conventions (see e.g. Nussbaum 2005). Culture and Imperialism. Nussbaum, Felicity A., ed. 2009. Der Essai sur la musique orientale von Charles Fonton mit, Zeichnungen von Adanson. Read reviews from world’s largest community for readers. Credits, Piazzetta Umberto Giordano 4 - 20122 Milano - T +39 02 7600 2212 - F +39 02 7600 9457, Research Project - Towards a Global History of Music, Acceptance Speech – Rome, 14.11.2012 (Italian), My Work and Worries in Music History - Rome, 15.11.2012 Forum, A global project for the Music - Interview with Reinhard Strohm 24.05.2017, Humanity, Peace and Fraternity among Peoples. A global history of music may never be written in … Three sessions were held: Early transcultural musical legacies from the Mediterranean to the Indus (speakers: Gabriela Currie, Ciro Lo Muzio, Andrew Hicks, Donatella Restani); Music Aesthetics in the Medieval Islamicate World (speakers: John Franklin, Dwight F. Reynolds, Pernilla Myrne, Lisa Nielson); Greece – a Cultural Crossroads between East and West (speakers: Katy Romanou, Kostas Kardamis, Avra Xepapadakou). 2008. Wright, Owen. de Laborde, M. [Jean-Benjamin]. Oxford: Klotz, Sebastian. “Musicology on Safari: Orientalism and the Spectre of Postcolonial, Head, Matthew. by Reinhard Strohm, London-NewYork: Routledge, 2018 (SOAS Musicology series), ISBN 978-1-138-05883-5 (hbk) and ISBN 978-1- 315-16397-0 (ebk). Music and Historical Critique: Selected Essays. ©2019 Description viii, 241 pages : illustrations, maps, music ; 25 cm Notes The purpose of the IMS Study Group “Global History of Music” is to promote macrohistorical thinking about global connections, patterns, and processes in human musicking, and to develop theoretical frameworks for musicology that intersect with current directions in sister disciplines. Barlow investigates how the global monoculture has infiltrated every corner of the earth. Towards a Global Music History book. The concluding panel discussion, in which Catherine Holmes (University of Oxford) also participated, was chaired by Jason Stoessel.From 15 to 17 January 2014, an international workshop-conference was held at the Humboldt-Universität and Wissenschaftskolleg zu Berlin, on the invitation of Prof. Dr. Laurenz Lütteken, entitled Alternative Modernities: Postcolonial Transformations of “Traditional” Music in the Nineteenth and Twentieth Centuries. “Peşrev in makam Bestenigar / usul berefşan (16/8) - Dimitrie Cantemir.” From the album Cantemir: Music in Istanbul and Ottoman Europe around 1700. One type of response to the absence of the non-European in historical musicology, therefore, has been to explore precisely these narratives of Self and Other in European musical thought during and after the Enlightenment. 2012. One of the major fears associated with the globalization of music is the creation of a global monoculture. From this perspective, the opposition of a European “history” of music versus a non-European “ethnography” of music (evident in the still common use of the “ethno-” prefix for research about non-European musics) is not simply a matter of disciplinary boundaries, but is the product of habits of thought which have their roots in eighteenth- and nineteenth-century colonialism. Synopsis How do we explain the globalized musical … We gebruiken cookies en vergelijkbare tools om uw winkelervaring te verbeteren, onze services aan te bieden, te begrijpen hoe klanten onze services gebruiken zodat we verbeteringen kunnen aanbrengen, en … However, by actively engaging with the written sources of Ottoman music, we can begin to move away from a one-sided discussion that concentrates solely on European perceptions of the Orient, and instead attempt to understand the historical reality of musical practices during the Ottoman period. Golden Horn Records, 2002. Furthermore, it should be emphasised that any move towards a less isolationist narrative of European music history is surely to be welcomed. Learn how to submit your work to the Ethnomusicology Review. This incipient “global turn,” if it can be characterised as such, reflects an increased awareness of globalisation within other academic disciplines and in contemporary world society and politics. 1780. 1978. These postings are not peer reviewed and do not reflect the opinion of Ethnomusicology Review. The workshop concluded with a round table entitled ‘Insiders’ and/or ‘Outsiders’ in the history of music in Eastern Europe and the Middle East, a general discussion, and was chaired and introduced by Anna G. Piotrowska, with a conclusion by Reinhard Strohm.2013/2014A one-day research workshop entitled “Mongols Howling, Latins Barking”: Voice and Song in Early Musical Encounters in Pre-colonial Eurasia was held on 2 December 2013 at the Faculty of Music, Oxford.

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