Description
Book SynopsisHistorical ethnomusicology is increasingly acknowledged as a significant emerging subfield of ethnomusicology due to the fact that historical research requires a different set of theories and methods than studies of contemporary practices and many historiographic techniques are rapidly transforming as a result of new technologies. In 2005, Bruno Nettl observed that the term historical ethnomusicology' has begun to appear in programs of conferences and in publications (Nettl 2005, 274), and as recently as 2012 scholars similarly noted an increasing concern with the writing of musical histories in ethnomusicology (Ruskin and Rice 2012, 318). Relevant positions recently advanced by other authors include that historical musicologists are all ethnomusicologists now and that all ethnomusicology is historical (Stobart, 2008), yet we sense that such argumentswhile useful, and theoretically correctmay ultimately distract from careful consideration of the kinds of contemporary theories and rigor
Trade ReviewBy means of thoughtful commentary on potential sources and procedures, the editors and authors of new articles will hopefully stimulate burgeoning interest in historical perspectives on the part of ethnomusicologists. -- Bonnie C. Wade, University of California, Berkeley
A timely, thoughtful, and engaging collection, Theory and Method in Historical Ethnomusicology is sure to become an important resource. McCollum, Herbert, and their collaborators have done a great service to musical scholars of all stripes, be they historical musicologists, ethnomusicologists, or somewhere in between. -- Ken Prouty, Michigan State University
This book is an ardent call for a historical turn in ethnomusicology. -- Alexandra Kertz-Welzel, Ludwig Maximilian University
A scholarly and incisive account of the place of historiography in ethnomusicology. Editors McCollum and Hebert adopt an organizational structure that achieves a fine balance between historical, philosophical, and theoretical foundations, and their application is illustrated brilliantly in studies of diverse global music traditions. The text transcends music disciplinary boundaries and points the way to an expanded vision for historiography in music scholarship. -- Marie McCarthy, University of Michigan
Table of ContentsTable of contents Foreword. The Past is No Longer a Foreign Country Keith Howard Acknowledgments Chapter 1. Foundations of Historical Ethnomusicology Jonathan McCollum and David G. Hebert Chapter 2. Methodologies for Historical Ethnomusicology in the Twenty-First Century David G. Hebert and Jonathan McCollum Chapter 3. Philosophy of History and Theory in Historical Ethnomusicology David G. Hebert and Jonathan McCollum Chapter 4. Hearing Echoes, Sensing History: The Challenges of Musical Diaspora Judah Cohen Chapter 5. Ancient Music, Modern Myth: Persian Music and the Pursuit of Methodology in Historical Ethnomusicology Ann Lucas Chapter 6. Analysis of Notation in Music Historiography: Armenian Neumatic Khaz from the Ninth through Early Twentieth Centuries Jonathan McCollum Chapter 7. Southern American Fiddling through the Mid-Nineteenth Century: Three Snapshots with Modern Connections Chris Goertzen Chapter 8. A Tale of Two Sensibilities: Hindustani Music and its Histories Daniel M. Neuman Chapter 9. The Legacy of Music Archives in Historical Ethnomusicology: A Model for Engaged Ethnomusicology Diane Thram Chapter 10. Contested Contextualization: The Historical Construction of East Asian Music Keith Howard Chapter 11. Advancing Historical Ethnomusicology Jonathan McCollum and David G. Hebert Index About the Contributors
