Deutsch Intern
    Institut für Musikforschung

    IMS vol. 24

    Strohm, Reinhard (Ed.): Transcultural Music History. Global Participation and Regional Diversity in the Modern Age. INTERCULTURAL MUSIC STUDIES, vol. 24. ed. by Max Peter Baumann. A Series of the Department of Ethnomusicology, Institute for Music Research, Julius-Maximilian University of Würzburg). VWB -Verlag für Wissenschaft und Bildung. Berlin 2021. – 444pp. + 4 color plates; numerous figures, photos, musical notations, and index. ISBN 978-3-86135-654-1. ISSN 1435-5590.


    This book engages with a transcultural history of music: with musical events, processes and discourses that happened because the world is not compartmentalised in national cultures. The musical experiences reported in these stories, distributed over several continents, were guided by a ′transcultural consciousness′. This means that the historiographers of African music, the practitioners of military music, the proponents of Bach′s music in other continents, the creators and users of sound media, could act as they did because they were conscious of a globalised cultural environment. They participated in wider options but often insisted on their own diversity. A ′global history of music′ (to quote the Balzan Musicology Project from which this volume originates) would be the sum total of musical histories, large and small, around the world. The focus of this book, however, is on musical processes and debates that have in themselves been conditioned by the transcultural consciousness of the modern era.
    Nineteen specialists of music history, ethnomusicology and cultural studies describe a surprising patchwork of local expertise and global significance. The people who have contributed to this patchwork are innumerable.


    Preface (Reinhard Strohm)


    Max Peter Baumann: Towards a transcultural music history?

    The Historiography of African Music

    • Tobias Robert Klein: Panafrica and the idea of (non) absolute music
    • Gerhard Kubik: History, mathematics and auditory perception in African music: A roundtrip through the lecturer’s fieldwork
    • Anna Maria Busse Berger: Ballanta, Trittelvitz and Hagena: A 1920s conversation on church music in Africa
    • Barbara Titus: The West in musical retrospect: The historiographical implications of South African maskanda music

    Martial and Military Music Traditions

    • Morag Josephine Grant: Chaos and order: Issues in the historiography of martial music
    • Keith Howard: Blowing and hitting: Korean envoys, processionals and martial music
    • Silke Wenzel: Military music in 16th- and early 17th-century Europe: A musical command system between improvisation and denotation

    Global Views on Bach

    • Thomas A. Cressy: Bach in the early Shōwa-period Japan (1926–1945): Historiography and reception
    • Kayoung Lee: The Bach tercentenary in South Korea (1985): Commemoration, recollection and reflection
    • Daniela Fugellie: Bach and the renewal of Chilean musical life since the 1920s
    • Christina Richter-Ibáñez: Through the lenses of neoclassicism, the Viennese School and exile: An examination of Johann Sebastian Bach in Argentina, 1920 to 1950
    • Eva Moreda Rodríguez: Bach in Spain and Mexico (1917–1958) through the works of Adolfo Salazar
    • Christin Hoene: Bach (and his absence) in postcolonial Indian literature: The politics of absolute music and genius

    Media and Transcultural Music History

    • James Kirby: Towards a comparative history of tonal text-setting practices in South East Asia
    • James Mitchell: The Siamese gramophone record industry 1903–1940 in regional context
    • Dariusz Brzostek: Electronic music, socialism and modernity: On remastering the archives of the Polish Radio Experimental Studio
    • Razia Sultanova: The non-Russian sound of post-Soviet Moscow
    • Tom Western: Archival silence: Friction, remediation and purification in online sound archives

    Notes on Contributors
    Colour plates
    Music examples