De-Nationalizing Music Historiography

Broadening our idea of musical composition, integrating dimensions of performed and per-ceived sound, and deconstructing the idea of authenticity are merely preliminary steps in an attempt at decentering and denationalizing the writing of music history. In order to outline a ůŻƢĩěŻůƟƢĩʼnĩűƪŎǛĩǛŎĩǜŻŁƷʼnŎƪěʼnþŦŦĩűłĩ܌ƷʼnĩŁŻŦŦŻǜŎűłěʼnþƟƷĩƢƪܣSSܒڑܫSSܒڕܤĢĩǛĩŦŻƟŎĢĩþƪƟƿƷ forward by recent theories in historical studies such as “entangled history”^ڟڝ and “multiple” or

“alternative modernities.”^ڟڞȃĩŁŻěƿƪŎƪŻűܹűŻűܮƪŎůƿŦƷþűĩŻƿƪܺƟƢŻěĩƪƪĩƪŎűůƿƪŎěʼnŎƪƷŻƢǢŻŁ ĢŎDzŁĩƢĩűƷűþƷŎŻűƪŻƢƢĩłŎŻűƪŻŁƷʼnĩǜŻƢŦĢĢƿƢŎűłƷʼnĩȀƢƪƷþűĢƷʼnĩƪĩěŻűĢʼnþŦŁŻŁƷʼnĩƷǜĩűƷŎĩƷʼn century, alluding to the notions of “relationality” and “synchronicity” as discussed in recent ʼnŎƪƷŻƢŎěþŦƪěʼnŻŦþƢƪʼnŎƟ܋^ڟڟ Whereas ƢĩŦþƷŎŻűþŦŎƷǢƪŎłűŎȀĩƪƷʼnþƷŎűůŻĢĩƢűŎƷǢűŻƢĩłŎŻűŻƢűþƷŎŻű is the sole agent of its history, that the emergence of modern societies is deeply connected to an interactive process among regions, nations, or cultures,^ڟڠ ƪǢűěʼnƢŻűŎěŎƷǢ stresses the fact that

ܹƪǢűěʼnƢŻűŻƿƪܺܣŦþƢłĩŦǢƪǢűŻűǢůŻƿƪǜŎƷʼnܹƪŎůƿŦƷþűĩŻƿƪܺܤłŦŻĚþŦƟƢŻěĩƪƪĩƪŎűůŻĢĩƢűʼnŎƪƷŻƢǢ ʼnþǛĩŻǼƷĩűĩűłĩűĢĩƢĩĢŎűƷĩƢĢĩƟĩűĢĩűƷěʼnþűłĩƪŎűĢŎDzŁĩƢĩűƷþƢĩþƪŻŁƷʼnĩǜŻƢŦĢܒ^ڟڡ While these approaches suggest a more emphatic perspective on the project of a “world history” by bringing ŦŻěþŦĢĩǛĩŦŻƟůĩűƷƪƷŻłĩƷʼnĩƢŎűƷŻþěŻůůŻűŁƢþůĩǜŻƢţ܌ůǢþƟƟƢŻþěʼnþŎůƪƷŻěŻűŁƢŻűƷƷʼnŎƪ ŁƢþůĩǜŻƢţǜŎƷʼnƷʼnŻƪĩܹűŻűܮƪǢűěʼnƢŻűŻƿƪܺŻƢܹűŻűܮƪŎůƿŦƷþűĩŻƿƪܺþƪƟĩěƷƪŻŁƟƢĩܮþűĢƟŻƪƷǜþƢ ܣůƿƪŎěܤʼnŎƪƷŻƢǢŻŁƷʼnĩƷǜĩűƷŎĩƷʼněĩűƷƿƢǢƷʼnþƷresistƷʼnĩƟƢŻŠĩěƷŻŁþƿűŎȀĩĢܹǜŻƢŦĢܣůƿƪŎěܤʼnŎƪƷŻ-ƢǢܒܺȃĩƟƢĩěŻűĢŎƷŎŻűþűĢěʼnþŦŦĩűłĩ܌ƷʼnĩƢĩŁŻƢĩ܌ŎƪƷŻƿűĢĩƢƪƷþűĢþűǢŦŻěþŦ܌űþƷŎŻűþŦ܌ŻƢƢĩłŎŻűܮ al music-historical processes not in isolation from global processes but as (frequently uncon- ƪěŎŻƿƪþűĢܘŻƢƿűěŻűƪŎĢĩƢĩĢܤěŻűƪĩơƿĩűěĩƪŻŁŎűƷĩƢܮŻƢƷƢþűƪűþƷŎŻűþŦĢǢűþůŎěƪ܌ŎűěŦƿĢŎűłܣĚƿƷ űŻƷŦŎůŎƷĩĢƷŻܤƟŻŦŎƷŎěþŦþűĢƪŻěŎþŦěŻűƷĩǡƷƪƪƿěʼnþƪƟŻŦŎƷŎěþŦŎĢĩŻŦŻłŎĩƪþűĢƟŻƪƷěŻŦŻűŎþŦƟŻǜ-ĩƢƪƷƢƿěƷƿƢĩƪ܌Ŏůþłĩƪ܌þűĢůĩűƷþŦŎƷŎĩƪܒhŻěþŦŻƢűþƷŎŻűþŦĢǢűþůŎěƪþűĢƟƢŻěĩƪƪĩƪƷʼnþƷĢŻűŻƷ ůþƷěʼnþűŻǛĩƢþƢěʼnŎűłʼnŎƪƷŻƢŎěþŦűþƢƢþƷŎǛĩůƿƪƷƪƷŎŦŦĚĩþěţűŻǜŦĩĢłĩĢܒ

¦ĩǴ ŦĩěƷŎűł Ʒʼnĩƪĩ ƷĩűƪŎŻűƪ þűĢ Ʒʼnĩ ĢŎǛĩƢłĩűƷ ƟƢĩěŻűĢŎƷŎŻűƪ ŻŁ þƢƷ ůƿƪŎě ěŻůƟŻƪŎƷŎŻű Ŏű ƷʼnĩĢŎDzŁĩƢĩűƷþƢĩþƪŻŁƷʼnĩǜŻƢŦĢƪŎűěĩڐژڏڏ܌ƷʼnĩűŻƷŎŻűŻŁþܹűŻűܮƪŎůƿŦƷþűĩŎƷǢŻŁƷʼnĩƪŎůƿŦƷþ-neous” [Ungleichzeitigkeit des Gleichzeitigen] as coined by art historian Wilhelm Pinder during ƷʼnĩڐژڑڏƪþűĢůþĢĩŁþůŻƿƪĚǢ/ƢűƪƷŦŻěʼnܼƪŎűܮĢĩƟƷʼnrþƢǡŎƪƷþűþŦǢƪŎƪŻŁƢŎƪŎűłŁþƪěŎƪůŎűƷʼnĩ ںڸ ®ĪĪàĪƣŲĪƣÿŲģðŏŰŰĪƣŰÿŲŲ܉ܶĪǣżŲģ żŰƠÿƣŏƫżŲ܏ܷ

ںڹ See Eisenstadt, Multiple Modernities܉ GÿżŲŤÿƣ܉Alternative Modernities܉ żŲƣÿģ ÿŲģ /ĜŤĪƣƸ܉ ܶGŧżěÿŧŃĪƫĜŊŏĜŊƸĪ܉

GŧżěÿŧŏƫŏĪƣǀŲŃ܉ŰǀŧƸŏƠŧĪrżģĪƣŲĪŲ܉ܷÿŲģdÿŲǭ܉ܶrǀŧƸŏƠŧĪrǀƫŏĜÿŧrżģĪƣŲŏƸŏĪƫܐܷ¼ŊŏƫĜżŲĜĪƠƸŏƫģŏƫĜǀƫƫĪģŰżƣĪ ƸŊżƣżǀŃŊŧǣƸżǝÿƣģƸŊĪĪŲģżł ŊÿƠƸĪƣSS܏ڐ܏

ںں See the summaries in Conrad, What is Global History?܉ڒڑܨڒڒ܉ڍڑڌܨڍڑڒ܏

ںڻ ®ĪĪGżżģǣ܉The East in the West.

ںڼ ®ĪĪNÿƣǜĪǣ܉The Condition of Postmodernity.

ڐژڒڏƪƪƟƢŎűłƪƷŻůŎűĢܒ^ڟڢSűŦŻěʼnܼƪƪŻěŎþŦƷʼnĩŻƢǢ܌ƷʼnĩܹűŻűܮƪŎůƿŦƷþűĩŻƿƪܺĢĩƪŎłűþƷĩĢƷʼnĩܹĢŎDzŁĩƢܮ ĩűƷƷŎůĩƪ܌ƷʼnĩĢŎDzŁĩƢĩűƷܻűŻǜƪܼܺŻŁ/ƿƢŻƟĩþűƪŻěŎĩƷŎĩƪĢƿƢŎűłƷʼnĩȀƢƪƷĢĩěþĢĩƪŻŁƷʼnĩƷǜĩűƷŎĩƷʼn ěĩűƷƿƢǢ܌ǜʼnŎěʼnŦŻěʼnĢĩƷĩƢůŎűĩĢܹƿƪŎűłƷʼnĩ쯯ƢĢŎűþƷĩƪŻŁþłĩ܌ěŦþƪƪ܌þűĢłĩŻłƢþƟʼnǢܺ܋^ڠڙ the ƿűĩůƟŦŻǢĩĢǢŻƿƷʼn܌ƷʼnĩƟĩþƪþűƷƢǢ܌þűĢƷʼnĩƢŎƪŎűłƿƢĚþűůŎĢĢŦĩěŦþƪƪþŦŦŦŎǛĩĢŎűĢŎDzŁĩƢĩűƷܹűŻǜƪܺ

ĚƿƷ ƪʼnþƢĩĢ þ ěŻůůŻű ŎůƟƿŦƪĩ ƷŻ ƢĩŠĩěƷ Ʒʼnĩ ůŻĢĩƢűŎƪƷ ƟƢĩƪĩűƷ܌ ůþţŎűł Ʒʼnĩů ƪƿƪěĩƟƷŎĚŦĩ ƷŻ extremist ideas and movements. A literal transfer of this theory to music history is surely not viable and is not my principal aim. Rather, I am curious about how the “radical polyphony” of twentieth-century new music as described by Andreas Meyer^ڠښ can be understood against the ĚþěţłƢŻƿűĢŻŁŦŻěʼn߳ƪƷʼnĩŻƢĩƷŎěþŦŁƢþůĩǜŻƢţܒȃĩěʼnþŦŦĩűłĩƷʼnƿƪŎƪűŻƷƷŻƢĩƪŻƢƷƷŻƷʼnĩěŻůůŻű ƪƷĩƢĩŻƷǢƟĩŻŁþƪŎůƟŦĩܹƪƷǢŦŎƪƷŎěƟŦƿƢþŦŎƪůܺŎűůƿƪŎěƪŎűěĩڐژړڔŻƢƷŻƷʼnĩƷƢŻƟĩŻŁűŻűܮàĩƪƷĩƢű areas experiencing an “asynchronous delay” to Western centers, connected to an implicit or ex-ƟŦŎěŎƷƟƢĩƪƪƿƢĩƷŻܹěþƷěʼnƿƟܺǜŎƷʼnàĩƪƷĩƢűƪƷþűĢþƢĢƪܣƷʼnŻƿłʼnƷʼnŎƪǜþƪþěŻůůŻű܌ŎŁŻǼƷĩűƪʼnŻƢƷܮ sighted demand articulated by many non-Western reformers in early postcolonial periods^ڠڛܤܒ Rather, the repeated emphasis on “non-simultaneity” points to the fact that twentieth-century music is much less subject to oneŦŎűĩþƢʼnŎƪƷŻƢŎěþŦűþƢƢþƷŎǛĩƷʼnþűʼnþƪŻǼƷĩűĚĩĩűƪƿƟƟŻƪĩĢܒ

ȃþƷůƿƪŎěʼnŎƪƷŻƢǢěþűŻűŦǢĚĩþĢĩơƿþƷĩŦǢƿűĢĩƢƪƷŻŻĢþűĢǜƢŎƷƷĩűŁƢŻůþűŎűƷĩƢܮŻƢƷƢþűƪ-national perspective is neither a new nor, probably, a particularly provocative insight. Concert and opera companies of the seventeenth to nineteenth centuries were characterized by contin- uous processes of migration and exchange, and their protagonists – composers, virtuosos, singers, impresarios – usually had correspondingly polyglot life stories.^ڠڜ Styles typically blend- ed ingredients from diverse local, supra-regional, and “foreign” traditions, even and paradoxi-cally where they claimed to produce “national styles.”^ڠڝ/ǛĩűŎűƷʼnĩűŎűĩƷĩĩűƷʼněĩűƷƿƢǢ܌ŁƿĩŦĩĢ by the “poison of nationalism,” public recognition could only be gained on the basis of interna-ƷŎŻűþŦƪƿěěĩƪƪ܌þűĢƷʼnĩůƿƪŎěþŦĚŎŻłƢþƟʼnŎĩƪŻŁ ʼnŻƟŎű܌hŎƪǬƷ܌àþłűĩƢ܌ŻƢrþʼnŦĩƢþƢĩƿűŎůþłŎűܮ able without transnational journeys – in part forced by economic pressures.

SűŎƷƪƷƿƢű܌ůƿƪŎěʼnŎƪƷŻƢŎŻłƢþƟʼnǢŁƢŻůdŻʼnþűűtŎţŻŦþƿƪFŻƢţĩŦ܌FƢþűĞŻŎƪܮdŻƪĩƟʼnFĪƷŎƪ܌þűĢ August Wilhelm Ambros to Hugo Riemann has followed the model of a universal history, dat-ŎűłĚþěţƷŻƷʼnĩ/űŦŎłʼnƷĩűůĩűƷܫǜŎƷʼnƷʼnĩǜĩŦŦܮţűŻǜűƟƢŻĚŦĩůƪþƪƪŻěŎþƷĩĢǜŎƷʼnƷʼnŎƪěŻűěĩƟƷ Ŏű Ʒʼnĩ ěŻűƷĩǡƷ ŻŁ þ ǜŻƢŦĢ ůþƢţĩĢ ĚǢ ěŻŦŻűŎþŦŎƪů܌ ŎůƟĩƢŎþŦŎƪů܌ þűĢ ůŎŦŎƷþƢŎƪůܒ Sű Ʒʼnĩƪĩ ƿűŎ-versal music histories, international or intercontinental relations were by no means presented űĩƿƷƢþŦŦǢ܌ĚƿƷܫƪŎűěĩƷʼnĩůŎĢܮűŎűĩƷĩĩűƷʼněĩűƷƿƢǢůŻƪƷŦǢƿűĢĩƢNĩłĩŦŎþűŎűǴ ŦƿĩűěĩܫŎűěƢĩþƪܮ ŎűłŦǢƪʼnþƟĩĢƷĩŦĩŻŦŻłŎěþŦŦǢŻƢĩǛŻŦƿƷŎŻűþƢŎŦǢƷŻǜþƢĢƢĩěĩűƷ/ƿƢŻƟĩþűþƢƷůƿƪŎěþƪþţŎűĢŻŁܹŻƟ-ƷŎůŎǬĩĢܺƪƷþƷĩŻŁłŦŻĚþŦĢĩǛĩŦŻƟůĩűƷܒȃŎƪǛŎĩǜƟŻŎűƷĢŻǜűłƢþĢĩĢůƿƪŎ쯣ŻƷʼnĩƢěƿŦƷƿƢĩƪþűĢ ĩþƢŦŎĩƢƷŎůĩƪƷŻůĩƢĩĩþƢŦǢŻƢƟƢĩܮʼnŎƪƷŻƢǢ܌ŎŁŎƷǜþƪþƷƷƢŎĚƿƷĩĢþܹʼnŎƪƷŻƢŎěþŦěþƟþěŎƷǢܺþƷþŦŦܒ/Ǜĩű þǼƷĩƢڐژڏڏ܌ǜʼnĩűƪƿěʼn/ƿƢŻěĩűƷƢŎƪůǜþƪěƢŎƷŎěŎǬĩĢĚǢěŻůƟþƢþƷŎǛĩůƿƪŎěŻŦŻłǢ܌ǜʼnŎěʼnþŎůĩĢ

ںڽ Pinder, Das Problem der Generation in der Kunstgeschichte Europas and Bloch, /ƣěƫĜŊÿǼƸģŏĪƫĪƣðĪŏƸܔƫĪĪ®ĜŊǝÿƣƸǭ܉

“Ernst Bloch and Wilhelm Pinder.”

ڻڴ ®ĜŊǝÿƣƸǭ܉ܶ/ƣŲƫƸŧżĜŊÿŲģàŏŧŊĪŧŰ£ŏŲģĪƣ܉ܷڑڔ܏

ڻڵ ܶ¼ŊĪŰǀƫŏĜŊŏƫƸżƣǣżłƸŊĪƸǝĪŲƸŏĪƸŊĜĪŲƸǀƣǣŏƫƣÿģŏĜÿŧŧǣƠżŧǣƠŊżŲŏĜ܏SƸģŏƫŏŲƸĪŃƣÿƸĪƫŏŲƸżģŏdzłĪƣĪŲƸĜǀŧƸǀƣĪƫ܉ÿŲģ no zeitgeistĜÿŲŰĪģŏÿƸĪěĪƸǝĪĪŲƸŊĪŰ܏ܷܠrĪǣĪƣ܉ܶßżŧŤƫƸdžŰŧŏĜŊܨƠƣŏŰŏƸŏǜܨƠżƠǀŧďƣ܉ܷ ڎړ܏ܶ'ŏĪrǀƫŏŤŃĪƫĜŊŏĜŊƸĪ ģĪƫڎڌ܏ݎdÿŊƣŊǀŲģĪƣƸƫŏƫƸƣÿģŏŤÿŧǜŏĪŧƫƸŏŰŰŏŃ܏®ŏĪǭĪƣłďŧŧƸŏŲǜĪƣƫĜŊŏĪģĪŲĪfǀŧƸǀƣĪŲ܉ģŏĪŤĪŏŲðĪŏƸŃĪŏƫƸŰŏƸĪŏŲÿŲ-ģĪƣǜĪƣŰŏƸƸĪŧƸ܏ܷܡ

ڻڶ Mishra, From the Ruins of the Empire܉ړ܏

ڻڷ ®ĪĪ܉ ÿŧĪŧŧÿ܉ܶrŏŃƣÿƸŏżŲ܉¼ƣÿŲƫłĪƣǀŲģGÿƸƸǀŲŃƫǝÿŲģĪŧ܏ܷ

ڻڸ See, among others, Bohlman, Focus: Music, Nationalism, and the Making of the New Europe and La Motte-Haber, Nationaler Stil und europäische Dimension in der Musik der Jahrhundertwende.

at a more context-sensitive understanding of musical cultures, little changed. Hugo Riemann, for example, reacting to early studies of non-Western tone and tuning systems in the foreword ƷŻƷʼnĩȀƢƪƷǛŻŦƿůĩŻŁʼnŎƪHandbuch der Musikgeschichte ܣڐژڏړܤŎűƪŎƪƷĩĢŻűƷʼnĩƿűŎǛĩƢƪþŦǛþŦŎĢŎƷǢ of the “division of the octave into twelve semitones” and declared this a “historical fact that a few poorly drilled pipes from Polynesia or questionable singing performances of colored fe-males cannot upset.”^ڠڞSűʼnŎƪŦþƷĩǜŻƢţFolkloristische Tonalitätstudienܣڐژڐڕܤ܌¦ŎĩůþűűþƷƷĩůƟƷܮ ĩĢƷŻƪƿĚƪƷþűƷŎþƷĩƷʼnĩþŦŦĩłĩĢƿűŎǛĩƢƪþŦŎƷǢŻŁƷʼnĩ/ƿƢŻƟĩþűůþŠŻƢþűĢůŎűŻƢƪěþŦĩƪĚǢůĩþűƪ of a developmental narrative of melodies and modes in various musical cultures. At that point, ƷʼnĩŎűǴ ŦƿĩűƷŎþŦűŎűĩƷĩĩűƷʼnܮěĩűƷƿƢǢěŻűěĩƟƷŻŁþěŻűƷŎűƿŻƿƪĩǛŻŦƿƷŎŻűŻŁěƿŦƷƿƢĩƪʼnþĢþŦƢĩþĢǢ been challenged by new ideas of a relativity, equality, and multiplicity of cultures as put for-ǜþƢĢůŻƪƷƟƢŻůŎűĩűƷŦǢĚǢŦĩǡþűĢĩƢ/ŦŦŎƪܼƪĩƟŻěʼnþŦěŻůƟþƢþƷŎǛĩƪƷƿĢǢŻűƷʼnĩܹrƿƪŎěþŦ®ěþŦĩƪ ŻŁßþƢŎŻƿƪtþƷŎŻűƪܺ ܣڐڗڗڔܤþűĢŎűǜƢŎƷŎűłƪĚǢGĩƢůþűܮůĩƢŎěþűþűƷʼnƢŻƟŻŦŻłŎƪƷFƢþűǬŻþƪܒ^ڠڟ ȃŎƪěƿŦƷƿƢþŦƢĩŦþƷŎǛŎƪů܌ʼnŻǜĩǛĩƢ܌ǜþƪnot yet a well-established concept in early comparative ůƿƪŎěŻŦŻłǢ܌þƪƷĩƪƷŎȀĩĢĚǢ/ƢŎěʼnrŻƢŎƷǬǛŻűNŻƢűĚŻƪƷĩŦܼƪþűĢ þƢŦ®ƷƿůƟŁܼƪĚƿƷþŦƪŻĚǢ ʼnþƢŦĩƪ Seeger’s basically evolutionary concepts of cultural history, which generally accredited low de-velopmental stages to “primitive” non-Western musics.^ڠڠ

'ĩƪƟŎƷĩƷʼnĩĚŦþƷþűƷŎƪŻŦþƷŎŻűŎƪůĚƢŻƿłʼnƷþĚŻƿƷĚǢƷŻƷþŦŎƷþƢŎþűƪǢƪƷĩůƪ܌ĩƪƟĩěŎþŦŦǢŎűƷʼnĩȀƢƪƷ half of the twentieth century, and despite many neo-nationalist tendencies extending into the ŎůůĩĢŎþƷĩ ƟƢĩƪĩűƷ܌ Ʒʼnĩ ĩǡƷĩűƷ ŻŁ Ʒʼnĩ ƷƢþűƪűþƷŎŻűþŦ űĩƷǜŻƢţ ŻŁ ŎűƷĩƢƢĩŦþƷŎŻűƪʼnŎƟƪ Ŏű ĚŻƷʼn þƢƷ and popular music grew in the twentieth century. At least toward the end of the century, these changing relationships made the need to revise the established music-historical methodologies increasingly clear. It can be said that, as a result of exile and extensive migratory movements, an increased transnational orientation in the arts has been a simple historical fact since the begin-űŎűłŻŁƷʼnĩƷǜĩűƷŎĩƷʼněĩűƷƿƢǢܒȃŎƪŻƢŎĩűƷþƷŎŻűþŦƪŻĢĩěŎƪŎǛĩŦǢŎűǴ ŦƿĩűěĩĢƷʼnĩþĩƪƷʼnĩƷŎěƪþűĢƢĩ-ěĩƟƷŎŻűŻŁƟƢŻůŎűĩűƷĪůŎłƢĪþƢƷŎƪƷƪƪƿěʼnþƪ/ĢłþƢĢßþƢĸƪĩ܌ƢűŻŦĢ®ěʼnŻĩűĚĩƢł܌SłŻƢ®ƷƢþǛŎűƪţǢ܌

ĪŦþþƢƷżţ܌Sƪþűłæƿű܌ŻƢ¼þű'ƿűܒȃĩþǜþƢĩűĩƪƪŻŁþĢĢƢĩƪƪŎűłþłŦŻĚþŦþƿĢŎĩűěĩƪʼnþƟĩĢěŻů-ƟŻƪŎƷŎŻűþŦþĩƪƷʼnĩƷŎěěŻűěĩƟƷƪŻűþƟþƢƷŎěƿŦþƢŦǢĚƢŻþĢƪěþŦĩþǼƷĩƢڐژړڔ܌ĩǛĩűƷʼnŻƿłʼnŎűŎƷŎþŦŦǢŻűŦǢ ŁĩǜěŻůƟŻƪĩƢƪĢĩŁĩűĢĩĢþűĩǡƟŦŎěŎƷŦǢŎűƷĩƢܮŻƢƷƢþűƪěƿŦƷƿƢþŦŦǢŻƢŎĩűƷĩĢƿűŎǛĩƢƪþŦŎƪůܣދݑSSܒڑܤܒ

æĩƷĩǛĩűƷŻĢþǢ܌þěƢŎƷŎơƿĩŻŁƷʼnĩűþƷŎŻűþŦĚŎþƪŻŁůƿƪŎěʼnŎƪƷŻƢŎŻłƢþƟʼnǢŎƪĚǢűŻůĩþűƪŻĚƪŻܮ ŦĩƷĩܒ ĩƢƷþŎűŦǢ܌ ¦ŎěʼnþƢĢ ¼þƢƿƪţŎű ʼnþƪ Ěĩĩű þěěƿƪĩĢ ŻŁ܌ Ŏű ǛŻŦƿůĩ ڔ ŻŁ ʼnŎƪ ǡŁŻƢĢ NŎƪƷŻƢǢ ŻŁ Western Music܌ ǜʼnŎěʼn ĢĩþŦƪ ǜŎƷʼn ůƿƪŎě ƪŎűěĩ ڐژړڔ܌ ŻǛĩƢĩůƟʼnþƪŎǬŎűł ůĩƢŎěþű ƷĩűĢĩűěŎĩƪ^ڠڡ ܣþűĢ þůŻűł Ʒʼnĩů űĩŻƷŻűþŦ ěƿƢƢĩűƷƪܤ þűĢ ěŻűƪƷƢƿěƷŎűł þ ƷĩŦĩŻŦŻłŎěþŦ ůƿƪŎěܮʼnŎƪƷŻƢŎěþŦ űþƢƢþ-tive from the geopolitical tensions of the Cold War based on the supposed decline of the avant- łþƢĢĩܒ¼þƢƿƪţŎűƿűĩơƿŎǛŻěþŦŦǢĢĩŁĩűĢƪʼnŎƪűþƢƢþƷŎǛĩŎűƷʼnĩƟƢĩŁþěĩƷŻƷʼnĩƟþƟĩƢĚþěţĩĢŎƷŎŻűŻŁ ƷʼnĩǛŻŦƿůĩ܋

ڻڹ ¦ŏĪŰÿŲŲ܉Handbuch der Musikgeschichte܉ǜżŧ܏ڍ܉ݎßܨßS܏ܠܶ¼ĪŏŧǀŲŃģĪƣŤƸÿǜĪŏŲǭǝƇŧłNÿŧěƸƇŲĪ܉ܷܶŊŏƫƸżƣŏƫĜŊĪƫFÿŤ- ƸǀŰ܉ģÿƫŰÿŲŰŏƸĪŏŲƠÿÿƣŰÿŲŃĪŧŊÿǽƸŃĪěżŊƣƸĪŲ£łĪŏłĪŲÿǀƫ£żŧǣŲĪƫŏĪŲżģĪƣŰŏƸłƣÿŃǝdžƣģŏŃĪŲGĪƫÿŲŃƫŧĪŏƫ-ƸǀŲŃĪŲłÿƣěŏŃĪƣàĪŏěĪƣŲŏĜŊƸdžěĪƣģĪŲNÿǀłĪŲƣĪŲŲƸ܏ܷܡ

ڻں Ellis, “On the Musical Scales of Various Nations” and Boas, The Mind of Primitive Man܏®ĪĪ¼ÿǣŧżƣ܉Beyond Exoticism, ڍڌړܨڍڌڔ܏

ڻڻ See Stumpf, Die Anfänge der MusikÿŲģNżƣŲěżƫƸĪŧ܉ܶ'ŏĪ£ƣżěŧĪŰĪģĪƣǜĪƣŃŧĪŏĜŊĪŲģĪŲrǀƫŏŤǝŏƫƫĪŲƫĜŊÿǽƸ܏ܷŲ Seeger see Sharif, Speech about Music.

ڻڼ ®ĪĪÿŰżŲŃżƸŊĪƣƫƸŊĪĜƣŏƸŏƢǀĪżł¼ÿƣǀƫŤŏŲܹƫܶǢĪŲżƠŊżěŏĜĪƫƫĪŲƸŏÿŧŏƫŰܷܠ żżŤ܉ܶŧƸĪƣŲÿƸŏǜĪ ¦ĪÿŧŏƸŏĪƫ܉ܷڎڌڔܡÿŲģ ŊŏƫܶĪƣƫƸÿǀŲŧŏĜŊĪŲŤƸģĪƫ/ƸŊŲżǭĪŲƸƣŏƫŰǀƫܷܠܶÿŰÿǭŏŲŃÿĜƸżłĪƸŊŲżĜĪŲƸƣŏƫŰܷܡܠ żǢ܉ܶ¦ŏĜŊÿƣģ¼ÿƣǀƫŤŏŲƫ The Ox-ford History of Western Music܉ܷڍڌڏܡ܏

¼ŊĪÃŲŏƸĪģ®ƸÿƸĪƫǀŲƢǀĪƫƸŏżŲÿěŧǣŏŲŊĪƣŏƸĪģŰǀƫŏĜÿŧŧĪÿģĪƣƫŊŏƠģǀƣŏŲŃƸŊŏƫƠĪƣŏżģłƣżŰ/ǀƣżƠĪ ܨÿƸǿƣƫƸěǣģĪłÿǀŧƸ܉ÿƫÿŃŏǽƸłƣżŰģżŧłNŏƸŧĪƣ܉ƸŊÿŲŤƫƸżǝŊżŰ®ĜŊżĪŲěĪƣŃ܉®ƸƣÿǜŏŲƫŤǣ܉ÿƣƸŽŤ܉

NŏŲģĪŰŏƸŊ܉fƣĪŲĪŤ܉fżƣŲŃżŧģ܉rŏŧŊÿǀģ܉ÿŲģŰÿŲǣżƸŊĪƣƫŊÿģ܉ěǣڍڕڐڑ܉šżŏŲĪģ¦ÿĜŊŰÿŲŏŲżdzł܉ßÿ-ƣĪƫĪ܉ÿŲģŧżĜŊŏŲŰĪƣŏĜÿ܉ŰÿŲǣżłƸŊĪŰƣĪŰÿŏŲŏŲŃÿŲģěĪĜżŰŏŲŃĜŏƸŏǭĪŲƫ܏¼ŊĪĜżŲģŏƸŏżŲƫƸŊÿƸ ƫƸŏŰǀŧÿƸĪģƸŊĪƣŏƫĪżłƸŊĪƠżƫƸǝÿƣ/ǀƣżƠĪÿŲÿǜÿŲƸܫŃÿƣģĪǝĪƣĪŧÿƣŃĪŧǣĜƣĪÿƸĪģěǣƸŊĪdzǿĜĪżł rŏŧŏƸÿƣǣGżǜĪƣŲŰĪŲƸ܉ÃŲŏƸĪģ®ƸÿƸĪƫܠrGîܡ܉ƸŊĪŰĪƣŏĜÿŲżĜĜǀƠǣŏŲŃłżƣĜĪƸŊÿƸ܉łżƣżŲĪƠÿƣƸŏĜܫ ǀŧÿƣŧǣƸĪŧŧŏŲŃĪǢÿŰƠŧĪ܉ǿŲÿŲĜĪģÿŲģÿƸǿƣƫƸÿģŰŏŲŏƫƸĪƣĪģƸŊĪ'ÿƣŰƫƸďģƸĪƣFĪƣŏĪŲŤǀƣƫĪ܉ÿƸǝŊŏĜŊ ƸżƸÿŧƫĪƣŏÿŧŏƫŰ܉/ǀƣżƠĪÿŲܫƫƸǣŧĪ܉ǝÿƫěżƣŲܨŏŲłÿƣŰżƣĪģŏƣĪĜƸƣĪƫƠżŲƫĪƸż®żǜŏĪƸÿƣƸƫƠżŧŏĜǣƸŊÿŲ ŊÿƫĪǜĪƣěĪĪŲƠǀěŧŏĜŧǣÿģŰŏƸƸĪģ܏¼ŊĪƣĪÿǽƸĪƣ܉ŏƸǝÿƫƸŊĪŰǀƫŏĜżłƸŊĪŰĪƣŏĜÿŲÿǜÿŲƸܫŃÿƣģĪ܉ĜŊŏĪł -ŧǣƣĪƠƣĪƫĪŲƸĪģěǣdżŊŲ ÿŃĪÿŲģrżƣƸżŲFĪŧģŰÿŲ܉ÿŲģĪŲƸŊǀƫŏÿƫƸŏĜÿŧŧǣƠƣżƠÿŃÿƸĪģěǣŧÿǜŏƫŊŧǣ ƫǀěƫŏģŏǭĪģàĪƫƸGĪƣŰÿŲƣÿģŏżƫƸÿƸŏżŲƫܞ܊ܟ܉ƸŊÿƸƫĪƸƸŊĪƸżŲĪłżƣ/ǀƣżƠĪÿŲĪǢƠĪƣŏŰĪŲƸÿƸŏżŲ܏^ڝڟ 'ĩƪƟŎƷĩþŦŦŦĩłŎƷŎůþƷĩěƢŎƷŎěŎƪůþűĢþűƿűůŎƪƷþţþĚŦĩŻűĩƪŎĢĩĢűĩƪƪ܌ŎƷěþűĚĩěŻűěĩĢĩĢƷʼnþƷ¼þ- ƢƿƪţŎűܼƪþƢłƿůĩűƷƪűŻƷŻűŦǢŁƿŦȀŦŦþłĩűĩƢþŦþűĢĚþƪŎěƢĩơƿŎƢĩůĩűƷŻŁěƿŦƷƿƢþŦܮƪěŎĩűƷŎȀěůĩ-thodology by combining the ideological and institutional historical with aesthetic dimensions ŻŁƢĩěĩűƷůƿƪŎěʼnŎƪƷŻƢǢ܌ĚƿƷŎűƟþƢƷŎěƿŦþƢ܌ʼnŎƪƷĩǡƷƟŦþěĩƪþȀűłĩƢŻűƪŻƢĩƟŻŎűƷƪþűĢƿűƢĩƪŻŦǛĩĢ ƟƢŻĚŦĩůƪŻŁʼnŎƪƷŻƢŎŻłƢþƟʼnŎěþŦůĩƷʼnŻĢŻŦŻłǢܣŎƷŎƪűŻěŻŎűěŎĢĩűěĩƷʼnþƷ¼þƢƿƪţŎűƪĩĩƪŎƷþƪƷʼnĩ ʼnŎƪƷŻƢŎþűܼƪƟƢŎůþƢǢƷþƪţܹƷŻĢŎƪĩűěʼnþűƷþƿƢþƪþűĢĢĩůǢƪƷŎŁǢĢŎƪěŻƿƢƪĩƪܺ^ڡڙܤܒàʼnþƷěŻƿŦĢþŦĩƪƪ ƟŻŦĩůŎěþŦŦǢěʼnþƢłĩĢěŻűěƢĩƷŎŻűŻŁƪƿěʼnþůĩƷʼnŻĢŦŻŻţŦŎţĩƷʼnþƷþŦƪŻƷŎĩƪŎűǜŎƷʼnƢĩěĩűƷěŻűƪŎĢܮ ĩƢþƷŎŻűƪŻŁþłŦŻĚþŦůƿƪŎěʼnŎƪƷŻƢǢþƪŻƿƷŦŎűĩĢþĚŻǛĩܓȃĩěþƪĩƪƷƿĢŎĩƪŎűƷʼnĩŁŻŦŦŻǜŎűłěʼnþƟƷĩƢƪ ܣSSܒڑܫSSܒڕܤþĢĢƢĩƪƪƷʼnŎƪěʼnþŦŦĩűłĩĚǢƢĩǛŎƪŎƷŎűłƷʼnĩƪŎƷƿþƷŎŻűŻŁþűŎűěƢĩþƪŎűłŦǢŎűƷĩƢěŻűűĩěƷĩĢ ǜŻƢŦĢþłþŎűƪƷƷʼnĩĚþěţĢƢŻƟŻŁůƿƪŎěܮʼnŎƪƷŻƢŎěþŦƪŎƷƿþƷŎŻűƪŎű/ƿƢŻƟĩ܌Ʒʼnĩî܌þűĢ/þƪƷƪŎþܒ ȃĩŁŻěƿƪǜŎŦŦĚĩƟŦþěĩĢŻűþƟƟŦǢŎűłƷʼnĩůŻĢĩŦŻŁĩűƷþűłŦĩĢʼnŎƪƷŻƢǢ܌ǜʼnŎěʼn܌ŎűěŻűƷƢþƪƷƷŻůŻĢܮ ĩŦƪ ŻŁ űþƷŎŻűþŦ ʼnŎƪƷŻƢǢ܌ þƷƷĩůƟƷƪ ƷŻ ܹƪǢƪƷĩůþƷŎěþŦŦǢ ĢƢþǜ þƷƷĩűƷŎŻű ƷŻ Ʒʼnĩ ŎűƷĩƢŦŻěţŎűł ŻŁ Ʒʼnĩ levels of investigation and their mutual conditionality.”^ڡښȃŎƪþƟƟƢŻþěʼnþŎůƪƷŻĩǡƟŦŻƢĩܹƪŻěŎþŦ܌

cultural, and political formation, generally at the national level, that are assumed to be one-to-one,”^ڡڛ with internationalized art production as a prime example of “areas of contact that are transformed through their mutual interaction.”^ڡڜ

¼ƢþűƪŁĩƢƢĩĢƷŻƷʼnĩȀĩŦĢŻŁůƿƪŎě܌ŎűƷĩƢĢĩƟĩűĢĩűěŎĩƪĚĩƷǜĩĩűěŻůƟŻƪŎƷŎŻűþŦĢĩěŎƪŎŻűƪ܌ěŻű-ǛĩűƷŎŻűƪþűĢŎűűŻǛþƷŎŻűƪ܌ŎűƪƷŎƷƿƷŎŻűþŦĢĩǛĩŦŻƟůĩűƷƪ܌þűĢܣěƿŦƷƿƢþŦܤƟŻŦŎƷŎěþŦěŻűĢŎƷŎŻűƪěþű be considered at the transnational level. In the current subject discourse of musicology, such a model seems to encounter problems, above all, because the division of labor between sub-ĢŎƪěŎƟŦŎűĩƪŻŁůƿƪŎěŻŦŻłǢŎƪǛĩƢǢþĢǛþűěĩĢþűĢƪŻůĩƷŎůĩƪƪĩĩůƪŎƢƢĩǛĩƢƪŎĚŦĩ܋þܹàŻƢŦĢrƿƪŎěܺ

explored by ethnomusicology, encompassing traditional and popular music, is juxtaposed with globalized “Western Music,” for which historical musicology is deemed responsible.^ڡڝ A high ĢĩłƢĩĩŻŁĢŎDzŁĩƢĩűƷŎþƷŎŻűþűĢ܌ěĩƢƷþŎűŦǢ܌ƷʼnĩŎűƪƷŎƷƿƷŎŻűþŦƪĩƟþƢþƷŎŻűŻŁƷʼnĩƪĩƷǜŻĢŎƪěŎƟŦŎűĩƪ܌

ƪĩĩůƷŻůþţĩŦŎűţŎűłƷʼnĩůƟĩƢĩűűŎþŦŦǢĢŎDzȀěƿŦƷܒ

ڻڽ ¼ÿƣǀƫŤŏŲ܉ܶ£ƣĪłÿĜĪ܉ܷåSåܨåå܏

ڼڴ ¼ÿƣǀƫŤŏŲ܉ܶǽƸĪƣǝżƣģ܈tŏĜŊƸěŧǀƸěĪǴŧĪĜŤƸܐ܉ܷڎڔڌ܏

ڼڵ àĪƣŲĪƣÿŲģðŏŰŰĪƣŰÿŲŲ܉ܶßĪƣŃŧĪŏĜŊ܉¼ƣÿŲƫłĪƣ܉ßĪƣǵŧĪĜŊƸǀŲŃ܉ܷ ڒڏڌܠܶģŏĪǀłŰĪƣŤƫÿŰŤĪŏƸƫǣƫƸĪŰÿƸŏƫĜŊÿǀłģŏĪ ßĪƣƫĜŊƣďŲŤǀŲŃģĪƣÃŲƸĪƣƫǀĜŊǀŲŃƫĪěĪŲĪŲǀŲģÿǀłŏŊƣĪǝĪĜŊƫĪŧƫĪŏƸŏŃĪĪģŏŲŃƸŊĪŏƸܞŧĪŲŤĪŲܟܷܡ܏FżƣƸŊĪŊŏƫƸżƣŏĜÿŧ ĜŧÿƫƫŏǿĜÿƸŏżŲżłƸŊŏƫÿƠƠƣżÿĜŊƫĪĪÿŰżŲŃżƸŊĪƣƫNÿǀƠƸ܉ܶNŏƫƸżƣŏƫĜŊĪfżŰƠÿƣÿƸŏƫƸŏŤŏŲģĪƣŏŲƸĪƣŲÿƸŏżŲÿŧĪŲGĪ-schichtsschreibung.”

ڼڶ àĪƣŲĪƣÿŲģðŏŰŰĪƣŰÿŲŲ܉ܶĪǣżŲģ żŰƠÿƣŏƫżŲ܉ܷڏڍ܏

ڼڷ Sěŏģ܏܉ݎڏڑ܏

ڼڸ ®ĪĪdÿŲǭ܉ܸܶGŏěƸĪƫĪŏŲĪàĪŧƸŃĪƫĜŊŏĜŊƸĪģĪƣrǀƫŏŤܐ܉ܹܷڍڐڔ܏

tĩǜůƿƪŎěĚĩŁŻƢĩþűĢþǼƷĩƢڐژړڔ܌ʼnŻǜĩǛĩƢ܌ŎƪþƷŻĢĢƪǜŎƷʼnƷʼnŎƪĢŎǛŎƪŎŻűƪŎůƟŦǢĚĩěþƿƪĩŎű ŎƷƪĢĩǛĩŦŻƟůĩűƷ܌ƷʼnĩƷƿƢűƷŻŁŻƢůƪŻŁƷƢþĢŎƷŎŻűþŦܣŻǼƷĩűűŻűܮ/ƿƢŻƟĩþűܤůƿƪŎěþŦƟƢþěƷŎěĩ܌ǜʼnŎěʼn ǜĩƢĩŎűěƢĩþƪŎűłŦǢůþƢłŎűþŦŎǬĩĢŎűƷʼnĩěŻƿƢƪĩŻŁůƿƪŎěþŦþűĢƪŻěŎþŦůŻĢĩƢűŎǬþƷŎŻű܌ƟŦþǢĩĢþţĩǢ ƟþƢƷܫþƷŦĩþƪƷƪŎűěĩþƢƷżţܼƪþűĢ®ƷƢþǛŎűƪţǢܼƪĢŻƿĚŦǢƢĩǴ ŦĩěƷĩĢþűĢĚƢŻţĩűŁŻŦţŦŻƢŎƪůܣދݑSSܒڒܤܒ What Andreas Meyer refers to as “musical anthropology”^ڡڞ ƪʼnĩĢƪŦŎłʼnƷŻűþƪƟĩěŎȀěþƢĩþŻŁƷĩű-ƪŎŻűŎűƷǜĩűƷŎĩƷʼnܮěĩűƷƿƢǢþƢƷůƿƪŎě܋ĚĩƷǜĩĩűƷʼnĩŎűƷĩłƢþƷŎŻűŻŁƷʼnĩůþƢłŎűþŦŎǬĩĢ܌ƷʼnĩܹƷʼnĩƢ܌ܺ

ŎűƷŻƟƿĚŦŎěĢŎƪěŻƿƢƪĩþűĢƷʼnĩƪʼnŎǼƷƷŻǜþƢĢƷʼnĩþŦŦĩłĩĢŦǢܹűŻűܮěƿŦƷƿƢþŦ܌ܹܺƟƿƢĩܺƪƷƢƿěƷƿƢĩƪþƪ ƷʼnĩǢþƟƟĩþƢĩƪƟĩěŎþŦŦǢŎűƷʼnĩþĩƪƷʼnĩƷŎěƪŻŁƪĩƢŎþŦůƿƪŎěþǼƷĩƢڐژڔڏ܌űƿůĩƢŻƿƪŁþěĩƷƪŻŁűĩǜůƿ-sic emerge in which modernist and anti-modernist motifs are interwoven. In other words, for űĩǜůƿƪŎěܫĩƪƟĩěŎþŦŦǢŎűƷʼnĩڐژڔڏƪþűĢڕڏƪܫƷʼnĩƢĩŎƪþƟþƢþĢŻǡƷʼnþƷĩǡŎƪƷƪĚĩƷǜĩĩűþĚþƪŎě cultural relativism – an essentialism insisting on the uniqueness and incommensurability of local traditions – and an advanced structuralist universalism. Such aesthetic transformations cannot be adequately understood without the geopolitical context of the twentieth century.