Abstract
Today, Percy Grainger is often celebrated as a proto-ethnomusicologist because of his original ideas about and transcriptions of British and Danish folk songs as well as non-Western music. Recently, Graham Freeman investigated the impact of his complex modernist musical aesthetic (read: his conception of “free music”) upon his English folk song collecting.1 Among other things, this chapter complements Freeman’s argument by showing that Grainger’s proto-ethnomusicological research at large was influenced by primitivism. In doing so, it highlights the relationship between his study of European folk songs and non-Western music research. On the whole, it argues that his “world music” research and musical modernism were closely interconnected, and to a great extent part of a cosmopolitan but imperial counterculture.
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Notes
Graham Freeman, “‘That Chief Undercurrent of My Mind’: Percy Grainger and the Aesthetics of English Folk Song,” Folk Music Journal, 9, 4, 2009, 581–617.
Teresa Balough, ed., A Musical Genius from Australia: Selected Writings by and about Percy Grainger, Nedlands: University of Western Australia, 1982, 78.
Percy Grainger, “My Musical Outlook,” extended letter to Klimsch (1902–1904).
Malcolm Gillies and Bruce Clunies Ross, eds., Grainger on Music, Oxford: Oxford University Press, 1999, 17.
Ferruccio Busoni, Sketch of a New Esthetic of Music, New York: G. Schirmer, 1911 (first published 1907), 5, 34.
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Mark Slobin, Folk Music: A Very Short Introduction, Oxford: Oxford University Press, 2011, 68.
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Wilfrid Mellers, Percy Grainger, Oxford: Oxford University Press, 1992, 67.
John Blacking, “A Common-Sense View of All Music”: Reflections on Percy Grainger’s Contributions to Ethnomusicology and Music Education, Cambridge: Cambridge University Press, 1987, xi, emphasis in original.
Malcolm Gillies and David Pear, eds., The All-Round Man: Selected Letters of Percy Grainger 1914–1961, Oxford: Clarendon Press, 1994, 143;
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David Gilmour, The Long Recessional: The Imperial Life of Rudyard Kipling, London: John Murray, 2002;
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Percy Grainger, “Nordic Characteristics in Music,” Typescript dated March 5, 1921. As reprinted in Gillies and Clunies Ross, eds., Grainger on Music, 131–132.
Percy Grainger, “A Commonsense View of All Music,” Lecture broadcast in Australia, 1935. As reprinted in: Blacking, “A Common-Sense View of All Music,” Appendix A, 163.
Tony Ballantyne, Orientalism and Race: Aryanism and the British Empire, Basingstoke: Palgrave, 2002.
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Paul Jackson, “Percy Grainger’s Aleatoric Adventures: The Rarotongan Part-Songs,” Grainger Studies: An Interdisciplinary Journal, 2, 2012, 1.
Percy Grainger, “My Musical Outlook,” extended letter to Klimsch (1902–1904).
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Michelle Wick Patterson, Natalie Curtis Burlin: A Life in Native and African American Music, Lincoln: University of Nebraska Press, 2010, 327.
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Timothy B. Taylor, Beyond Exoticism: Western Music and the World, Durham, NC: Duke University Press, 2007, 106.
Suzanne Robinson, “Percy Grainger and Henry Cowell: Concurrences between Two ‘Hyper-Moderns,’” Musical Quarterly, 94, 3, 2011, 311.
Percy Grainger, “Free Music,” Typescript, December 6, 1938.
Percy Grainger, “Democracy in Music,” Manuscript dated July 9–10, 1931.
Rokus de Groot, “Edward Said and Polyphony,” in Edward Said: A Legacy of Emancipation and Representation, ed. A. Iskander and H. Rustom, Berkeley: University of California Press, 2010, 204–228.
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© 2013 Bob van der Linden
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van der Linden, B. (2013). Percy Grainger: Kipling, Racialism, and All the World’s Folk Music. In: Music and Empire in Britain and India. Palgrave Studies in Cultural and Intellectual History. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137311641_3
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