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Year 2021, Volume: 5 Issue: 1, 1 - 30, 30.06.2021

Ulrich Morgenstern

https://doi.org/10.33906/musicologist.913512
Cited By: 1

Abstract

References

  • American Folklore Society. (1888). “On the Field and Work of a Journal of American Folk-Lore.” The Journal of American Folklore 1(1): 3-7.
  • Antweiler, Christoph. (2020). “Menschen leben nicht in verschiedenen Welten, sondern verschieden in der einen Welt. Ein Gespräch mit Christoph Antweiler über die Begriffe Kultur und Kulturkampf.” (Humans don’t live in different worlds but differently in the one world. A talk with Christoph Antweiler on the notions of culture and cultural struggle) MIZ – Materialien und Informationen zur Zeit. 4. https://miz-online.de/antweiler-begriff-kultur-kampf/
  • Baker, Ronald L. (2000): “Tradition and The Individual Talent in Folklore and Literature.” Western Folklore 59(2): 105-14.
  • Baumann, Max Peter. (1976). Musikfolklore und Musikfolklorismus. Eine ethnomusikologische Untersuchung zum Funktionswandel des Jodels. (Musical folklore and musical folklorism: An Ethnomusicological Study of the changing function of yodelling) Winterthur: Amadeus.
  • Baumann, Max Peter. (1991). “Introduction: Towards New Directions in the Dialogue of Music Cultures” Music in the Dialogue of Cultures: Traditional Music and Cultural Policy (Intercultural music studies 2), Ed. Max Peter Baumann: pp. 11-14. Wilhelmshaven: Noetzel.
  • Bendix, Regina. (2009). In Search of Authenticity: The Formation of Folklore Studies. Madison: University of Wisconsin Press.
  • Bendix, Reinhard. (1967). “Tradition and Modernity Reconsidered.” Comparative Studies in Society and History. 9(3): 292-346.
  • Blacking, John. (1973). How Musical Is Man? Seattle: University of Washington Press.
  • Bohlman, Philip V. (1988). The Study of Folk Music in the Modern World. Bloomington: Indiana University Press.
  • Rudolf M. Brandl. (2008). “New Considerations of Diaphony in Southeast Europe - Neue Überlegungen zur Diaphonie in Südosteuropa.” European Voices I. Multipart Singing in the Balkans and the Mediterranean (Schriften zur Volksmusik 22), Ed. Ardian Ahmedaja, Gerlinde Haid: pp. 281-231. Wien, Köln, Weimar: Böhlau.
  • Cashman, Ray; Mould, Tom and Shukla, Pravina. (2011). “Introduction: The individual and tradition” The Individual and Tradition: Folkloristic Perspectives, Ed. Ray Cashman, Tom Mould, and Pravina Shukla: pp. 1-26. Bloomington: Indiana University Press.
  • Commenda, Hans. (1960). “Was das Volk singt.” Jahrbuch des Österreichischen Volksliedwerkes. 9: 7-19.
  • Dahlig-Turek, Ewa. (2012). “New Tradition” Musical Traditions. Discovery, Inquiry, Interpretation and Application. XXVI European Seminar in Ethnomusicology, Ed. Pál Richter: pp. 311-321. Budapest. Budapest: HAS Research Centre for the Humanities.
  • Doubleday, Thomas. (1857). A letter to His Grace the Duke of Northumberland on the ancient Northumbrian music, its collection and preservation. London: Smith, Elder & Company.
  • Dundes, Alan. (1966). “The American Concept of Folklore.” Journal of the Folklore Institute. 3(3): 226-49.
  • Ellingson, Ter. (1992). “Notation.” Ethnomusicology: An Introduction, Ed. Helen Myers: pp. 153-64. New York: Norton.
  • Elschek, Oskár. (1991). “Traditional Music and Cultural Politics.” Music in the Dialogue of Cultures: Traditional Music and Cultural Policy, Ed. Max Peter Baumann: pp. 32-55. Wilhelmshaven: Noetzel.
  • Engel, Carl. (1866). An Introduction to the study of national music. London: Longmans, Green, Reader, and Dyer.
  • Engel Carl. (1879). The Literature of National Music. London: Novello, Ewer & Company.
  • Gelbart, Matthew. (2013). “Once More to Mendelssohn's Scotland: The Laws of Music, the Double Tonic, and the Sublimation of Modality” 19th-Century Music. 37(1): 3-36.
  • Glassie, Henry. (1995). “Tradition.” The Journal of American Folklore. 108(430): 395-412.
  • Grupe, Gerd. (Ed.) (2013). Ethnomusicology and Popular Music Studies. Aachen: Shaker.
  • Held, Gerd. (2018). “Wozu Spanien? Über die Eigenart und Aktualität nationaler Identitäten. Der katalanische Separatismus ist eine historische Sackgasse (Why Spain? On peculiarity and topicality oft national identities. Catalonian separatism as a historical dead end),” Die sortierte Gesellschaft: Zur Kritik der Identitätspolitik, Ed. Johannes Richardt: pp. 91–102. Novo: Frankfurt a.M.
  • Hobsbawm, Eric. (1983). “Introduction: Inventing Traditions.” The Invention of Tradition, Ed. Eric Hobsbawm, Terence Ranger: pp. 1-14. Cambridge University Press.
  • Hogarth George. (1839). “The Ancient National Music of Scottland” The Polytechnic Journal: A Monthly Magazine of Art, Science, and General Literature. 1(1): 54-57.
  • Hondrich, Karl Otto. (2009) “Geteilte Gefühle (Shared feelings).” Neuer Mensch und kollektive Identität in der Kommunikationsgesellschaft, Ed. Gerhard Preyer: pp. 237-245. VS Verlag für Sozialwissenschaften.
  • Kay, Jonathan. (2018). “How Canada’s Cult of the Noble Savage Harms Its Indigenous Peoples” Quillette (April 22). Retrieved from https://quillette.com/2018/04/22/canadas-cult-noble-savage-harms-indigenous-peoples/
  • McCollum, Jonathan; Hebert, David G. (2014). Theory and Method in Historical Ethnomusicology. New York and London: Lexington Books.
  • Mekhnetsov, Anatolii M. (1987). Gudi gorazdo. Narodnye muzykal’nye instrumenty Pskovskoi oblasti (Twang Louder. Folk Music Instruments of the Pskov Region). Vypusk 1: Iarmarochnaia igra (Vol. 1: Music of the Parish Fairs). LP, Leningrad: Melodia, S20 26011 002.
  • Merriam, Alan P. (1964). The Anthropology of Music. Chicago: Northwestern University Press.
  • Morgenstern, Ulrich. (2013). “Dynamics of Identity in Russian Instrumental Folk Music Culture” Mūzikas akadēmijas raksti, vol. VIII, Ed. Baiba Jaunslaviete: pp. 42-52. Riga: Jāzepa Vītola Latvijas Mūzikas akadēmija.
  • Morgenstern, Ulrich. (2014). “Zehn populäre Vorurteile über Volksmusik (Ten popular prejudices towards folk music)”. Jahrbuch des Österreichischen Volksliedwerkes. 63: 177-195.
  • Morgenstern, Ulrich. (2017). “Imagining Social Space and History in European Folk Music Revivals and Volksmusikpflege. The Politics of Instrumentation.” European Voices III. The Instrumentation and Instrumentalization of Sound. Local Multipart Music Cultures and Politics in Europe, Ed. Ardian Ahmedaja: pp. 207-232. Wien, Köln, Weimar: Böhlau.
  • Morgenstern, Ulrich. (2018). “Towards the History of Ideas in Ethnomusicology. Theory and Methods between the Late 18th and the Early 20th Century” Musicologist. An International Journal of Music Studies. 2(1): 1-31. Retrieved from http://dergipark.gov.tr/download/article-file/498520
  • Nettl, Bruno. (2005). The Study of Ethnomusicology: Thirty-one Issues and Concepts. Urbana: University of Illinois Press [first edition published 1983].
  • Nettl, Bruno. (2015). The Study of Ethnomusicology: Thirty-Three Discussions. Urbana: University of Illinois Press [first edition published 1983].
  • Quigley, Colin (2012). “Tradition as Generative Process. An Example from European/Euro-American Fiddling” Musical Traditions. Discovery, Inquiry, Interpretation and Application. XXVI European Seminar in Ethnomusicology, Ed. Pál Richter: pp. 45-54. Budapest. Budapest: HAS Research Centre for the Humanities.
  • Reyes, Adelaida. (2009). “What Do Ethnomusicologists Do? An Old Question for a New Century.” Ethnomusicology. 53(1): 1-17.
  • Rhodes, Willard. (1956). “Toward a Definition of Ethnomusicology.” American Anthropologist. 58(3): 457-463.
  • Ronström, Owe. (1996). “Revival Reconsidered.” The World of Music. 38(3): 5-20.
  • Rybakov, Sergei. (1897). Muzyka i pesni ural’skikh musul’man s ocherkom ikh byta (Music and songs of the Ural Muslims with an essay of their everyday life). Sankt-Peterburg: Tip. Akademii Nauk.
  • Schüller, Dietrich; Thiel, Helga. (1985). “Between Folk and Pop: The Stylistic Plurality in Music Activities in Several Austrian Regions.” Popular Music Perspectives 2. Papers from the Second International Conference on Popular Music Studies, Reggio Emilia, September 19-24, 1983, Ed. David Horn: pp. 166-182. Göteborg, Exeter, Ottawa, Reggio Emilia.
  • Slobin, Mark. (1993). Subcultural Sounds. Micromusics of the West. Middletown: Wesleyan University Press.
  • Strohm, Reinhard. (2018). “Tradition, Heritage, History: A View on Language” Musicological Brainfood. (2): 6-10. Retrieved from https://brainfood.musicology.org/pdfs/ims_brainfood_2_no1_2018.pdf
  • Terry, Richard. (1914). “Sea Songs and Shanties.” Proceedings of the Musical Association. (41): 135-140.
  • Terry, Richard. (1921). The Shanty Book. Part I, Sailor Shanties. London: J. Curwen & Sons.
  • Ziolkowski, Margaret. (2013). Soviet Heroic Poetry in Context: Folklore or Fakelore. Newark: University of Delaware Press.

In Defence of the Term and Concept of Traditional Music

Year 2021, Volume: 5 Issue: 1, 1 - 30, 30.06.2021

Ulrich Morgenstern

https://doi.org/10.33906/musicologist.913512
Cited By: 1

Abstract

Regardless of Eric Hobsbawm’s negativistic understanding, ‘tradition’ is a powerful and dynamic (and in no way traditionalist) concept in academic folkloristics. The widespread scepticism against ‘traditional music’, both as a recognizable field of research and a matter of theoretical thought, is based on an insufficient and sometimes stereotypic understanding of a term and concept with a fascinating history. I argue that there is good reason to maintain a term which is intrinsically linked to core issues of ethnomusicology, among them community-based music, cultural innovation, oral/aural transmission, sonic orders, and stylistic pluralism.

Keywords

ethnomusicology folkloristics traditional music

References

  • American Folklore Society. (1888). “On the Field and Work of a Journal of American Folk-Lore.” The Journal of American Folklore 1(1): 3-7.
  • Antweiler, Christoph. (2020). “Menschen leben nicht in verschiedenen Welten, sondern verschieden in der einen Welt. Ein Gespräch mit Christoph Antweiler über die Begriffe Kultur und Kulturkampf.” (Humans don’t live in different worlds but differently in the one world. A talk with Christoph Antweiler on the notions of culture and cultural struggle) MIZ – Materialien und Informationen zur Zeit. 4. https://miz-online.de/antweiler-begriff-kultur-kampf/
  • Baker, Ronald L. (2000): “Tradition and The Individual Talent in Folklore and Literature.” Western Folklore 59(2): 105-14.
  • Baumann, Max Peter. (1976). Musikfolklore und Musikfolklorismus. Eine ethnomusikologische Untersuchung zum Funktionswandel des Jodels. (Musical folklore and musical folklorism: An Ethnomusicological Study of the changing function of yodelling) Winterthur: Amadeus.
  • Baumann, Max Peter. (1991). “Introduction: Towards New Directions in the Dialogue of Music Cultures” Music in the Dialogue of Cultures: Traditional Music and Cultural Policy (Intercultural music studies 2), Ed. Max Peter Baumann: pp. 11-14. Wilhelmshaven: Noetzel.
  • Bendix, Regina. (2009). In Search of Authenticity: The Formation of Folklore Studies. Madison: University of Wisconsin Press.
  • Bendix, Reinhard. (1967). “Tradition and Modernity Reconsidered.” Comparative Studies in Society and History. 9(3): 292-346.
  • Blacking, John. (1973). How Musical Is Man? Seattle: University of Washington Press.
  • Bohlman, Philip V. (1988). The Study of Folk Music in the Modern World. Bloomington: Indiana University Press.
  • Rudolf M. Brandl. (2008). “New Considerations of Diaphony in Southeast Europe - Neue Überlegungen zur Diaphonie in Südosteuropa.” European Voices I. Multipart Singing in the Balkans and the Mediterranean (Schriften zur Volksmusik 22), Ed. Ardian Ahmedaja, Gerlinde Haid: pp. 281-231. Wien, Köln, Weimar: Böhlau.
  • Cashman, Ray; Mould, Tom and Shukla, Pravina. (2011). “Introduction: The individual and tradition” The Individual and Tradition: Folkloristic Perspectives, Ed. Ray Cashman, Tom Mould, and Pravina Shukla: pp. 1-26. Bloomington: Indiana University Press.
  • Commenda, Hans. (1960). “Was das Volk singt.” Jahrbuch des Österreichischen Volksliedwerkes. 9: 7-19.
  • Dahlig-Turek, Ewa. (2012). “New Tradition” Musical Traditions. Discovery, Inquiry, Interpretation and Application. XXVI European Seminar in Ethnomusicology, Ed. Pál Richter: pp. 311-321. Budapest. Budapest: HAS Research Centre for the Humanities.
  • Doubleday, Thomas. (1857). A letter to His Grace the Duke of Northumberland on the ancient Northumbrian music, its collection and preservation. London: Smith, Elder & Company.
  • Dundes, Alan. (1966). “The American Concept of Folklore.” Journal of the Folklore Institute. 3(3): 226-49.
  • Ellingson, Ter. (1992). “Notation.” Ethnomusicology: An Introduction, Ed. Helen Myers: pp. 153-64. New York: Norton.
  • Elschek, Oskár. (1991). “Traditional Music and Cultural Politics.” Music in the Dialogue of Cultures: Traditional Music and Cultural Policy, Ed. Max Peter Baumann: pp. 32-55. Wilhelmshaven: Noetzel.
  • Engel, Carl. (1866). An Introduction to the study of national music. London: Longmans, Green, Reader, and Dyer.
  • Engel Carl. (1879). The Literature of National Music. London: Novello, Ewer & Company.
  • Gelbart, Matthew. (2013). “Once More to Mendelssohn's Scotland: The Laws of Music, the Double Tonic, and the Sublimation of Modality” 19th-Century Music. 37(1): 3-36.
  • Glassie, Henry. (1995). “Tradition.” The Journal of American Folklore. 108(430): 395-412.
  • Grupe, Gerd. (Ed.) (2013). Ethnomusicology and Popular Music Studies. Aachen: Shaker.
  • Held, Gerd. (2018). “Wozu Spanien? Über die Eigenart und Aktualität nationaler Identitäten. Der katalanische Separatismus ist eine historische Sackgasse (Why Spain? On peculiarity and topicality oft national identities. Catalonian separatism as a historical dead end),” Die sortierte Gesellschaft: Zur Kritik der Identitätspolitik, Ed. Johannes Richardt: pp. 91–102. Novo: Frankfurt a.M.
  • Hobsbawm, Eric. (1983). “Introduction: Inventing Traditions.” The Invention of Tradition, Ed. Eric Hobsbawm, Terence Ranger: pp. 1-14. Cambridge University Press.
  • Hogarth George. (1839). “The Ancient National Music of Scottland” The Polytechnic Journal: A Monthly Magazine of Art, Science, and General Literature. 1(1): 54-57.
  • Hondrich, Karl Otto. (2009) “Geteilte Gefühle (Shared feelings).” Neuer Mensch und kollektive Identität in der Kommunikationsgesellschaft, Ed. Gerhard Preyer: pp. 237-245. VS Verlag für Sozialwissenschaften.
  • Kay, Jonathan. (2018). “How Canada’s Cult of the Noble Savage Harms Its Indigenous Peoples” Quillette (April 22). Retrieved from https://quillette.com/2018/04/22/canadas-cult-noble-savage-harms-indigenous-peoples/
  • McCollum, Jonathan; Hebert, David G. (2014). Theory and Method in Historical Ethnomusicology. New York and London: Lexington Books.
  • Mekhnetsov, Anatolii M. (1987). Gudi gorazdo. Narodnye muzykal’nye instrumenty Pskovskoi oblasti (Twang Louder. Folk Music Instruments of the Pskov Region). Vypusk 1: Iarmarochnaia igra (Vol. 1: Music of the Parish Fairs). LP, Leningrad: Melodia, S20 26011 002.
  • Merriam, Alan P. (1964). The Anthropology of Music. Chicago: Northwestern University Press.
  • Morgenstern, Ulrich. (2013). “Dynamics of Identity in Russian Instrumental Folk Music Culture” Mūzikas akadēmijas raksti, vol. VIII, Ed. Baiba Jaunslaviete: pp. 42-52. Riga: Jāzepa Vītola Latvijas Mūzikas akadēmija.
  • Morgenstern, Ulrich. (2014). “Zehn populäre Vorurteile über Volksmusik (Ten popular prejudices towards folk music)”. Jahrbuch des Österreichischen Volksliedwerkes. 63: 177-195.
  • Morgenstern, Ulrich. (2017). “Imagining Social Space and History in European Folk Music Revivals and Volksmusikpflege. The Politics of Instrumentation.” European Voices III. The Instrumentation and Instrumentalization of Sound. Local Multipart Music Cultures and Politics in Europe, Ed. Ardian Ahmedaja: pp. 207-232. Wien, Köln, Weimar: Böhlau.
  • Morgenstern, Ulrich. (2018). “Towards the History of Ideas in Ethnomusicology. Theory and Methods between the Late 18th and the Early 20th Century” Musicologist. An International Journal of Music Studies. 2(1): 1-31. Retrieved from http://dergipark.gov.tr/download/article-file/498520
  • Nettl, Bruno. (2005). The Study of Ethnomusicology: Thirty-one Issues and Concepts. Urbana: University of Illinois Press [first edition published 1983].
  • Nettl, Bruno. (2015). The Study of Ethnomusicology: Thirty-Three Discussions. Urbana: University of Illinois Press [first edition published 1983].
  • Quigley, Colin (2012). “Tradition as Generative Process. An Example from European/Euro-American Fiddling” Musical Traditions. Discovery, Inquiry, Interpretation and Application. XXVI European Seminar in Ethnomusicology, Ed. Pál Richter: pp. 45-54. Budapest. Budapest: HAS Research Centre for the Humanities.
  • Reyes, Adelaida. (2009). “What Do Ethnomusicologists Do? An Old Question for a New Century.” Ethnomusicology. 53(1): 1-17.
  • Rhodes, Willard. (1956). “Toward a Definition of Ethnomusicology.” American Anthropologist. 58(3): 457-463.
  • Ronström, Owe. (1996). “Revival Reconsidered.” The World of Music. 38(3): 5-20.
  • Rybakov, Sergei. (1897). Muzyka i pesni ural’skikh musul’man s ocherkom ikh byta (Music and songs of the Ural Muslims with an essay of their everyday life). Sankt-Peterburg: Tip. Akademii Nauk.
  • Schüller, Dietrich; Thiel, Helga. (1985). “Between Folk and Pop: The Stylistic Plurality in Music Activities in Several Austrian Regions.” Popular Music Perspectives 2. Papers from the Second International Conference on Popular Music Studies, Reggio Emilia, September 19-24, 1983, Ed. David Horn: pp. 166-182. Göteborg, Exeter, Ottawa, Reggio Emilia.
  • Slobin, Mark. (1993). Subcultural Sounds. Micromusics of the West. Middletown: Wesleyan University Press.
  • Strohm, Reinhard. (2018). “Tradition, Heritage, History: A View on Language” Musicological Brainfood. (2): 6-10. Retrieved from https://brainfood.musicology.org/pdfs/ims_brainfood_2_no1_2018.pdf
  • Terry, Richard. (1914). “Sea Songs and Shanties.” Proceedings of the Musical Association. (41): 135-140.
  • Terry, Richard. (1921). The Shanty Book. Part I, Sailor Shanties. London: J. Curwen & Sons.
  • Ziolkowski, Margaret. (2013). Soviet Heroic Poetry in Context: Folklore or Fakelore. Newark: University of Delaware Press.
There are 47 citations in total.

Details

Primary Language English
Subjects Music
Journal Section Articles
Authors

Ulrich Morgenstern 0000-0003-0190-7475

Publication Date June 30, 2021
Published in Issue Year 2021 Volume: 5 Issue: 1

Cite

APA Morgenstern, U. (2021). In Defence of the Term and Concept of Traditional Music. Musicologist, 5(1), 1-30. https://doi.org/10.33906/musicologist.913512

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