Musikethnologie

Musikethnologie, or also Ethnomusikologie, is the musikologische (historically, systematically) and culture-scientific study of unvertrauter music, i.e. of music, which stand outside of the abendländischen music tradition, as well as abendländischer people music and (in dichotomy to the abendländisch European Opusmusikkultur more seen) so-called popular musicincluding jazz, subcultures, regional music cultures as well as in the migration context more developed, usually hybrid music cultures etc. (Transkulturalität). An important investigation area represents the observation and description of hybrid styles. The Ethnomusikologie is thus a subsection of the music sciences. One of the disciplines of the Musikethnologie is thoseInvestigation of this music in its cultural-social context, their functionality and formativen effect within a cultural system, which beobacht in its dynamics and structure and is recordable.

Methodical overlaps result both with the music sociology and with the note text Hermeneutik abendländisch European music theory.

Musikethnologie in the closer understanding covers the study of music on the one hand in its internal structure, its internal meaning and its relationship with other music (microanalysis), on the other hand in its functionality and imbedding into the further cultural-social context(Makroanalyse). In relation to the historical comparative music science, which regarded non-European music with the criteria abendländischer music and before their normative background, the modern Musikethnologie tries unvertraute music in its own history, in their self-sufficiency and its eigenvalue to understand (cultureas system).

In the sense of the second understanding Jeff Todd Titon Musikethnologie describes as the study of humans, who make music. Musikethnologie refers the social purchases and functions of the music. A systematically theoretical occupation with (more unvertrauter) music alone is sufficientthe requirements of the Musikethnologie not.

Musikethnologie is operated both by music scientists and Ethnologen, who study apart from the music also many other aspects of the examined societies. They use both the analytic tool of the abendländisch European music theory, approximately for identificationof clay/tone systems and rhythms, and methods, which originate from the empirical research, like field research and participating observation. Besides the styles do not naturally only become, but also the methodical entrances to the music discusses, in the non-European context andin the so-called popular music research were developed.

In the course of extensive globalization connected with migration movements ethnomusikologische questions and methods will have to take not a disappearing of the subject music from the general education the quintessential point of music-educational considerations to become, do not want one in purchase.

Important foundersthe Musikethnologie are Erich von Hornbostel, Curt Sachs, Carl stump, Jaap art and Erich stick man.

literature

  • covers Hood: The Ethnomusicologist. Kent State University press, Kent, Ohio 1982, ISBN 0-87338-280-3
  • Alan P. Merriam: The Anthropology OF music. Northwestern University press, Evanston 1964
  • Bruno Nettl: The Study OF Ethnomusicology: Twenty nine Issues and Concepts. University OF Illinois press, Urbana, 1983.
  • Artur Simon: Musikethnologie. In: Music in history and present (1 CD-ROM). Directmedia,Berlin 2004, ISBN 3-89853-160-0, column 1283
  • Jeff T. Titon (Hrsg.): Worlds OF music. On introduction tons of music OF the world's peoples. Schirmer Books, New York 1996, ISBN 0-02-872612-X

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