ETHNOMUSIKOLOGIE aims of research, article and methods max Peter Baumann overview

1. Definition
2. To the history of the subject
3. Aim of research and article range
4. Interests of realization and single aspects
5. Methodology, methods and work engineerings
6. Ethnomusikologi spheres of activity
7. Basic research and field research documentation
8. Data bases and Multimedia
9. Intra and intercultural co-operation
10. Organization of symposiums, colloquia and working groups
11. Ethnomusikologie in the intercultural discourse
12. Practice orientation, culture management and applied Ethnomusikologie
13. Culture switching
14. Literature 15.
15.Useful left to "Ethnomusikologie"
1. Definition keyword: Ethnomusikologie (comparative music science, Musikethnologie,
musical people and people customer, volkslied and people music research)
Ethnomusikologie is concerned a culture-scientifically aligned subject, itself in research and
theory with the study of the music cultures of the world (English ethnomusicology, frz.
ethnomusicologie, splinter etnomusicologa, ital. etnomusicologia). Ethnomusikologie
documented, describes and investigates music, groups of music and music traditions in the
social context of individual cultures or partial cultures and compares these regarding its
reciprocal effects with other kinds of music, with other musical concepts, behavior and
manifestations. Study object is the general context of music-relevant communication
structures. It covers the mutual relationship of music producers, music recipients and
musical products within a specific excessive quantity connection, which is outlined under
the criterion of its carriers, the place and the time of the closer. The article range includes
the volkslied and people music research and from the?Historischen music science ", which
concerns itself primarily with the European coined/shaped art music of the western world
and its non-European Extensionen, for work-economic reasons is distinguished. It is
distinguished partially also from the?Systematischen music science ", which is concerned
among other things more with the musical acoustics and the physiology of the music
generation. Ethnomusikologie is occupied with the source documentation and research
verbally and/or sounding delivered traditions as well as with the various forms of the art
music of non-European origin. As applied Ethnomusikologie (applied ethnomusicology)
she understands herself besides as a wegbereiter of the intercultural communication. In their
science and practice-oriented research and training concept is more than ever into the
dialogue of the cultures embedded the subject in the context of the culture sciences. Basic
researches to variety of the music traditions of the world, musikologische field research to
traditional music, documentations of music and music instruments and Monographien in
own or foreigncultural frameworks and in bilateral co-operation, analyses to the musical
everyday culture, questions for the anthropology of the music in the context of different
tradition concepts or world views smooth the ways for intercultural understanding and for a
transnational dialogue authority.
2. For the history of the subject as field of the music science the subject developed after 1880
under the original name of the comparative music science, which had the goal to describe and
investigate the music of?aussereuropaeischer peoples "and?schriftloser cultures". The music
science remained however coined/shaped into the recent time by a strongly eurocentric
prejudice. This way of thinking relied at that time on a evolutionistic conception of the world in
the group with the culture area teachings, which proceeded from the assumption that the music
of strange cultures was able to illuminate the prehistory of the European art music. Guido of

eagle systematic organization of the music sciences understood the so-called?primitiven nature
peoples "as preliminary stage of the own development on the way to more?complicirter the
Tonproducten" abendlaendischer art music become. Eagle concept the ethnographischen?
Musikologie "(1885) planned?die Tonproducte, in particular the people singing of different
peoples to compare and group after differences countries and territories behufs ethnographischer
purposes and too separate." Its comparative concept was located besides in the tradition line of
Herders of comprehensive idea voices of the peoples in songs (1778/79) to document. With this
song collection Herder intended a systematic composition of materials, which were arranged
according to countries, times, languages and nations and to a Anthologie supraregional put on of
songs and singing from verbal excessive quantity of all times and cultures should increase. But
since the invention of the Edison Phonographen around 1877 and the first field use with field
photographs around 1890 with sound recordings of Passamaquoddy Indian singing by the
American Anthropologen Jesse walter Fewkes it had only become possible, not written down
forms, i.e. sounding music delivered to store. Phonogrammarchive were created among other
things in Vienna (1899), in Berlin and Paris (1900) and in pc. Petersburg 1902. The researcher
Carl stump, Erich Moritz of Hornbostel and petrol Abraham active in Berlin developed a
methodology of the minute, in order in the comparison of melodies, clay/tone rows and shape
characteristics?nach the origin and the development of the music and the nature of the musicalbeautiful "to ask (1905). This help with the later refinements of the phonographs gradually to a
new development, by to the purely musical, acoustic and hearing-psychological questions
appreciably also having to be placed after the cultural preconditions. The British physicist and
Phonologe Alexander J. Ellis had already observed and on the basis interval computations on
the basis of the cent system had stated 1885 in empirical way on the basis music instruments
non-European of comparative measurements that clay/tone systems are not by any means?
natuerliche ", but culturally caused Konstrukte. The participating observation and the
Ethnographie of the music, the Transkription and analysis of musical styles, finally term -, lehr
and learning concepts stepped with the idea of the field research more strongly into the
foreground. The connection to the Ethnographie and culture anthropology became compelling.
Different designations have the subject of the comparative music science immediately with
different weighting as?ethnologische music research "(Marius cutter 1937)?musikalische people
or people customer" (Fritz Bose 1952), when?Musikethnographie "(ethnographie musicals)
described?Musik the foreign cultures" (Curt Sachs 1959) or?Musikethnologie "(Kurt pure hard
1968), without a uniform terminology in the consent was found for the time being. Around
1950 the Dutchman Jaap art introduced the term?ethno musicology ". After 1956 this new
technical term had internationally become generally accepted Ethnomusicology with the
establishment of the Society for. With a fundamental study Anthropology OF Music (1964)
sketched the?Theorie Ethnomusikologie to Alan P. Merriam one "and postulated a linkage of the
musikologischen with the anthropologischen research methods. Music defined as a means
within social interactions, production of specialist (producer) for other people (recipients);
Music-makes is a learned behavior (behavior), by which sounds (sound) are organized and in
the wechselverhaeltnis of individual and group symbolic communication to bring out are able:
Music is A uniquely human phenomenon which exists only in term OF social interaction; that it
is larva by people for OTHER people, and it is learned behavior. It of does emergency and
CAN emergency exist by, OF, and for itself; there must always human beings doing something
ton produce it. In short, music CAN emergency defined as A phenomenon OF sound alone, for
it involves the behavior OF individuals and groups OF individuals, and its particular
organization demands the social concurrence OF people who decide what it CAN and CAN
emergency. (Merriam 1964:27). Merriam criticized that in the past the comparative music
science concentrated its forces almost exclusively only on sound and musical form structures
and neglected the kulturanthropologischen context to a large extent. In order to be able to
understand the music as product and brought out structure - so its argumentation - it is necessary
to learn to understand for the time being the cultural concepts of humans who bring these

structures out. The ethnomusikologische research as study OF music into culture and music as
culture (Merriam 1964/73) refers in the closer sense to the study of?ethnischen groups "and
their music in the soziokulturellen context. With?Ethnie "is understood those ascertainable
sovereigns unit, which is known and wanted by humans concerned themselves. The self
demarcation outward is determined by the?Wir consciousness of "this group or groups. group
"and/or" becomes?Ethnizitaet however not only over we consciousness, but also over foreign
consciousness defines. With?ethnisch "therefore in the Ethno Musikologie (1.) those musical
characteristics and repertoires are marked, with which the groups of music themselves as
belonging together to identify themselves and from?anderen" groups consciously distinguish.
"designates (2.) in addition, those characterizing identifiers, which are awarded to these groups
by foreign's groups (Adelaida Reyes scratching 1979). Musical we feeling, we consciousness
and we acting are usually based on religious, social, linguistic, national, physical or
psychological identifiers and/or on their cultural, historical, aesthetic or world-descriptive value
conceptions. In this sense each music is ethnical, the western enclosed. After the comparative
music science from the?armchair"perspective practically obsolet and the ethnomusikologische
field research since the 60's an indispensable condition had become, within a modern
Ethnomusikologie the musikologischen was linked with the anthropologischen methods and
work engineerings. This was directed no longer alone only toward the music than sounding
form, shape and structure, but appreciably on the process of the musical creation, rezeption and
excessive quantity and their social function in the cultural surrounding field. Bruno Nettl
determined 1980 due to a something simplified sifting of the self understanding of a majority
from professional colleagues that Ethnomusikologie with different weighting was defined: (1.)
as the study of non-western music and the people music generally, (2.) as the study of music in
verbal excessive quantity, (3.) as study of music outside of the own culture, (4.) as the study of
contemporary music cultures and/or (5.) of the music in the context and as part of a culture or a
(6.) as comparative study of music cultures of the world. Ethnomusikologie is to be defined
accordingly in a more comprehensive sense than a Musikologie of ethnical groupings, their
social systems and repertoires in the area of conflict of intra and intercultural interrelations. 3.
Aim of research and article range a goal of the Ethnomusikologie are it to describe the
individual music-ethnical groups their concepts (values, standards, sanctions) to eruieren to
examine their musical actions (create, Rezipieren, delivering and evaluating) the physical,
psychological, verbal, to analyze symbolic and social music behaviors and to explain and
interpret their musical manifestationen (instruments, songs, texts, music behavior): Article of
the Ethnomusikologie is strictly speaking each kind of the human music manipulation and the
cultural creations of value brought out thereby. Ethnomusikologie documents and investigates
the music and the culture-specific music behavior, both their practical and theoretical bases
regarding past and present or - anticipation - on the future, in the concern around the receipt that
variety of the cultures. In the canon of science history Ethnomusikologie concerns itself equally
with questions primarily of the ringing out and musical thinking secondarily obtained in
certifications, speaking, feeling and acting. The nature of the sound, of music instruments and
sound implementings in connection with indications and languages do not only form the article,
but also the questions about causes, effects, functions and processes of the entire musical work.
In particular the ethnomusikologische beginning concerns itself with the documentation of
different sounding and interaction forms in the symbolic and kommunikativen context of music
systems, of musician and group, from society and humans, from history, nature and Kultur(en).
Here ideas belong over the music, the associated world-descriptive and aesthetic concepts
equally as the social organization of the music and the associated music repertoires (style, kinds,
dance and movement forms). Abb. 1: Music, groups of music and music behavior in space and
time-related excessive quantity connection (Baumann 1997:6) 4. It teaches interests of
realization and single aspects science history however that the individual researcher or the group
of researchers must limit themselves work-economically on single cultures and their spatial and
temporal cutout ranges for the time being. If the Ethnomusikologe proceeds usually primarily

from present music cultures, then the music historian examines primarily music styles of past
epochs. If the first in the field research argues over participating observation with alive music
practice, then the music historian predominantly proceeds from history and refers to created?
Werke ", to historical source documents such as notes, notes, pictures and music instruments, is,
he was concerned directly with contemporary composers. Primarily of music-systematic
beginnings against it the systematic music science goes out itself, within the range of the
acoustics, the instrument research, music physiology, psychology and aesthetics emphasismoderately again different questions served (see for this Elschek, 1992 and Bruhn among other
things, 1993). Single researchers or groups of researchers divide the?musikalische world
"therefore after grown, culture-geographical historically or after systematic units. The
demarcation of the article (in the form of the selective perception) is based on the focusing
questions: Which is the selected music-referred object area?, When & where these temporal
kulturgeophraphische object area one defines? and why will the application of methods
additionally limit the object area? Charles Seeger (1972) formulated its article demarcation
among other things also culture sociological regarding the different kinds of the excessive
quantity techniques: Traditions of the excessive quantity techniques 1. purely verbal excessive
quantity 2. predominantly verbal excessive quantity 3. mixed verbal and written excessive
quantity study object of the Ethnomusikologie (primarily oral Tradierung) 4. predominantly
written excessive quantity 5. purely written excessive quantity (?) study object of music history
(primarily literary tradition) fig. 2: after Charles Seeger (1972:827) Oskr Elschek links the
culture-sociological article regulation with regional and present-referred and/or historical
containment criteria. Here in particular moving from a Musikologie away becomes important
from a center. The Emphasis is set on the regional music research, which understands itself in
the alternate discourse on global level: Abb. 3: after Oskr Elschek (1992 I:96) more?Der
internal structure of the regional music science has not only the nominal to ensure but also the
actual universality of the music science. During this allocation it is to be stressed that we the
Euromusikologie not when excluding regional term understands, but more than one, which
refers to European music phenomena whether they are in Europe, as the origin continent of
certain music-cultural systems, or on the two American Subkontinenten, where them transferred
and where they were transformed and developed on own ways." (Elschek (1992 I:97) a
categorization of the Musikologie in the context of different methodical beginnings undertakes
Dieter Christensen due to the article which can be examined. The article anvisiert in the sense
of an object, a process or one?Kunstwerks ": Abb. 4: see Dieter Christensen (1997:48) the
verallgemeinerungen in such models outline some emphasis of older and newer discussions.
They try the different rasters regarding the triad of interest of realization to point article and
methods out. Generally it can be held however that the selection of the ethnomusikologischen
article range takes place from practice seen always also with view of certain definable Ethnien
or of several in its penetration and in the comparison. The article?Musik and music lives "is
differently fragmented in time and space. This presses itself e.g. in a historical-monographically
aligned topic as to?Musik the Arab "(Touma 1989) or to the?indischen Sitar and Sarod 18. and
19. Century "out (Miner 1993). Also investigations to history and repertoire, as for instance to?
Musik Africa "(Nketia 1979), to?Evolution the Javani Gamelan" (Hood 1980-88) or too?
Capoeira, Samba and Candombl "(Pinto 1991), base on a concept?cultural of the AREA".
Often here pursued in run the work also different methodical beginnings. Regional concepts,
supraregional comparisons, analytic and structural investigations to composition and
improvisation techniques, to Klangaesthetiken, music behavior and movement Gerhard Kubik
brings in its anthology?Theory to OF African Music "for example (1994). Against it questions
are rather use systematic and at the same time culture-spreading after the meaning of the
traditional music in the political dialogue of the cultures (Baumann 1990). Again a topic is
interdisciplinary aligned like?Kosmologie and music in the Anden ", with which fan-spreading a
topic is treated by Ethnomusikologen, linguists, Anthropologen, theologians, archaeologists and
historians, the from fragmenting the single results out again to a ganzheitlichen view of music,

humans and culture to find the way back (see Baumann 1994). Single perspectives of technical
disciplines are understood as complementary in that variety of the methods and results to each
other and as a condition for an extended understanding of the description and interpretation of
different reality concepts. Beyond that the particularly complex question about the culturespecific space-time horizon arises, on the one hand as self understanding and on the other hand
than foreign understanding. The science understanding trachtet to transzendieren both?
begrenzten horizons "of the own one and/or the stranger in the intercultural discourse. The
dialogisierende relationship involves the self-cultural and self-temporal interest of the searching
subject with the foreigncultural and foreigntemporal understanding background. In the spiral of
the transkulturellen feedback the realization production problematisiert itself as understanding
from outside and understanding about within a culture and the trespass beyond the border in
merging the horizons, resulting from it, (see Emics and Etics in Ethnomusicology 1993).
5. Methodology, methods and work engineerings each scientific activity are due to subjective
and institutionalized interests. The interests of individual researcher personalities, groups of
researchers and technical disciplines settle on the one hand in the institutions concerned as
disziplinaeres system, are on the other hand just as firmly in the interdisciplinary framework
other fan and their universitaeren organizations embodied. As the third there is finally the
except discipline eras of systems, which contribute the discipline eras common interests to
social regard and to the range of application. The common interests therefore result from
cooperating the different interplays of forces between scientific and except-scientific
objectives, realizations and economic conditions. By the compelling logic and regarded by
a total building of scientific systematics of a Musikologie ago, the questions directed toward
present, past and future should be equally research relevant. After space or time a
hierarchically arranged ranking of partial disciplines cemented only unequal structure
downward gradients and prejudices. If the?Musikologie is "really - as Elschek already
stressed 1986 -?erneut to an practice-orienting, theoretically and methodologisch highstanding, universally oriented and science willing to cooperate becomes, then she must
change" (Elschek 1986:104). In detail with the fact the postulate links itself that the present
consciousness, which can be historical consciousness and consciousness equally konstitutive
elements of the interest of realization oriented on the future. Generalizing in former times
these interest adjustments in science history were classified as scientific, spirit-scientific and
action-scientific adjustment. If today such remains only conditionally valid a science
organization, she is able to point out nevertheless in the heuristic sense, how you - with the
words of Juergen Habermas (1971:155) - in principle three differently aligned interests of
realization are the basis. The three different interests of realization are: 1. the technical (the
empirical-analytic sciences), 2. the practical (the historical hermeneutischen sciences), 3. the
emancipatory (the critically oriented sciences). The ranges are not to be separated however
in practice so strictly, since in the fulfilment phases of the individual scientific research
process both the methods of the provision of information and data processing and the those
can be assigned to the information derivative quite different interests of realization, i.e. both
the surrounding field of the natural sciences, that of the geisteswissenschaften or that of the
action sciences. After K. Egger (1984:78ff.) if the straight Ethnomusikologie extracts itself
from the rigiden classification, she can avail herself nevertheless e.g. during the provision of
information of experimental methods and in reverse in the data processing of ethno
hermeneutischer methods, usf. Ethnomusikologi work is concerned since ever with all three
aspects of the interest of realization. In order to give only short references: Alexander Ellis
' tonometrischen measurements (1885) was obligated for example the empirical-analytic
beginning, while Curt Sachs '?Geist and of the music instruments "(1929) rather the
historical hermeneutischen beginning remained connected, whereby the systematic aspect of
the instrument classification in the phase of the provision of information preceded. Turned
around numerous Ethnomusikologen and particularly people song researcher understood its
interest of realization by the aspect of a culture-critical condition. Since the traditional

music is threatened in its existence, such a recurring argument, became necessary immediate
acting, collecting and examining. So little one of the Ethnomusikologie to say could, she
was certain excluding only of a technical, practical or emancipatory interest of realization,
i.e. only one method direction obligated, so few can one this to the historical or systematic
music science after-say. This do not only testify science practice, but also numerous
interdisciplinary beginnings, those increasingly by getistic viewpoints to be coined/shaped
(to further questions about the classification of the technical and the methods of the
Ethnomusikologie see Egger 1984:19ff. and weber, 1990). The three time perspectives
(historical consciousness, present consciousness or future-oriented consciousness) dominate
in the detail investigation the article and the methods in different way, but are them in the
long run not from each other to be solved. This can be illustrated sketchily for example at
the UNESCO projects?Intangible Cultural Heritage "and/or?Safeguarding OF oral
tradition". To document and receive the ethnomusikologische beginning resulted as it were
from the experience that it became necessary in the today's time because of technological
downward gradient the medium industry and the post office-colonial culture expansion
caused thereby, made by historical consciousness, the existence of the traditional variety
systematically. In the concern around the future research gaps from today are to be sighted,
evaluated systematically to be closed, fallow-lying sources and be interpreted in their
historical connection. With these?historischen "components of a music historiography
aligned to the future, result accent misalignments, which brought?nur diachron" or?nur
synchronously "understood interest of realization together by?polychron" an oriented
consciousness. The a dimensionality of the emphatic terms?Historie "and?Empirie" are
broken open. Traditional historiography as well as traditional Szientistik recognized as
relative functions ever a fragmented time consciousness. the future instead of the past as
basic category of ' historical consciousness '? appears - after C Dahlhaus (1977:19) possibly as?Unterwerfung to history under politics ". To hold out it is however that politics
in the action-scientific sense without history cannot get along also. Dahlhaus ' statement,
historical realization always ties to before-scientific interests, without however in the
continuation of the investigation to remain bound to it "(1977:142), applies both to the onesided accentuation of the past, present or future: a circumstance, which applies certainly to
each kind of scientific realization. Methodical intention: Time perspective: Question:
(historical) understanding past which was the case? (empirical) explaining present which is
the case? (critical) evaluating future which should the case be? Abb. 5: Time perspective
and methodical interest of realization (M.P. Baumann) the different interest models
regarding the selective perception of the ethnomusikologischen article can be summarized
here strongly simplified in the following "article models" in: TRADITIONAL MUSIC
(sing, a making music, a dancing, people music, ethnical music, music of strange cultures)
in the interest of research of a kommunikativen general context general INTERACTION
MODEL: Process of cooperating (context/function) who meets single musician, group of
music with whom, with listening (e.g. animals, humans, divinities) around when e.g. in the
yearly cycle, harvest celebration, Ascension Day etc.. and where, e.g. in church, concert
hall, on which Alp with which means here-lure, with music instruments, Tanzrequisiten,
masks which for musical actions to carry out e.g. animals, to the dance, praise-praise God
TRADIERUNGSDMODELL in the dynamics up-play of the: Process of the over supply to
history and culture Tradierens verbal, written excessive quantity etc. Innovierens new
melodies invent, Revival etc.. Akkulturierens of element/instruments of other cultures
integrate transforming Synkretismen, Transkulturation, fusion Music GROUP MODEL the
particular: System of the musical group and musician role (Leader, supervisor etc..) in the
context in-group and Rollendefintion inward in the context out group role definition outward
of the conception musical under the aspect of the time and the group solidarity, play time,
the lehr/training system of the place local/regional/national/intercultural identity
IDENTIFICATION MODEL: Process of the musical conception 1. Rate value conceptions

over music and musician 2. Standards conceptional set of rules (canon) 3. Sanctions
punishment with not fulfilment of the rules COMMUNICATION MODEL music-referred
acting as: Process of acting with music 1. Produce/create implement, compose, play, etc. 2.
Consume music hear, etc. rezipieren. 3. Distribuieren music during the switching process 4.
Criticize judge, evaluate & criticize from music BEHAVIORAL MODEL musical behavior
as: Process of the musical behavior 1st physical body movements 2nd psychological
psychological reactions to determines music 3rd verbal conceptual categorizing 4th
symbolic music as language, religion, affektiver value 5th social
geselliges/elitaeres/autistisches/spirituelles etc.. ARTIFACT MODEL musical
manifestationen in: Music as text/work/ringing out 1. Objects of music instruments, note
text, tracht etc.. 2. Objektivationen traditional values, Singstile, kinds, etc.. 3.
Subjektivationen individual values, singing manners, etc.. Abb. 6: The Ethnomusikologi
article regarding different interest models (M.P. Baumann). 6. Ethnomusikologi spheres of
activity at the beginning of each scientific activity the question about the too?erklaerenden
"article stands. This covers certain events, facts, structures, conditions and circumstances,
which by means of particularly structured questioning theory observed and are described
and/or explained, interpreted or criticized. Even if the conditions reveal in individual
different in each case accentuations, a consent is to be nevertheless more or less determined
regarding the ethnomusikologischen spheres of activity. Following Helen Myers
introduction to the Ethnomusicology (1992/93) can paraphrasiert itself the work areas
deducing from practice as follows: 1. Science history of the Ethnomusikologie 2. Theory
and methods 2,1 field research (interview technology, participating observation, techniques
of the provision of information and data acquisition) 2.2. Field research technology (from
the clay/tone and picture recording to the archiving of the results) 2.3. Ethnographie of the
music (description and interpretation of the musical activities, music styles and objects;
monographic representation of musical traditions due to their culture-immanent lehr and
training systems) 2.4. Transkription (theory and practice to text and music transcription
after the hearing; Notes from movement and dance events) 2.5. Notation (history and
methodology of the different notation systems; to the question of the visualization of sound
events in the cultural or ethnomusikologischen context) 2.6. Analysis techniques and
musical styles (classification of the musical material, of form and shape; culture-inherent
and culture stranger analysis techniques: emic/etic approach) 2.7. Historical
Ethnomusikologie (rezente traditions in the context of the historical excessive quantity and
the music archaeology) 2.8. Iconography (interpretation of the illustrations and artistic
representations to musicians and music instruments) 2.9. Organologie (instrument customer
and classification; Sound investigations) 2.10. Basic research to?Biologie "of the music
making (sound research, biological, psychological, cognitive and cultural bases of making
music humans) 2.11. Dance research (documentation, description, classification) 3. Ethical
interests and new directions 3.1. Ethical questions (in the intercultural relationship of
informant, researcher and aim of research) 3.2. Sex and music (the role of women and men
in the music of different societies) 3.3. Music industry (national and transnational music
industry and technology as well as their influence on the traditional music cultures of the
world) 3.4. Receipt of the musical variety of the world (UNESCO projects for the receipt of
the musical world cultural heritage; Music of threatened peoples; Music of immigrants and
music in the exile) 3.5. Newer developments in the Ethnomusikologie (questions to music
and Revival, multi-cult Uralsism, music and minorities; Music and copyright, urbane
Ethnomusikologie, applied Ethnomusikologie; Music of strange cultures in the musician
drawing and in the school teaching; "and?Musiken the world"; traditional music and the
new medium technologies) 4. References and sources 4.1. Research assistance in the
Ethnomusikologie (field research manual, technical aids, institutions, libraries,
musikologische societies, groups of interests) 4.2. Instrument collections, archives and
museums (popular musical instruments and non-European music instruments, clay/tone -,

picture and film archives) 4.3. Bibliographic, filmographische and discotheque-graphic

services 5. Historical and regional studies: 5.1. History of the Musikethnographie up to the
Second World War 5.2. Regional studies: Europe (volkslied and people music) - Africa
(northern and southern the Sahara) - west Asia - south Asia - western central Asia and
Caucasus - eastern central Asia - Eastern Asia - Southeast Asia - Ozeanien (incl. Australia) North America - west India - Latin America 6. Comparative studies music cultures in the
comparison. Topics: e.g. music instruments of the world; Music ensemble and orchestra
formation; Singing styles of the world?Tonsysteme ", scales and melody concepts in the
comparison (modes, Raga, Maqam), forms of the Mehrstimmigkeit, Klangmelos, harmony
and dissonance consciousness in the comparison of the cultures; speaks and movementoriented melodische samples, organization of time (rhythm) and space (melody/dance); Use
and function of the music in the culture comparison, etc.. 7. Basic research and field
research documentation the practice-oriented Ethnomusikologie is essentially divided into
the ranges of the documentary field research, archives and museum studies, bilateral cooperation in research and co-operation projects, into the fields of the research into
international study groups, the far and teacher advanced training, the ranges of the edition of
book publications, of clay/tone carriers and films, as well as the practical organization of
scientific conferences and Festivals of traditional music. By means of systematic field
research work?vor place ", which takes place on the basis from observing, asking, logging,
describing, experiencing, interpreting and understanding, is anxious the Ethnomusikologie
to make sources available for the basic research. With the techniques of the
ethnomusikologischen field research primary data become as clay/tone -, picture, video and
film recordings in the context of the musical events constituted, interviews with single
musicians or groups of musicians accomplished and music instruments documents. The
recordings taken place under a systematic aspect thereupon archived, texts and individual
music pieces transliterates and analyzes. The ideographic sources taken place on the basis
of the field research are arranged. Their first grasping sifting today very often happens in
the publication of records and/or Compact Discs with describing comments (see e.g.. The
CD series The World?s musical tradition; Anthology OF World Music; Smithsonian
Folkways; Music and Musicians OF the World; Anthology OF Traditional Music) or in the
form of videoaufzeichnungen (see for this film and video in Ethnomusicology 1989). Music
photographs and music instruments, which were documented during the process of the
production, are supplied often voelkerkundlichen museums, where the materials for
archiving, for exhibitions or for arranging can be used by overview catalogs (see Simon
1991; Wegner 1984). The musical data acquisition came out from the practice of the
Ethnographie and the laboratory evaluation. The primary ethnomusikologische field
research phase usually refers to the music of one or several ethnical groups, which
understands themselves and defines by their?Wir feeling "over language, culture, religion,
society and music consciously as matching. The secondary phase of the Transkription and
analysis of sound events, melody successions, tone quality spectra and play techniques, of
melographischen, sonographischen, statistic and various computer-assisted analyses refers
against it to the laboratory evaluation substantially contributed by the systematic music
science (see D Stockmann 1979; Bent 1980). Numerous study groups internationally of the
Council for Traditional Music (ICTM) were formed, in order to take care of individual
systematically oriented analysis questions on intercultural level, so among other things the
study groups for popular musical instruments, those for analysis and systematization of
people music, individual study groups to music archaeology, Ethnochoreologie, for
computer supported research, to questions about the relationship of Music and Gender, for
Maqam and for the regional range Ozeanien. Beyond that the ICTM is organized also in
national committees, which publish periodically the results of individual conferences (see
e.g. Broecker 1994; Cooke 1981). Apart from theme-focused international colloquia every
two years the ICTM world conferences take place, which dedicate themselves to specific in

each case questions. On the activities of the ICTM a bulletin reports, on those the American
Society for Ethnomusicology new type character. The most important internationally
aligned ethnomusikologischen magazine/yearbooks, those beside scientific contributions
also book and records -, CD and film discussions print, are among other things the Yearbook
for Traditional Music (hrsg. by the ICTM), those quarterly at the University of Bamberg
published magazine the world OF music and the American magazine Ethnmomusicology journal OF the Society for Ethnomusicology. The latter brings regularly also a sequential
bibliography, as well as a discotheque, a Filmo and a Multimediograpie of the
ethnomusikologischen new publications. Some the numerous magazines and yearbooks,
which are concerned with ethnomusikologischen questions, are here on behalf listed:
African Musicology Asian Music bulletin OF Italian Ethnomusicology Black Music
Research journal British journal OF Ethnomusicology Cahiers de musiques traditional
Dance Research journal Culture musicali Ethnomusicology Indian Music journal Latin
American Music Review The Pacific Review OF Ethnomusicology Selected of report in
Ethnomusicology South African journal OF Musicology Yearbook for Traditional Music the
world OF music (references in more detail and further s. J.C. post office 1992) 8. For the
time being rather a career profile broadly put on requires data bases and Multimedia the
non-university practice of the Ethnomusikologie from the particular, in view of the
Unterrepraesentation of the subject in research and theory at the universities of Germany.
Basic knowledge of clay/tone and video recording techniques, which are additionally
acquired, is of advantage for Ethnomusikologen, which are active in range of the
technological and medialen switching. A large lack exists for example at documentary film
producers with ethnomusikologischen knowledge, which could carry a continuous basic
research out on behalf of the private or public television or on behalf of film archives. In
connection with the modern Multimedia techniques for the future without doubt a contentsreferred work will be very in demand straight in the educational range. Become
increasingly more important to CD Rome Multimedia project in the Ethnomusikologie (see
Microsoft Encarta World Atlas, 1997; History OF Music: American Folk Music and Music
and Culture, 1995; Microsoft musical of instrument, 1994; World Beat: the Sights, sound,
and video OF World Music, 1994). Audio -, video -, text -, note and analysis examples are
combined with future data bases and with encyclopedia and dictionaries to archives and to
most different functions are supplied. Possibilities of the sound compression without quality
loss will revolutionize archives of the future, so that itself the archiving of field research
photographs, which let appropriate documentation of clay/tone, picture and graphics link
with the describing textual informations to an integrated data base system with?real time
ACCESS ". General information, in addition, analytic research results, detail knowledge,
music encyclopedias and indices for sound examples, to music category, instruments, dance
forms, making music practices, musicians, ensembles, bibliographies and Diskographien can
address in such a way both private users, pupils, teachers and laymen and - with deepening
detailed information - specialists. Such systems are able to offer on different hierarchical
levels different degrees to the information depth. It will make the cross-linking possible of
field research documentations with CD and video editions as well as with specifically
aligned main points of research that with an open essential structure many individual work
areas can be united, in order to reach in the supraregional comparison fast on comparable
data the access. Are integrable single aspects of the anthropology to the music,
monographic-regional and mono graphic topic tables overview topics, topics to the musical
behavior and to the music as symbolic representative office, music as social function, as
aspect of the information theory and the musical semiotic. 9. Intra and intercultural cooperation one of the ethnomusikologischen principles is too received it, cultural variety to
promote mutual culture understanding and participate by means of the vehicle music in the
dismantling from prejudices. This can take place only over the principle of the partnership
dialogue, which includes at the same time the culture-immanent and culture-exceeding

aspect of the musicians, researchers involved and culture politicians into the discussion. By
means of pilot projects in co-operation with institutions of other countries, by means of
bilateral field research and structure projects, aimed primary music documentations are
promoted. This happens with special attention also for the music of small and indigener
peoples, for whom music of minorities, like those for instance the Roma and Sinti, in
addition, for that?grosse music of small people ", which are not heard in the channels?
Weltmusik "yet (see Wallis/Malm 1984; Malm/Wallis 1992). The latters form as it were the
entrance into the reality of the?anderen sound "and?anderen hearing". In the framework?
urban ethnomusicology "suburb projects make a contribution for the acceptance of
traditional groups of music and musicians, which pulled it also as an immigrant, refugees
and more?Gastarbeiter" into a new surrounding field and the cultural inheritance to resume
want. In co-operation projects individual groups of music and Solisten a dialogue is made
possible at the same time among themselves, so that the stress of the individual
characteristic remains protected, but not to a Ghettoisierung of the individual groups of
cultures leads (cf. project citizen of Berlin of klangbilder Traditionneller music, 1990). The
aspect of the able to communicateness is theoretically and practically in the concept of the
dialogue?vor place "underlined. In the return of the results, which over the musicians made
interview, sound recordings, musician and Gruppenportraits, which media packages and the
together organized concert meetings edited, reached a continuity of the suburb dialogue, so
that also the individual history of musicians and groups of musicians comes more strongly to
the course. An important moment such a ethnomusikologischen work is beside the scientific
also the politico-cultural dimension, which sees the work and the integration problem in the
context of the multi-cultural Miteinanders as well as in the context of the foreigner problem
and the dismantling of racingism. Bi-culturally oriented behavior concepts, synkretistische
or transkulturelle models are taken as discussion bases, in order to express itself in free
decision for or against such models of the musician drawing. In bilateral conceived field
research groups one profits reciprocally from the different experiences and from the already
existing knowledge. Already smaller music documentations lead together to different kinds
of music or to music traditions of individual groups to an culture-exceeding understanding.
Feedback of extensive clay/tone collections in the form of copies are today in demand by
countries of the so-called?Dritten world "often very. Copies are led back to the scientific
and public use and regenerated for individual publications. A goal should be it of putting on
and of aligning such partnership projects in such a way on a long-term basis that the
structures grow up as independent and make reciprocally new beginnings evolved. The
theoretical concept is based on the cross-linking of subprojects, so that for example of
seminars, field research, which remains one on the other co-ordinated edition by
Musikdokumenationen, by investigation and empiric reports. The subranges result in
individual in each case components to the total building intra and intercultural dialogue.
Usually also exchange concepts, so that colleagues and colleagues as well as musicians the
possibility is given, are merged return visits abzustatten. On both sides is to be made
conscious the interior and the external view by culture and science concepts. 10.
Organization from symposiums, colloquia and working groups one with the rule of thumb
can proceed there, see and hear?wir only, what we are and know ", are it for the recess both
the self and the foreign understanding necessary to exchange founded knowledge and
ethnomusikologische experiences of theme-focused symposiums and colloquia on
international level. Here organizational two aspects are to be regarded. On the one hand
international communication the extended dialogue among scientists to promote, in order to
keep the current conditions of the discussion to methodologischen questions of the
ethnomusikologischen documentation, transkulturellen understanding and interpreting in the
eye. On the other hand at such conferences also questions of the culture switching are
theoretically prepared by media and concert meetings and differentiated in the intercultural
context. Questions are here addressed, like those the traditional music, from nationalism,

co-operation and cultural policy, from intercultural musician drawing, transnational

organizations and those the role of the Ethnomusikologie in the total context. The
ethnomusikologischen aims are to be examined regarding the extended intercultural
dialogue at case examples. Which are the global and the regional goals, on what one can
agree in a consent, which recommendations can are expressed? Way-leading such
conferences are accomplished each year by the Society for Ethnomusicology and every two
years at the world conferences of the Interational Council for Traditional Music. Numerous
topic-oriented smaller conferences for example also for questions accomplished how: A
against Interest in Traditional Music "(1967)?Traditional Music and Cultural Policy"
(1988)?Historical development and Recent trend in Ethnomusicology "(1990)?Musics OF
the World: Aspects OF documentation, measure of Media, and Acculturation "(1991) and
many other more. Straight one at specific conferences must be directed the focus toward
concrete questions of substance, be stood with those individual regional or topic tables
studies in the foreground and in connection with the organization and co-operation of
several working groups. Such topics are about?Music and Gender "(Herndon/Ziegler
1990)?Re Creating Folk Music tradition in A Changing Europe" (Smolenice 1994)?
Traditionelle music of minorities "(Vienna 1994). To planning, organization and execution
the practical conversion of the results belongs in the form of publications and conference
reports. In order not to lose the view from the perspective of locally coined/shaped
investigation topics also for the entire, it is again and again necessary to stress and include in
planning the Interdisziplinaritaet of individual conferences.
11. Ethnomusikologie in the intercultural discourse the?Hoeren "on other and on the value
conceptions of other cultures, on the voices of indigener peoples as well as on the request of
minorities, is a central motive of the ethnomusikologischen field research. If one considers
the fact that to the estimated 10,000 (Musik)Kulturen hardly more than 4000
ethnographisch documented records were published, then becomes clear one, as world-wide
this ethnomusikologische documentation is underrepresented, - in particular also, if one
realizes in the comparison for instance to the European art music, as on the market alone of
Beethovens nine Symphonien are at present more than 600 different interpretations on
records and Compact Discs available. Ethnomusikologie is concerned therefore necessarily
also with the problem of the imbalance between?Mainstream "and the marginalisierten
small Ethnien. It problematisiert (Macht)Gefaelle between the global western music export
on side and the?ungehoerten "variety of the?kleinen" cultures, indigenen subpopulations
and Ethnien on the other one. Collection and documentation remain here further an urgent
request, without raising this however for the self purpose. The ethnomusikologische work
is to be at the same time also always carried by a concept of the mutual culture relations.
On the one hand the world moves communication-technically to a global village together,
which is expressed for instance in the doubtful term?Weltmusik "(World Music), on the
other hand one defines itself the many local and regional identities against such a
globalisierende collection, in order to offer with the multiplicity of the own local kinds of
music (Musics OF the World) such post office-modern collection a balance. The research
will keep both aspects in the eye with reproduction, in order to win over the against-striving
tendencies differentiation. Between local and global reason the broad remains spectrum of
reflected acting, which brings the?andere "musical thinking with its creativity and
imagination into the?erweiterten culture term" - a culture term, which along-reflects an
understanding of the other one at the same time also than a necessary part of the own one in
the transkulturellen discourse, and in reverse. World concepts, Kosmovisionen and
Spiritualitaet of other cultures and traditions are connected on the closest with customs,
rites, dances and musical practices. Straight marginalisierte larger and smallest Ethnien
provokes thinking oriented cartesianisch west, not least also in the question, how those deal
economically or technologically dominant factors societies with these cultural alternatives
and minorities. The music of the others regards also open in the epistemological sense the

doors far as new forms of seeing, hearing and noticing. The faith that the own reality, or
better said, which was to be set technologically oriented projection of this reality absolutely,
would be a fatal mistake. Because alone already the experience in handling?anderen
hearing "unmasks European?wohltemperierte hearing" as self-cultural?normalisiertes
"Konstrukt. Without intensive meeting with the strange culture in the field research,
without argument with completely different rating and understanding horizons, this
experience of the limitness of the own reality concepts would be today more hardly
transparent. Only the fruitful argument with different concepts of culture and music enables
itself the particulars, the dangers of a ethnozentrisch aligned to entwinden cultural
fundamentalism. In this sense it applies further, whole variety of musical styles, sung
languages and dialects in its concrete surrounding field scientifically to?entdecken "to
document and interpret new in their Interkulturalitaet. Scientifically to discover are even
still music instruments, social organization forms and techniques of making music, other
musical space and time concepts, historical views and not least also different aesthetic
models and religiously caused conceptions of the origin and sense of the music and making
music.
12. 12. A critical weighing and sighting of the underlying motives and intentions requires
practice orientation, culture management and applied Ethnomusikologie the conflict of the
value conceptions, convictions and expectations between musicians, Ethnomusikologen,
organizers, media and public. The political Indienstnahme for example of a folklore
ensemble for propagandistic purposes cannot be brought naturally uncritical into the
dialogue of the cultures, as long as propaganda steps the tolerance principle in the country
of origin with feet. The ethics of acting on the part of the musical Ambassador, who
requires organizers and the public again and again the critical objection, by not striking
themselves on the side of the dominant opinion, but explain themselves as the lawyer of the
threatened peoples and pressed minorities. A) of publication projects (magazines, book
series, CD edition) in all ranges of the ethnomusikologischen publisher activity is essential
a close co-operation with authors, Ethnographen, consultants, publishers, producers and
marketing companies. By the regional diversification and contentwise specification of the
products it became necessary to publish predominantly in English language since the
German market remains too uninteresting alone for publishers. The internationalization of
the intercultural selling rail will probably strengthen for the future in several sections still.
This concerns not only books and clay/tone carriers, but increased also magazines and CD
Rome packages as a result of?Internet ", ISDN and?World Wide Web ". b) non-European
music in the away and further training in co-operation with the Musikpaedagogik and in the
context of the away and further training for Paedagoginnen and paedagogues becomes the
topic?Aussereuropaeischen music in the school teaching "ever more importantly. A goal is
it to give working material and sound examples of teachers to the hand and to wake - on the
basis selected examples with smaller practical exercises - understanding for the music of
strange cultures. Guidances for special play techniques, for other views of hearing and
explanations concerning the cultural imbedding of special making music forms are furtherobtained at modelful single phenomena, as for instance by the example?Xylophonmusik in
Africa "(see Wegner 1990/94)?Samba from Brazil" (Pinto/Tucci 1992)?Panfloetenmusik
from Bolivia "?Gamelan in Java "?Festmusik from Japan "?Kompositionstechniken the
front Orients "?Tonsprache and music in west Africa "?Trommelspiel in India "?Trompeten
ensembles in the south Sudan "?Die Konzertina in Franconias ". Text, picture, music and
application are referred closely one on the other and to be supposed to the reproduction of
music instruments or for practical making music and shifting energize. With analytic
clay/tone photographs scales, instrument tendencies as well as play techniques and
individual music sections will be presented. With teachers the results are discussed,
examined for application possibilities and differentiated regarding the suitability for the
structure from lessons. Idea is it to arrange over several years training aids which are based

less on the principle of the supraregional verallgemeinerung, when rather on the basis from
model examples questions in principle in the argument with other music articulate and
deepen (see Titon, 1996). C) concert and Festival organization the switching of music of
other cultures in public concerts and Festivals is for the Ethnomusikologie an important
task. Only in the direct experience with that variety of sounds, dance and presentation
forms becomes in the broader public a deepened understanding possible. Is the aspect of
the direct, not medial particularly mediated experience importantly. Whether it concerns
thereby around African master music to be considered in order Indonesian yard music or
music of the large world religions, always the special kind of the presentation is here.
Informative Begleitkommentare and Festivalbroschueren support the listener in the
contentwise argument with the sound experiences and regarding cultural, religious and
ethnical background knowledge. In Berlin regularly the annual took place?Festival
traditional music "since 1977. Each year is usually dedicated to another topic. The first
India Festival (1977) followed?Festivals traditional music ": "(1978)?Afrika" (1979)?
Masken "(1980)?Sufismus or the Islamic Mystik" (1981)?Lateinamerika "(1982)?Japan"
(1983)?Himalaya "(1984)?Korea" (1985)?Islami "(1986)?Bantu" (1987)?Pazifik "(1988)?
Fest the continents" and?Ex Oriente lux "(1989), more?Trommler the world" (1990)?
Seidenstrasse "(1991)?Fiesta Americana" as well as the?Musik and culture days of the Sinti
and Roma "(1992)?Indonesien" (1993)?Um the Red Sea "(1994)?AfrikaSued" (1995)?
Dach the world "(1996). Particulars or several groups of music are further-obtained for
Committee and other regional organizers even to further cities in Germany and to be
located altogether in the context of European-wide conceived concert tours in co-operation
with the extra European kind. In contrast to many commercial meetings, which squint on
the number of visitors, it is the ethnomusikologische goal of presenting ("unknown "here)
music of other cultures often for the first time and of arousing an interest in new listener
driving with the listener. This takes place over the confrontation with other aesthetic
criteria and opinions. This at the same time helps in the own culture to affirm and for the
invited groups and musicians a stabilization its musical identity in their homelands arrange
the musical variety as principle of the pluralismus. This particularly applies to those
cultures, where in post office-colonial time native traditions were pushed with the pressure
for western adjustment into the background. A culture management will have to carry both
sides calculation in the beginning, on the one hand the qualitative and aesthetic aspects of
the music performance?vor place ", on the other hand in addition, the positive feedback
effect, if the musicians return to their country. Such a cultural exchange remains a
condition for the communication between the peoples. Exchange programs stabilize on the
one hand the culture relations, on the other hand one they help at the same time to prepare
the rapid change of culture processes. Equalweightily to the international relations on
economic and political level also intercultural relations must be created, from which the
theoretical concepts for the future can be scooped. The intercultural entwinement by
exchange programs requires also a retrospective analysis of the culture and music meetings,
in order to constantly examine the results and possibly correct concepts. 13. Culture
switching: culture term "extended by the individualism of the single research for the crosslinking of the subprojects in the" of arranging the two-clearing race as culture transfer
following the world trade key word-like into?Kulturexport "and?Kulturimport" probably
one are able to clarify the simplifying kind: the unequal downward gradient of the
technologically stronger economic powers opposite the weaker. The goods character of the
music becomes surely thereby communist manifesto, in addition, the special problem that
between these two rails hardly an exchange exists that they become separately?verbucht ".
In contrast to the art music of German and European tradition, which is regenerated in
connection with a science history outstanding documented, examined and to educational
purposes, it shows up with?Import "traditional music ensembles of other countries that from
many traditions relatively few, more frequently even no primary documentations are

present. The argument with other cultures requires a large expenditure of documentary
sifting seen for the time being of therefore, in order to be able to notice musical concepts
and contents understanding to convert and into appropriate presentation forms bring it into
our language. the "such music ensembles to concerts and Festivals in the ideal case at the
end of a whole dialogue chain will only stand. You preceded partnership field research
work, clay/tone and pictorial materials were archived, evaluations in the form of articles,
book and clay/tone carrier publications together came, exchange and structure projects are
under way, and - as it were as return - some ensembles can be invited. This applied
ethnomusikologische concept is based on the cross-linking of the partial activities: of
research and theory, of bilateral co-operation projects, of publizistischer processing,
educational conversion and organization of the meetings. A desired goal would be it to coordinate the activities so that from them individual in each case components in the total
building result intra and intercultural dialogue. Foundation remains partnership
communication over the borders, which realizes itself in different dialogue forms: 1.)
organization and product Designs are bilateral provided. In the apron the needs and goals
of both partner countries are discussed fully. One will be able to call this
ethnomusikologischen dialogue, which takes place between the appropriate institutions and
professional colleagues. 2.) seminars and field research projects are accomplished under
partnership participation of Ethnomusikologen and musicians. It concerns the musical
dialogue, which develops with the field research documentation. 3.) in the evaluation the
documentation is archived together, worked on, interpreted and published. By means of the
media in both countries the extended dialogue is created in this way at the same time. 4.)
exchange programs between Ethnomusikologen and musicians extend the communications
network in the dialogue of the exchanged roles of guest and host, in each case in the own
and/or in the strange country. The whole chain of the different dialogue forms proceeds
from the principle of common planning, common organizing and accomplishing by
research -, structure and exchange projects. In the attention this both dia.-logical and
cultural variety, their diversity and its mutual influence will always be the straight range of
the traditional music an objection against the supraregional Hegemonialansprueche.
Traditional music will remain always a challenge in relation to festgefahrenen hearing and
behaviors. Beyond the experience range of the own one and in the culture transfer at the
basis lying conceptions of the world is able it it to refer in its specific quality, always of new
to that potentially?ganz others ".

4. Literatur
Zustzlich zu den folgenden Angaben
vgl. insbesondere Ethnomusikologie (einfhrende Literatur)
Baumann, Max Peter (Hrsg.)
1994 Kosmos der Anden. Weltbild und Symbolik indianischer Tradition in Sdamerika.
Mnchen: Diederichs Verlag.
Baumann, Max Peter
1997 Historisches Bewutsein und Musikologie." In: Mahling, Christoph-Hellmut und
Stephan Mnch: Ethnomusikologie und historische Musikwissenschaft - Gemeinsame
Ziele, gleiche Methoden. E. Stockmann zum 70 Geburtstag. Tutzing: Hans Schneider, 314.
Bielawski, Ludwik
1990 "Musikalische Kommunikation in Zeitkategorien." Beitrge zur Musikwissenschaft
32(4), S. 253-261.

Brandeis, Hans; Brandes Edda; Dunkel, Maria und Lee, Schu-Chi

1990 Klangbilder der Welt - Musik International in Berlin [Bd.I:] I: Vorderer Orient und
vorderorientalische Einflsse in Europa. II: Asien. [Bd.II:] III: Europa. IV: Afrika und
Lateinamerika. Frankfurt am Main: Network-Medien-Cooperative.
Brcker, Marianne
1994 Berichte aus dem ICTM-Nationalkomitee Deutschland. III. Musiker in
traditionellen Gesellschaften. Roundtable: Ethnomusikologie in der Verantwortung.
Freie Berichte. Bamberg: Universittsbibliothek.
Bruhn, Herbert; Oerter Rolf; Rsing, Helmut
1993 Musikpsychologie. Ein Handbuch. Reinbek bei Hamburg: rowohlt.
Christensen, Dieter
1997 On Object and Methodology in Music Research: Concepts of Musics and Paths of
Inquiry in Historical and Comparative Musicology." In: Mahling, Christoph-Hellmut
und Stephan Mnch: Ethnomusikologie und historische Musikwissenschaft Gemeinsame Ziele, gleiche Methoden. E. Stockmann zum 70 Geburtstag. Tutzing: Hans
Schneider, 44-50.
Cooke, Peter (Hrsg.)
1981 Studies in Traditional Music and Dance. Vol. 1-2. Proceedings of the 1980 and
1981 Conferences of the UK National Committee of the ICTM. Edinburgh: Centre of
Music Studies, SOAS.
Dahlhaus, Carl
1977 Grundlagen der Musikgeschichte. Kln: Musikverlag Hans Gerig.
Danilou, Alain et al.
1968 Creating a Wider Interest in Traditional Music. Proceedings of a Conference Held
in Berlin in Cooperation with the International Music Council. Berlin: IICMSD.
1973 Die Musik Asiens zwischen Miachtung und Wertschtzung. Wilhelmshaven:
Heinrichshofen's Verlag (tmw 8.).
Ehrmann-Herfort (Hrsg.)
1996 Musikwissenschaft und Berufspraxis. Darmstadt: Wissenschaftliche
Buchgesellschaft.
Egger, Kurt
1984 Ethnomusikologie und Wissenschaftsklassifikation. Wien, Kln, Graz: Hermann
Bhlaus Nachf.
Elschek, Oskr
1986 Das Forschungskonzept der vergangenen und gegenwrtigen
Musikwissenschaft.", In: O. Elschek (Ed.): Entwicklungswege der Musikwissenschaft.
Bratislava: Veda, Verlag der Slowakischen Akademie der Wissenschaften, S. 52-104.

Elschek, Oskr
1992 Die Musikforschung der Gegenwart, ihre Systematik, Theorie und Entwicklung.
Bd. I/II. Wien-Fhrenau: E. Stiglmayr (Acta Ethnologica et Linguistica 64.).
Emics and Ethics in Ethnomusicology
1993 [Thematisches Heft: ] Emics and Etics in Ethnomusicology." The World of Music
35 (1), 1-95 (mit Beitrgen von Frank Alverez-Pereyre/Simha Arom, Max Peter
Baumann, Marcia Herndon, Gerald Florian Messner).
Film and Video in Ethnomusicology
1989 [Thematisches Heft:] Film and Video in Ethnomusicology." The World of Music
31(3), 2-97 (mit Beitrgen von J. Baily, O. Elschek, A. Simon, H. Zemp, M. Takahashi).
Habermas, Jrgen
1971 Erkenntnis und Interesse." In: J. Habermas: Technik und Wissenschaft als
`Ideologie`. Frankfurt a.M.: Suhrkamp Verlag, S. 146-168
Herndon, Marcia und Susanne Ziegler (Hrsg.)
1990 Music, Gender, and Culture. International Council for Traditional Music ICTM
Study Group on Music and Gender. Wilhelmshaven: Florian Noetzel Verlag
(Intercultural Music Studies 1.).
Hood, Mantle
1980-8 The Evolution of Javanese Gamelan. 3 Bde. Wilhelmshaven: Florian Noetzel
Verlag.
Kubik, Gerhard
1994 Theory of African Music. Wilhelmshaven: Florian Noetzel Verlag [mit CD]
(Intercultural Music Studies 7.)
Malm, Krister; Roger, Wallis
1992 Media Policy and Music Activity. London, New York: Routledge.
Nketia, Joseph H.
1979 Die Musik Afrikas. Wilhelmshaven: Heinrichshofen's Verlag (tmw 59.)
Pinto, Tiago de Oliveira
1991 Capoeira, Samba, Candombl. Afro-Brasilianische Musik im Recncavo, Bahia.
Berlin: Museum fr Vlkerkunde (Verffentlichungen des Museums fr Vlkerkunde
Berlin N.F., Abtl. Musikethnologie 7.).
Pinto, Tiago de Oliveira und Tucci, Dudu
1992 Samba und Sambistas in Brasilien [mit Musikkassette]. Wilhelmshaven: Florian
Noetzel Verlag (Musikbogen. Wege zum Verstndnis fremder Musikkulturen 2.).
Post, Jeniffer C.
1992 Reserach Resources in Ethnomusicology." In: Ethnomusicology. An Introduction,
hrsg. von Helen Myers, New York, London: W.W. Norton, 1992:403-22.

Seeger, Charles
1972 Oral Tradition." In: Funk & Wagnalls Standard Dictionary of Folklore,
Mythology, and Legend, hrsg. von M. Leach, J. Fried. New York: Funk & Wagnall, 827.
Touma, Habib Hassan
1989 Die Musik der Araber. Erw. Neuausgabe. Wilhelmshaven: Florian Noetzel Verlag
(tmw 37.).
Wallis, Roger; Malm, Krister
1984 Big Sounds from Small Peoples. The Music Industry in Small Countries. London:
Constable (Communication and Society).
Weber, Michael
1990 Eine andere Musikwissenschaft? Vorstudien zu Theorie und Methodologie.
Frankfurt a.M., Bern, New York, Paris: Peter Lang (Europische Hochschulschriften,
Reihe 36: Musikwissenschaft 49.).
Wegner, Ulrich
1984 Afrikanische Saiteninstrumente. Berlin: Museum fr Vlkerkunde
(Verffentlichungen des Museums fr Vlkerkunde Berlin N.F. 41, Abtlg.
Musikethnologie V).
1990 Xylophonmusik aus Buganda (Ostafrika). Wilhelmshaven [mit Musikkassette]:
Florian Noetzel Verlag (Musikbogen. Wege zum Verstndnis fremder Musikkulturen 1.).

15. Ntzliche Links zu

"Ethnomusikologie"
Ethnomusicology, Folkmusic, and World Music (University of Washinton
Libraries):
Organisations, Institutions, Archives
Biblioghraphy, Periodicals & Online Publications
Recordings (Labels and Distributors)
Sites by Geographical Region
Society for Ethnomusicology (SEM)
Northwestern Chapter of the Society for Ethnomusicology (SEM)
International Council for Traditional Music
British Forum for Ethnomusicology
Ethnomusicology Research Digest
Ethnomusicology On Line
Ethnomusicology Web Sites
Transcultural Music Review / Revista transcultural de msica
African Music Resources Online
Folkline Information Service

European Seminar in Ethnomusicology

University of California, Los Angeles (UCLA)
Les Ateliers d'ethnomusicologie ADEM
Centre for Ethnomusicology at the University of Alberta
Ethnomusicology Program, Indiana University
Irish World Music Centre / Ethnomusicology
American Folklife Center / Ethnomusicology
Ethnomusicology, University of Washington
Music & Anthropology of the Mediterranean and Beyond
Finish Society for Ethnomusicology
Archives of Maori and Pacific Music
African Music Archive, Mainz
Center for Music of the Americas, Ethnomusicology Program, Florida
Laboratoire de Recherche sur les Musiques du Monde / ethnomusicologie,
Montral
International Music Archives
Dpartement d'Ethnomusicologie, Genf
Global Music Center
The Open University, Musics and Cultures Research Group
Latin American Center for Graduate Studies in Music (LAMC), Washington, D.C.
FUNDEF: Fundacin de Etnomusicologa y Folklore (Venezuela und Latein Amerika)

Music Heritage Network

Vergleichende Musikwissenschaft, Freie Universitt Berlin
Phonogrammarchiv (sterreichische Akademie der Wissenschaften)
Musikethnologie & Systematische Musikwissenschaft (Gttingen)
(weiter im Aufbau)
Ethnomusikologie / Volksmusik, Otto-Friedrich Universitt Bamberg.
1997 max-peter.baumann@ppp.uni-bamberg.de
Stand 22. 12. 1997; zuletzt gendert am 26.06.1998.
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