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Since the first decades of the 20th century, when cross-cultural comparison constituted a central method through which Comparative Musicology sought to achieve its main goals, the comparative approach has gradually lost the researchers' interest to the extent of an almost total disappearance from the Ethnomusicological scene. The main question discussed in the present article is: to what extent cross-cultural...
From its very beginnings, comparative musicology (and then ethnomusicology) made use of sound recordings as the basic instrument of its research methodology, and regarded the phonographic archive as an institution essential to the very functioning of the discipline. The creation of the first European phonographic archives in Vienna (1899) and Berlin (1900) was followed by the establishment of numerous...
It has been generally assumed that the term 'ethnomusicology' was introduced by Jaap Kunst in 1950. Searches carried out in Ukrainian libraries by Bohdan Lukaniuk, professor of ethnomusicology from Lvov, show that the dating of this terminological innovation needs to be moved back to 1928. Klyment Kvitka, a prominent researcher (alongside Filaret Kolessa) of Ukrainian folklore, published, during the...
Asante trumpet groups comprise seven elephant tusk trumpets. The 'sesee' trumpet leads two divisions of tusks grouped by size into high and low tone clusters. One set, grouped by three short tusks and one long tusk is called 'agyesoa' and 'bosoo'. A set of two longer tusks is called 'afr'. The clusters of the 'agyesoa' and 'bosoo' occur on the weak pulses of a song and alternate with the 'afre' clusters...
The losses and destruction suffered by Polish science, culture and art during the Second World War also affected the pre-war phonographic collections, among them traditional music recordings collected by organisations formed during the inter-war period. The work started by Professor Lucjan Kamienski, who initiated the systematic phonographic documentation of music folklore in Poland and founded the...
Erich Moritz von Hornbostel and Curt Sachs published their 'Systematik der Musikinstumente: Eine Versuch' as a draft, a basis for discussion in the second half of 1914. By the time it appeared, everybody was engaged elsewhere, so that the discussion never happened. As a result, we are left with it as it stands. It has many deliberate gaps in it, which H&S left for discussion with other scholars...
The invention of sound recording led to the foundation of sound archives. And the possibility of sound recording was essential for the 'new methods' in comparative musicology, such as transcribing the music (which could now be done far away from the place of recording, with researchers able to listen as often as necessary to the same piece of music), measuring (e.g. pitch, duration, tempo, interpretation),...
Vienna is said to be one of the birthplaces of ethnomusicology, the other being Berlin. 1885 is the date when Guido Adler, the musicologist, for the first time used the term 'comparative musicology', at least in the German speaking area in an article called 'Umfang, Methode und Ziel der Musikwissenschaft'. The paragraph on comparative musicology is actually a very short one, but the whole article...
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