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Western medicine has conventionally separated music, science, and religion into distinct entities, yet traditional cultures throughout the world have always viewed music as a bridge that connects and balances the physical with the spiritual to promote health and healing. As people in even the most technologically advanced nations across the globe struggle with obtaining affordable and reliable healthcare, more and more people are now turning to these ancient cultural practices of holistic and ICAM healing (integrative, complementary, and alternative medicine). This book convincingly demonstrates the relevance of medical ethnomusicology in light of the globally spreading ICAM approaches to health and healing. Revealing the Western separation of healing from spiritual and musical practices as a culturally determined phenomenon, the book confirms their underlying unity. In a place poetically known as the Roof of the World, the culture found within the towering Pamir Mountains of Badakhshan Tajikistan serves as the paradigm of ICAM healing practices. The book’s research and immersion into the Badakhshani culture provides a well-balanced “insider” perspective while maintaining an “observer’s” view, as it effectively bridges the widespread gaps between ethnomusicology, health science, and music therapy.

The book, derived from the Balzan musicology project ‘Towards a global history of music’, describes cultural traditions and communication patterns of music, dance and theatre in the world region between India and the Mediterranean in the last 2000 years. The new metaphor of the ‘Music Road’—the western half of the ‘Silk Road’—refers to the travels of musical songs, instruments and ideas across both space and time. The book has an introduction and 16 chapters, each by a different author. Highlighted are the following cultural traditions: ancient Gandhāra (first centuries ce); traditions of the Alexander legend; the musical philosophy and practice of Muslim societies; colonial India and the West; Greek music and nationalism (19th–20th centuries); travelling music-theatre companies in the Eastern Mediterranean; the ‘Gypsy rhapsody’ in European art music. The keynote chapter by Martin Stokes reviews the work of Villoteau and Lachmann, advocating a fusion of historical thought and ethnomusicology. The book offers case studies not only on music per se, but also on fine art, dance, musical theatre, on the theology, philosophy, historiography and literature of music, and on East–West relations in the musical practice of colonial and modern times. It is argued in the introduction and implied elsewhere that the musical culture of this world region, and its interactions with the West, have always been on the move, that its diversities and disruptions are counterbalanced by numerous internal and external linkages, and that the reifying term of ‘orientalism’ might be replaced by ‘the East–West imagination’.

The study of music is always to some extent “empirical”, in that it involves testing ideas and interpretations against some kind of external reality. But in musicology, the kind of empirical approaches familiar in the social sciences have played a relatively marginal role, being generally restricted to interdisciplinary areas, such as the psychology and sociology of music. Rather than advocating a new kind of musicology, this book provides a guide to empirical approaches that are ready for incorporation into the contemporary musicologist's toolkit. Its nine chapters cover perspectives form music theory, computational musicology, ethnomusicology, and the psychology and sociology of music, as well as an introduction to musical data analysis and statistics. The book shows that such approaches could play an important role in the further development of the discipline as a whole, not only through the application of statistical and modelling methods to musical scores but also, and perhaps more importantly, in terms of understanding music as a complex social practice.

The question of whether music has meaning has been the subject of sustained debate ever since music became a subject of academic inquiry. Is music a language? Does it communicate specific ideas and emotions? What does music mean, and how does this meaning manifest itself? Working at the nexus of musicology, ethnomusicology, and music philosophy and aesthetics, the book presents a synthetic and innovative approach to musical meaning which argues deftly for the thinking of music as a discourse in itself—composed not only of sequences of gestures, phrases, or progressions, but rather also of the very philosophical and linguistic props that enable the analytical formulations made about music as an object of study. The book provides demonstrations of the pertinence of a semiological approach to understanding the fully-freighted language of Romantic music, stresses the importance of a generative approach to tonal understanding, and provides further insight into the analogy between music and language.

Voices of Drought is an ethnomusicological study of relationships between popular music, the environmental and social costs of drought, and the politics of culture and climate vulnerability in the northeast region of Brazil, primarily the state of Ceará. The book traces the articulations of music and sound with drought as a discourse, a matter of politics, and a material reality. It encompasses multiple entwined issues, including ecological exile, poverty, and unequal access to vital resources such as water, along with corruption, prejudice, unbridled capitalism, and rapidly expanding neoliberalism. Each chapter is a case study: the use of carnauba wax, formed by palm trees as a protective climate adaptation, in the production of wax cylinder sound recordings in the late nineteenth century; the political significance of regionalist popular music, especially baião and forró, in the mid-twentieth century; forró music and practices of weather forecasting that involve listening to bird calls; the production and meaning of the soundscape of a small city as it involves musician Raimundo Fagner; social and musical change at the turn of the twenty-first century; and the cancellation of state-sponsored Carnival celebrations due to a costly multi-year drought in the 2010s. Demonstrating how ecological crisis affects musical culture by way of and proportionate to social difference and stratification, the book advocates a focus on environmental justice in ecomusicological scholarship.

This book was first published in German in 1911. The text sets out a path-breaking hypothesis on the earliest musical sounds in human culture. Alongside research in such diverse fields as classical philosophy, acoustics, and mathematics, Stumpf became one of the most influential psychologists of the late 19th century. He was the founding father of Gestalt psychology, and collaborated with William James, Edmund Husserl, and Wolfgang Köhler. This book was the culmination of more than twenty-five years of empirical and theoretical research in the field of music. The first part of the book discusses the origin and forms of musical activities as well as various existing theories on the origin of music, including those of Darwin, Rousseau, Herder, and Spencer. The second part summarizes his works on the historical development of instruments and music, and studies a putatively global range of music from non-European cultures to demonstrate the psychological principles of tonal organization, as well as providing a range of cross-cultural musical transcriptions and analyses. This became a foundation document for comparative musicology, the elder sibling to modern Ethnomusicology, and the book provides access to the original recordings Stumpf used in this process. This book is available for the first time in the English language.

This book explores music and globalization since the mid-nineteenth century. Its starting-point is the world’s fairs and other exhibitions that showed off foreign musicians and instruments to mass audiences in Europe and the United States; it ends with the worldwide embrace of new musical genres like tango and jazz. The book’s geographic focus is the Atlantic triad of Germany, Britain and the United States, but it traces the migration of non-Western music into these countries and the musical response to globalization in the metropolises of India and China and remote settlements from South America to the Arctic. The three parts of the book capture diverse dimensions of globalized musical culture: its overlap with the arts and crafts movement, scientific analysis of pitch and scales, and worldwide distribution through the phonograph. The cast of characters who made music global includes familiar names like Thomas Edison and Hermann von Helmholtz, but also A. J. Hipkins, a London piano tuner turned renowned scholar and advocate of musical diversity; Erich von Hornbostel, the refined Viennese who directed the first archive of world music; Nuskilusta, who toured Germany with a Native American music ensemble; and the Indian recording star, Gauhar Jaan. In dialogue with historians, musicologists and social theorists, the book concludes that the new global culture is not a novelty of our own time, but a long-established transformation of modern artistic and intellectual expression that still defines how we think, feel and hear.

Performing Englishness looks in detail at the growth in popularity and profile of the English folk arts in the first decade of the twenty-first century. Based on original research within English folk culture, it is the only ethnographic study of its kind. By closely scrutinising various facets of this folk resurgence – discursive, musical and visual – the authors explore how it speaks to a broader explosion of interest in the subject of English national and cultural identity. How does contemporary English folk music and dance relate to ideas about England and Englishness? What kinds of English identities are expressed through the works of musicians like Seth Lakeman or Bellowhead? How does morris dancing contribute to ongoing political debates around multiculturalism, globalisation, and the devolution of the British nations? And how does the English folk scene reconcile a new-found commercial success with anti-capitalist roots? In their quest for answers to these and other questions, the authors combine the approaches of British cultural studies and ethnomusicology, drawing on ethnographic fieldwork, interviews with central figures of the resurgence and close analysis of key musical and dance texts. Their presentation of the English case contributes to debates about English identity and calls for a rethinking of concepts such as revival, indigeneity and tradition.

Had Johann Gottfried Herder (1744–1803) written a book on music, it would have been Song Loves the Masses. One of the great polymaths of modern intellectual history, Herder wrote influential contributions to philosophy, theology, anthropology, aesthetics, history—and music. His writings on musical subjects are among his most comprehensive, ranging from studies of music in the origins of human speech to the song practices underlying a universal humanity. Herder’s collections of these practices, to which he referred collectively as “folk songs” sounded world music in its complex diversity and provided the modern foundations for the fields of anthropology, folklore, and ethnomusicology. Many of the folk songs themselves entered the classical music of Europe, significantly transforming its aesthetics and history. The first-ever translations of Herder’s nine most sweeping works on music unfold across the chapters of this book. From the first attempts to forge theories of folk song and publish anthologies in the 1770s through the translations of the Spanish epic, El Cid, and the biblical Song of Songs to the aesthetics of transcendence that imbued his final essays, the chapters in Song Loves the Masses together transform our modern understanding of music and history.

This book documents ways in which women’s performance practices engage with and localize world religions while creating opportunities for women’s agency. This study draws on the rich resources of three disciplines: ethnomusicology, gendered studies of religion, and religious music studies. It is a meta-ethnography formed by comparisons among different ethnographic case studies. The book analyses women’s performances at religious events in cultural settings spread across the world to demonstrate the pivotal roles women can play in localizing the practice of world religions, exploring moments in which performance allows women the agency to move, however momentarily, beyond culturally determined boundaries while revealing patterns that suggest unsuspected similarities in widely divergent religious contexts. With the rise of religious fundamentalism and with world politics embroiled in debate about women’s bodies and their comportment in public, ethnomusicologists and other scholars must address questions of religion, gender, and their intersection. By reading deeply into, but also across, the ethnographic detail of multiple studies, this book reveals patterns of similarity between unrelated cultures. It invites ethnomusicologists back into comparative work, offering them encouragement to think across disciplinary boundaries and suggesting that they can actively work to counter the divisive rhetoric of religious exceptionalism by revealing the many ways in which religions and cultures are similar to one another.

Bluegrass music has taken root all over the world but thrives in unique ways in the Czech Republic. Ethnomusicologist and bluegrass musician Lee Bidgood writes about what it is like to live and work playing bluegrass in the heart of Europe. The chapters trace Bidgood's engagement with Czech bluegrassers, their processes of learning, barriers to understanding, and the joys and successes that they find in making bluegrass their own. After providing a general cultural and historical background, a set of case studies convey ethnographic detail from Bidgood's participatory observational research: with a Czech band as they work abroad in Europe; with banjo makers seeking an international market; with fiddlers wrestling with technical, social, and aesthetic hurdles; with a non-Christian seeking to truthfully sing gospel songs. Bidgood's analysis of songs, sounds, places, and speech provide insights into how Czech bluegrassers negotiate the Americanness and Czechness of their musical projects. This study poses bluegrass not as a restrictive set of repertoire or techniques, but as a form of sociality, a discourse with local and global resonances—and in its Czech form it is clearly a practice of in-betweenness that defies categorization, challenging narratives that limit music to a certain time, place, or people. Includes orientation notes on language, and a glossary of Czech terms.