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THE PAST AND THE PRESENT: ETHNOMUSICOLOGY IN VIENNA. SOME CONSIDERATIONS

100%
Hemetek U.
Muzyka
|
2009
|
vol. 54
|
issue 1(212)
57-68
EN
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 is important and influential because he systematizes the whole discipline. Although some of the concepts of that time are completely outmoded, there seems to be evidence that the present day ethnomusicological methods still draw from the legacy of the past. The history of the discipline in Vienna is introduced. From the experiences of the authoress first as a student and then as scholar in Vienna it is analyzed, what Viennese ethnomusicology means nowadays. As the focus on Music and Minorities (at the Institute of Folk Music Research and Ethnomusiology), resulting in the founding of the ICTM Study Group, is seen as a special Viennese and European initiative, it is used as an example to show, if and in how far the legacy of the past is still influential.
2

CHANGING PARADIGMS AND CONCEPTS OF EUROPEAN ETHNOMUSICOLOGY - BETWEEN PAST AND PRESENCE

80%
Elschek O.
Ethnomusicologicum
|
2004
|
vol. 3
219-227
EN
The main tendencies of European folk music research are discussed. Starting with literary and aesthetic aspects in the 18th and 19th century, continuing to folk music research, comparative and ethnomusicological, systematic as well as music anthropological paradigm, which are interrelated with the leading personalities of the field. Their names and main activities are summarized. Definitions are related to traditional music and the objectives we are investigating. The process of research is described, starting with fieldwork, the primary evaluation of the gathered material, the process of its analysis and classification, as to the proposed topics and special studies. The aims of our studies play a decisive role, if they are directed to editorial, source-critical, theoretic, methodical questions, or if they understand traditional music as a historical remnant. It is important to notice that our approach and understanding of traditional music is an important aspect, which can influence our research results. We can understand music as a vivid, open and permanently changing phenomenon, or look upon it, as to something damned for disappearance. They are often part of a national, regional concept, of a school tradition, which deeply determine our access to the questions we have to answer. The following paradigms have been analyzed: - the rescuing paradigm, - that of identification of the researcher with the phenomena, - the structural-comparative one, - the socio-cultural and the - synthesizing paradigm.
3
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FOLK MUSIC ARCHIVING AND EUROPEAN PROJECTS: THE POLISH CASE

80%
Dahlig-Turek E.
Muzyka
|
2009
|
vol. 54
|
issue 1(212)
79-89
EN
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 institutions which undertook the documentation of the traditional music of the world and the folk culture of European countries. In view of the variations between their profiles and the functions they fulfil, the unequal level of sophistication in the processing of data, as well as the fact that technical solutions in each case were reached on an individual basis, these archives most frequently exist in isolation from each other. It is only recently that a number of initiatives have been undertaken to create the possibility of simultaneous access to a number of collections. One of the leading examples of this is the project DISMARC (DIScovering Music ARChives), co-financed by the European Commission as part of the econtentplus programme during the years 2006-2008. As a result of Poland's participation in this project, the database of the Phonographic Collection held by the Institute of Art of the Polish Academy of Sciences has now joined the collection of world heritage online. This database is the largest and most valuable collection of recordings of Polish folk music. Its oldest part includes recordings from the early twentieth century, when Polish folkloristic phonography was in the initial stages of its development, stimulated by the Polish participation in the Austrian 'Das Volkslied in Österreich' campaign, but destroyed by the tragic consequences of the Second World War. It also includes recordings made immediately after the end of the Second World War, during the years 1945-1951. The metadata of the latter collection, consisting of 420 discs with recordings of folk music from various regions of Poland (dominated by recordings from the Wielkopolska region), has been digitalised as part of the DISMARC project. As a result, the collection can be searched for performers, locations, mediums of performance and also, partially, for genres. This is illustrated by the short description of the collection's contents provided in the article.
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