Afterword: Music, Sound, History (original) (raw)
Related papers
A Cross-Cultural Study of Music in History
International Journal of Culture and History (EJournal), 2016
Music lives in every culture, yet most investigations into music are based on Western music and Western listeners. This has not only ignored the cultural richness in music itself, but has also limited the impact of research on large varieties of societies. In reality, music is multi-cultural, multilingual and multi-facet. Evident in communication, education and healthcare systems, multi-cultural challenges have also merged into many aspects of our historical and contemporary societies. Moreover, rapid changes of the society and fast evolutionary development of media and technology have enriched world wealth of music. In this paper, we demonstrate that music has a rich but cross-cultural foundation in history with significance in linguistics, health and art. Consequently, we present a multidisciplinary or multi-cultural study of music in history, revealing its significance in linguistics, health and wellbeing.
THE RELEVANCE OF MUSIC IN HISTORY
Festschrift, 2021
According to George Santayana, those who do not learn from history are doomed to repeat it. History is, therefore, a very important aspect of human life which should form a reference point at every sphere of human existence. The human race and its activities are preserved only in history. History contains the life and activities alongside the major events of society. In time, history has been transmitted through various means, ranging from oral, written and artistic means. Artistically, we would be interested in Visual arts and the performing arts. This work takes a look at the performing arts, specifically, music. As part of arts, music plays a very important role in the transmission and preservation of history. In this work, we shall examine the relevance of music in history. This work shall see how music has been used through the ages to preserve the events and happenings of man in the past. It shall narrowly expose music and history respectively while highlighting their point of convergence.
Towards a Materialist History of Music: Histories of Sensation
This essay examines the history of auditory sensation, and the methodological challenges posed by the recovery of sensory communication. With a focus on physical encounters and the limits of the body, the somatic force of sound is central to the essay’s review of the artist’s physical and sensory capacity as it relates both to the art he or she produces and to his or her way of perceiving it. The essay divides into two sections: first, an examination of issues around historically lost sensations of sound; and second, the recovery of lost soundscapes. The author suggests that sense perception is not an unchanging facet of medical history, but is subject to cultural influences and local norms. The essay seeks to uncover in its various delimited contexts a historically flexible shaping of perception. https://humanitiesfutures.org/papers/towards-materialist-history-music-histories-sensation/
Music Historiography and Human Universals
The trigger which puts forth the present work is no other than the search for a historiographical balance that considers the continuous and the constant as complements of the Principle of Change. Thus, it reconfigures the use of subjects, of objects, and of time that conventional Music History makes. We propose a form of historic explanation which actively links eternal (unchanging) elements in its study; with this, the determining presence of the Time-Line, which strongly has ruled over the discipline, would be enhanced. And because we’re looking for eternal elements that allow us to tell in another way the History of Music, we agree to adopt the human universals as the central ground of our historiographical proposal. A proposal which has the power to make an impact on the way we approach history itself, on musical education, and the communication between cultures.
The Historiography of Music in Global Perspective
The Historiography of Music in Global Perspective, 2010
This paper contemplates various ways that the ancient Greeks preserved information about their musical past. Emphasis is given to the earlier periods and the transition from oral/aural tradition, when self-reflective professional poetry was the primary means of remembering music, to literacy, when festival inscriptions and written poetry could first capture information in at least roughly datable contexts. But the continuing interplay of the oral/aural and written modes during the Archaic and Classical periods also had an impact on the historical record, which from ca. 400 onwards is represented by historiographical fragments. The sources, methods, and motives of these early treatises are also examined, with special attention to Hellanicus of Lesbos and Glaucus of Rhegion. The essay concludes with a few brief comments on Peripatetic historiography and a selective catalogue of music-historiographical titles from the fifth and fourth centuries.