Festschrift für Ernst Lichtenhahn zum 80. Geburtstag – Festschrift for Ernst Lichtenhahn’s 80th Birthday
Edited By Antonio Baldassarre and Marc-Antoine Camp
Without any exaggeration one can call Ernst Lichtenhahn a doyen of Swiss music research. As one of the few musicologists in the German-speaking sphere he has succeeded in merging different linguistic-cultural and disciplinary research traditions. In his manner of scientific understanding, historical and systematic musicology, ethnomusicology and music practice are methodologically and topically related closely to each other, entirely consistent with the holistic concept of music research as developed by Guido Adler. With the title «Communicating Music», this Festschrift for Ernst Lichtenhahn’s 80 birthday attempts to take up and to further develop the diversity of scientific issues as emerged through such an understanding. It collects papers that come from a variety of methodological and theoretical perspectives to deal with issues about the discursive nature of music, about mediation and transformation processes of music as well as about the discourse on music itself.
Au delà du musical: Les leçons du terrain
Au delà du musical Les leçons du terrain
Summary: The chapter addresses some general questions concerning music as a human fact. Two constants can be stated a priori: Firstly, there exists no society without music and, secondly, “music is always more than music” (as in a well-known saying). Relying on personal experiences, the author recognises that at the core of all musical expression there is a connection between a natural component (of acoustical sort), a cultural dimension (that is determining ordering of sounds), a social context (that specifies the position of music), a framework of events (that defines the function and the conditions of the performance), and finally a relational coefficient (regarding the quality of the interpretation, the generated effects and the intentionality of the participants). In many societies music is used in ritual contexts, it is the dynamics inherent in music that are considered necessary for the ritual to progress. Is the music endued with specific powers that contribute to the effectiveness of the ritual of which it is part? And, if this is the case, are these powers inherent to musical forms, or are they more dependent on features of psychological sort? The observations explored in this chapter demonstrate that all kinds of generalisation are unavoidably reductionist and that the function of music in society as its aesthetics follows a culturally determined worldview.
Si, comme le veut l’adage, «la musique est toujours plus que de la musique...
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