By Jaap Kunst
This publication infrequently wishes a preface; the contents, i believe, converse for themselves. It encompasses a brief and thoroughly stated to this point resume of all that I, as a personal college Lecturer in Amsterdam, have attempted to educate my students. it truly is meant as a basic advent to ethno-musicology, ahead of happening to the learn of the varieties of separate music-cultures. I in actual fact desire that these, who desire to train themselves and to qualify during this department of information, will discover a passable foundation for self institution within the topic right here introduced jointly. concerning the chance of a brand new version, any severe feedback or infor mation as to attainable desiderata will be very gratefully obtained. J.K. PREFACE TO the second one variation My request for serious feedback and desiderata has no longer been neglected. My honest due to all who took the difficulty to allow me recognize what they overlooked in my publication. via their collaboration the contents have gone through a substantial development and growth compared to the unique variation issued in 1950 by way of the Royal Tropical Institute, Amsterdam, lower than the name 'Musicologica'. i've got taken care so as to add many details from non-European resources, with the outcome that now the booklet is not any longer so Europe-centric because it was.
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Extra info for Ethno-Musicology: A study of its nature, its problems, methods and representative personalities to which is added a bibliography
Sample text
By and by the number of ethnic records has increased in such a way, that it has become almost impossible to mention them in a booklet like this one. Fortunately, they are for the greater part incorporated in the catalogue made for the International Folk Music Society and Unesco by NORMAN FRASER (571). For the Americas see also DUNCAN EMRICH (468). The transcription of exotic phonograms is one of the most difficult and intricate tasks which ethno-musicological research has ever put before its devotees.
446. 447· 45 0. 45 I. P. P. P. P. P. P. P. 45 2. 453· 454· 455· 456 . 457· 45 8 . P. 459· P. 460. P. 46I. , Ireland, France, Bali, Arabia, Tahiti, Tibet, Iceland and Spain) (instr. o. harp, koto, sho, sanai, esrai, ialatarang) (selection and notes by HENRY COWELL) ; Music of the world's peoples, vol. II (Serbia, Iran, Albania, China, Congo, Finland, French Canada, Ukraine, Chile, Italy, Kashmir, Australia, Cuba, Azerbaijan, Palestine Jews, Sioux) (selection and notes by HENRY COWELL); Hungarian folk songs (instr.
Direct, compulsively originating reactions to certain biological states of the individual animal) 2. It is 'ein vererbtes, entwicklungsunfahiges, unveranderliches, starres Ausdrucks• Some other articles and books in this field, not yet mentioned on p. 45, are (in chronological sequence): PAUL DEMIEVILLE, La Musique Came au Japon (360); J. KUNST and C. J. A. KUNST-VAN WELY, De Toonkunst van Bali (1062), especially par. 13; HERBERT HOBNER, Die Musik im Bismarck-Archipel (915) ; J. KUNST, De l'origine des echelles musicales iavano-balinaises (1067) ; CURT SACHS, Geist und Werden der MusikinstruJnente (1537) ; ERICH VON HORNBOSTEL and ROBERT LACHMANN, Asiatische Parallelen lIur Bel'bermusik (S94) ; HANS WIESCHHOF, Die afrikanischen Trommeln und ihre ausserafrikanischen Beziehungen (lSS2); J.