Details

How are today's 'global music history' projects (Philip Bohlman's recently published Cambridge History of World Music, Reinhard Strohm's Balzan project, for example), faring? To what extent are they the legacy of an earlier musicology, and how does that legacy make itself felt? Is such a history actually possible, these days? Is ethnomusicology (or 'historical ethnomusicology') the natural inheritor of such a project, or are the demands of history and ethnography fundamentally at odds? And how would such a project engage critiques coming from postcolonial studies, globalization theory, and sound studies? What do they limit, what do they enable in terms of 'global music history'?

Semesterprogramm FS 2017 Bern — 20.02.2017 PDF 412,5KB