Studying Gregorian chant presents many problems to the researcher because its most important stages of development were not recorded in writing. From the sixth to the tenth century, this form of music existed only in song as medieval musicians relied on their memories and voices to pass each verse from one generation to the next. Peter Jeffery offers an innovative new approach for understanding how these melodies were created, memorized, performed, and modified. Drawing on a variety of disciplines, including anthropology and ethnomusicology, he identifies characteristics of Gregorian chant that closely resemble other oral traditions in non-Western cultures and demonstrates ways music historians can take into account the social, cultural, and anthropological contexts of chant's development.

Studying Gregorian chant presents many problems to the researcher because its most important stages of development were not recorded in writing. From the sixth to the tenth century, this form of music existed only in song as medieval musicians relied on their memories and voices to pass each verse from one generation to the next. Peter Jeffery offers an innovative new approach for understanding how these melodies were created, memorized, performed, and modified. Drawing on a variety of disciplines, including anthropology and ethnomusicology, he identifies characteristics of Gregorian chant that closely resemble other oral traditions in non-Western cultures and demonstrates ways music historians can take into account the social, cultural, and anthropological contexts of chant's development.

The SAGE Encyclopedia of Music and Culture presents key concepts in the study of music in its cultural context and provides an introduction to the discipline of ethnomusicology, its methods, concerns, and its contributions to knowledge and understanding of the world's musical cultures, styles, and practices. The diverse voices of contributors to this encyclopedia confirm ethnomusicology's fundamental ethos of inclusion and respect for diversity. Combined, the multiplicity of topics and approaches are presented in an easy-to-search A-Z format and offer a fresh perspective on the field and the subject of music in culture. Key features include: Approximately 730 signed articles, authored by prominent scholars, are arranged A-to-Z and published in a choice of print or electronic editions Pedagogical elements include Further Readings and Cross References to conclude each article and a Reader’s Guide in the front matter organizing entries by broad topical or thematic areas Back matter includes an annotated Resource Guide to further research (journals, books, and associations), an appendix listing notable archives, libraries, and museums, and a detailed Index The Index, Reader’s Guide themes, and Cross References combine for thorough search-and-browse capabilities in the electronic edition

Der vorliegende Band als Ergebnis einer Tagung von Musikologen und Byzantinisten in Schloss Hernen/NL, beleuchtet verschiedene Aspekte des byzantinischen und des daraus entsprungenen slavischen Kirchengesangs. Zwei grosse Themenkreise stehen im Vordergrund: Notation und Melismatik, daneben beleuchten Beitrage zur Liturgie, zur Modalitat der Gesange und zur oralen Uberlieferung die byzantinische und slavische Tradition. Es ist wichtig, musikalische und liturgische Erscheinungsbilder der byzantinischen und slavischen Spatzeit nicht losgelost von der fruhen Tradition zu untersuchen, sondern die Wurzeln ihrer Entstehung stets im Auge zu behalten. Hierin stellt die Entwicklung der verschiedenen Notationssysteme die Basis fur jede weitere Untersuchung dar. In der liturgischen Musik der Hagia Sophia von Konstantinopel entstanden bereits im 8.-10. Jahrhundert melismatische Gesange, wahrend im monastischen Ritus einfache Melodien vorherrschten. Die Verschmelzung von Kathedral- und monastischer Tradition schuf eine neue Basis fur die Entstehung einer hochmelismatischen Gesangform, der Kalophonie. Basierend auf der byzantinischen Gesangtradition sind auch im slavischen Raum bereits ab dem 11. Jahrhundert melismatische Gesange uberliefert, die auf die ornamentierten Melodien der russischen Kirchenmusik des 15.-17. Jahrhunderts Einfluss hatten. Ein bedeutender Aspekt ist die Berucksichtigung der oralen Tradition, die durch alle Zeiten ein tragendes Element in der Uberlieferung der Gesange war.

A study of medieval monophonic music. The text focuses on its movement away from the concept of chants as products and towards the idea of chants as processes. The essays are loosely connected through their bearing on one or more of three themes: the role of orality in the transmission of chants circa 700-1400; varying degrees of stability or instability in the transmission of chant; and the role of the formula in the construction of chant.

Historical ethnomusicology is increasingly acknowledged as a significant emerging subfield of ethnomusicology due to the fact that historical research requires a different set of theories and methods than studies of contemporary practices and many historiographic techniques are rapidly transforming as a result of new technologies. In 2005, Bruno Nettl observed that “the term ‘historical ethnomusicology’ has begun to appear in programs of conferences and in publications” (Nettl 2005, 274), and as recently as 2012 scholars similarly noted “an increasing concern with the writing of musical histories in ethnomusicology” (Ruskin and Rice 2012, 318). Relevant positions recently advanced by other authors include that historical musicologists are “all ethnomusicologists now” and that “all ethnomusicology is historical” (Stobart, 2008), yet we sense that such arguments—while useful, and theoretically correct—may ultimately distract from careful consideration of the kinds of contemporary theories and rigorous methods uniquely suited to historical inquiry in the field of music. In Theory and Method in Historical Ethnomusicology, editors Jonathan McCollum and David Hebert, along with contributors Judah Cohen, Chris Goertzen, Keith Howard, Ann Lucas, Daniel Neuman, and Diane Thram systematically demonstrate various ways that new approaches to historiography––and the related application of new technologies––impact the work of ethnomusicologists who seek to meaningfully represent music traditions across barriers of both time and space. Contributors specializing in historical musics of Armenia, Iran, India, Japan, southern Africa, American Jews, and southern fiddling traditions of the United States describe the opening of new theoretical approaches and methodologies for research on global music history. In the Foreword, Keith Howard offers his perspective on historical ethnomusicology and the importance of reconsidering theories and methods applicable to this field for the enhancement of musical understandings in the present and future.

This book offers a range of trajectories of academic thought and musical practice in Turkey. It adopts a multidisciplinary approach, with chapters exploring the question posed by its title from the perspectives of ethnomusicology, historical musicology, neurology, psychology, social science, gender studies, acoustics, and linguistics. Some studies are experimental and scientific in nature, ranging from a friends focus on tonality, using EEG to investigate differences in the cognitive responses of musicians and non-musicians listening to tonal and atonal chords, to an examination of brain activation in response to reverberation time differences resulting from room acoustics. Another essay assesses the psychometric properties and effectiveness of the new Turkish version of the Music Performance Anxiety Inventory for Adolescents (MPAI-A), designed to survey performance anxiety and determine its severity in adolescent musicians. On a completely different tack, two studies investigate Turkey’s heavy metal scene. The first explores the social forces propelling the “moral panic” over Satanism and heavy metal, generated by the national press in response to a gory murder in the 1990s. Through field interviews, this study examines the impact of this on the public perception and stereotypes of metal fans, and its effects on the fans themselves. The second contribution examines gender codes within the global extreme metal scene, looking specifically at the barriers faced – and overcome – by female Turkish extreme metal musicians. Setting Turkish music practices today in their historical context, a further contribution offers a critical appraisal of the mission to “contemporize” music, expounded (though ineffectually carried out) by the founding ideologies of Early Republican Turkey. A similar chapter discusses how even Anatolian folk music, when examined more closely, caused consternation, looking at the change in the Turkish state’s attitude towards the multicultural structure of Anatolia during the last decade. The final article in this volume focuses on how Turkish musicians use the term “sound” – the English word, as borrowed in Turkish – to discuss elements of music. Beyond the physical meaning of the word, the essay explores the ways the word is used by musicians to describe the timbre of instruments, the production quality of recordings, the application of music technology, the aural aesthetics of an album, and the distinctive and unique elements of an artist's performance.