Extract (PDF) - Peter Lang

Prologue
Rückblick (a song poem by Achim Reichel dedicated to A.S.)
Wenn ein Junge der Sechziger
Auf die Sechzig zugeht,
dann schaut er schon mal zurück.
Das bringt es so mit sich.
Vielleicht fragt er sich dabei, was passiert wäre,
wenn er auf seinem Lebensweg
irgendwann eine andere Abzweigung genommen hätte.
Vielleicht kann er seinem Schicksal aber auch dankbar sein, weil
sich sein Weg als der richtige herausgestellt hat.
Denn dieser führte ihn zunächst geradewegs
in die Arme seiner ersten großen Liebe.
Sie schlüpfte unter seine Haut,
und fuhr ihm durch Mark und Bein.
Sie bescherte ihm Gefühle
Von ungeahnter Dimension.
Das hat ihn tief beeindruckt!
Und sie wurde zu einem festen Bestandteil seines Lebens.
Wer ist dieses geheimnisvolle Wesen?
Es kommt von dort, wo es kein Schauen gibt,
Wo kein Duft ist - keine Hand zum Munde führt.
Es kommt zu Dir, es schlüpft herein
Wohl in Dein Ohr: was kann das sein?
Des Rätsels Lösung:
Es wird die "Musik" sein, und sie ist es auch!
Aber nicht irgendeine, nein, nein.
Es war die richtige zur richtigen Zeit,
sie wurde gemacht von unseren Leuten -
von unserer Generation!
Auch wenn wir von der Welt noch wenig wussten:
wo für die Anderen nur falsche Töne waren,
war für uns die Wahrheit.

Es kam ein Zeitgeist in die Welt,
der unseren Träumen Sinn verlieh
Und eine junge Generation brach auf
und verkündete ihre Botschaft:
Roll over Beethoven - Give peace a chance
Drei Akkorde sagten mehr als tausend Worte
und es geschahen Wunder
Vom Fahrradboten zum Selfmade-Millionär in 36 Monaten
Kleine Plattenfirmen wuchsen zu Konzernen
Hippies wurden in den Adel erhoben
und tapezierten ihre Villen mit Goldenen Schallplatten.
Alle feierten wilde Feste: die Plattenfirmen,
das Radio, das Fernsehen, die Presse,
auf Konzerten, auf Festivals,
vor den Pyramiden und auf dem Dach der Welt.
Es war wie im Märchen - bis das Blatt sich wendete;
Die Geschichte schlug ein neues Blatt auf
Und das geheimnisvolle Wesen "Musik"
Trat ein in den digitalen Seinszustand.
Und wie des Zauberlehrlings Besen von Geister Hand,
teilt es sich fortan in unzählige Kopien seiner selbst;
sehr zum Nachteil für liebgewonnene Geschäftsinteressen
und sehr zum Bedauern für ein liebgewonnenes Ritual, wie:
Wir nehmen vorsichtig eine Langspielplatte aus ihrer Hülle,
legen sie auf den Plattenteller,
setzen erwartungsvoll den Tonarm auf,
um - begleitet von wohligem Knistern -
auf den Einsatz zu warten.
Das war gestern - aber trösten wir uns -
Es gibt sie noch, die echte Musik
Da wo eine Bühne ist und ein Publikum
Oder in fröhlicher Runde, wo drei Akkorde
Mehr sind als tausend Worte.
9

10
Tja, mein lieber Albrecht,
nun reden auch wir
von der guten alten Zeit.
Welch’ Glück für uns:
sie hatte Besseres zu bieten
als die unserer Väter.
Achim Reichel
Achim Reichel, musician, songwriter, composer, producer.
see http://de.wikipedia.org/wiki/Achim_Reichel

Preface
The volume at hand can be considered complementary to a book on systematic and
comparative musicology issued previously that combined essays reflecting theory,
methodology, and disciplinary history with experimental and other empirical studies
as well as with reports of ethnomusicological field work (Schneider [ed.] 2008). A
number of authors who contributed to that volume also have written articles included
in this one. So, in several respects, one could speak of a continuation of efforts.
This volume is organized into four sections plus an appendix. The four sections
contain articles that have been grouped according to main topics. The first relates
to concepts relevant for systematic and cognitive musicology as well as to aspects of
disciplinary history. In his article Marc Leman who lately has outlined a research
programme for embodied music cognition in relation to mediation technology (Leman
2008) proposes a proactive systematic musicology that should take the lead in
planning and organizing research projects that are of social and cultural relevance
rather than to be a moderator of a trans-disciplinary approach to music research.
Jukka Louhivuori who has done field research on music cognition in a cross-cultural
perspective (e.g., Louhivuori 2008), gives an account of how cognitive musicology
was established in Finland, and how it expanded from a science devoted to the
study of the musical mind to an approach that incorporates (almost literally so!)
the body as well as the socio-cultural context in which music making and music listening
take place. Bruno Nettl addresses central issues in ethnomusicology in that
he puts "ten abiding questions" the discipline has been concerned with, such as:
what is music? How did music originate? What is the nature of the musical world?
What are musical idiolects? And also: what is ethnomusicology? Nettl’s reflections
indicate some continuity as well as fundamental changes in ethnomusicological research
paradigms as well as in terminology, canons, and also in self-image. In many
respects, ethnomusicology has become much broader and diversified in its orientations
(and, in turn, less homogeneous in regard of methodology, canons, etc.). Since
there has been a long-standing connection between systematic and comparative musicology,
and also ethnomusicology (see Nettl 2005, Schneider 2006), Oskár Elschek
who has reconstructed the development of modern musicology, and moreover has
proposed a new system of musicological sub-disciplines and research areas (Elschek
1992), in his contribution to this volume has traced some of the developments in
comparative musicology and in ethnomusicology in the 20th century, with a focus
on Middle and Eastern Europe. In countries such as former Czechoslovakia, Poland,
and Hungary intensive research on regional folk music and folk song has been conducted
for decades that led to specific approaches in regard to methodology, ways
of documentation and publication, etc.
In the second section (acoustics and organology), Rolf Bader explores the acoustics
of a Balinese gender plate. In particular in the transient sounds of these metallophones,
certain mode frequencies occur that can be attributed to the unusual
trapezoid cross-section of each plate. The study of the gender with various methods
including Finite Elements and Finite Differences once again demonstrates that
detailed analysis and modelling is necessary to account for the actual properties of
the instrument in question.

12 Bader, Neuhaus, Morgenstern
In his paper on vowel quality in violin sounds, Robert Mores combines objective
acoustical measurement with behavioural experiments. Taking into account findings
on the similarity of vowels and certain musical sounds in regard to spectral
properties, Mores had subjects estimate the similarity of violin tones and vowels
from speech, and he also employed algorithmic machine classification of pairs of
sounds. Among his results is that automatic extraction of vowel quality from violin
sounds can be achieved in a reliable way, and that objective data match subjective
descriptions of violin sounds derived from perceptual analysis.
The acoustics of bells have been a topic of research since long (cf. Rossing 1984).
Scientists of the ranks of L. Euler began to calculate the Eigenmodes and Eigenfrequencies
of vibrating rings, and Lord Rayleigh (1877/1945) already gave a comprehensive
treatment of the inextensional and extensional modes of vibration in solids
such as spherical shells. Though such structures are relatively simple compared to
the complex geometry of western swinging and carillon bells, they share some basic
features (e.g., rotational symmetry around a middle axis), and can therefore serve
as a model to start with. After the pattern of Eigenmodes and Eigenfrequencies
had been established fairly well for western bells, it was time to investigate their
transient behaviour and the actual transfer of energy from the clapper to the bell
as is done in the study of Lau, Bader, Schneider and Wriggers based on a 3D-Finite
Element (FEM) modelling approach (as to this with respect to musical instruments,
see also Bader 2005) as well as on actual measurements obtained from a real bell
that had been cast especially for the experiments and calculations reported here.
Andreas Beurmann, well-known collector of historical keyboard instruments, organologist
and harpsichord player (see Beurmann 2000), gives a personal account of
his motivations in regard to bringing together historical instruments, restoring them
to playability, and to making them available to artists as well as to the music-loving
public. The acquisition of some of the instruments that are part of his large collection
turned out to be quite adventurous affairs that are narrated here in retrospect.
Also in a more personal recollection, Judith Angster (who has published widely on
organ acoustics, in studies some of which were co-written with her husband, see e.g.
Miklós & Angster 2000) and her father, Josef Angster tell about the Angster organ
building workshop that had been established at Pécs (also known as Fünfkirchen in
Hungary). The founder, Josef Angster (grandfather of the present co-author) had
studied with, among others, Aristide Cavaillé-Coll at Paris. In 1867, he opened his
own workshop at Pécs that became famous within a few decades.
Articles in the third section deal with music psychology and neuromusicology as
well as with aspects of music theory and analysis. Daniel Müüllensiefen who had
completed a PhD in Systematic Musicology with a dissertation in music cognition
that investigates memory for melodies as well as melodic similarity (Müllensiefen
2004) is currently working at the Department of Computing, Goldsmiths College,
University of London, UK. He has a special interest in statistics and experimental
design that is also the topic of his article contained in this volume. In particular,
he deals with advanced techniques of multidimensional scaling (MDS), with classification
and regression trees as well as with functional data analysis (FDA) and
Bayesian modelling.

Studies in Systematic Musicology and Ethnomusicology 13
Irène Deliège, a well-known psychologist of music and long-time editor of Musicae
Scientiae (a scholarly journal published by ESCOM, the European Society for the
Cognitive Sciences of Music), in her article proposes a cognitive model for musical
information processing. Her model that accentuates the principle of parallelism is
hierarchical and operates on two planes: processing of information that comes into
the auditory channel of listeners, and storage of information in memory. Claude
Debussy’s Syrinx then serves as an example for Irène Deliège to demonstrate the
operations a cognitive analysis of music would perform according to this model.
The article presented here in English translation appeared in its original French
version in 1987. In order to update her article as well as to provide references
to her subsequent work in cognitive music psychology, Irène Deliège has provided
an Addendum including a list of her more recent publications on issues in music
perception and cognition.
Elvira Brattico and Mari Tervaniemi, two experienced researchers who have conducted
many experiments in cognitive neuromusicology, address the problem of creativity
in musicians. In addition to experimental work that they have discussed in a
book chapter previously (Brattico & Tervaniemi 2006), the present article reports recent
findings and hypotheses (of, in particular A. Dietrich from 2003 and 2004) that
intend to define creativity more closely in regard to brain areas and neurophysiological
processes, respectively. Summing up much of the relevant research, Brattico and
Tervaniemi conclude that "we still do not know whether there are qualitative as well
as quantitative differences in cognitive strategies and neural mechanisms between
highly creative individuals and average subjects". Consequently, more experimental
work will be needed to clarify this matter.
Rolf Inge Godøy, who has been concerned with phenomenology and philosophical
psychology since long, recently has discussed processes of chunking in music (Godøy
2008). As we listen to the quasi-continuous flow of musical sound, we typically apply
segmentation into meaningful units that we may also recode into larger groups. In
the present article, Godøy, inspired by ideas of Edmund Husserl (1928) yet also
by contemporary research on motor control and imagery, discusses ’now-points’ in
music-related movements. Godøy finds the concept of ’now’, and of retention and
protention as outlined by Husserl to be still of relevance in regard to explaining
musical imagery including music-related actions. Timo Fischinger has studied music
education and musicology at Hamburg. After completing his music teacher’s exam,
he turned to music psychology where he carried out experimental research on timing
of musicians, a field that became also the topic of his PhD dissertation (Fischinger
2008). The article contributed to this volume on high-precision timing control first
discusses ideas and findings contained in a broad range of relevant publications,
and then reports essentials of his own approach that is based on a dual-path model
of timing control. This model not only accounts for observations made in tapping
experiments but also for timing behaviour related to musical contexts.
Martin Pfleiderer, an expert in jazz and jazz-related music as well as on rhythm
research (e.g., Pfleiderer 2006), and Klaus Frieler, a physicist and musicologist with
a specialization in formalization and computational modelling (Frieler 2008), present
their current research project labelled "Jazzomat". It is directed at studying jazz
improvisation in regard to musical syntax, in a first step (with an option to include

14 Bader, Neuhaus, Morgenstern
aspects of sound and musical microstructure as related to actual performance later
on). The investigation is to start from a database of musical transcriptions that can
be in a standard symbolic code (CSV, EsAC, MIDI) plus some additional information
necessary for analyses of jazz. The analyses will be carried out with specialdesigned
modules on computer, and the intermediate results can then be processed
further with statistical or other tools. In their article, Pfleiderer and Frieler provide
an example of solos played by saxophonists, Dexter Gordon and Steve Coleman,
respectively, to demonstrate some of their conceptual framework.
Manfred Stahnke, a composer and former student of György Ligeti (1923-2006),
teaches composition at the Hochschule für Musik und Theater, Hamburg. He is the
editor of a book that contains articles devoted to aspects of Ligeti’s work as well
as on works of composers who were related to him in one way or another (Stahnke
2005). Ligeti himself regarded tone systems and tunings other than western 12tone
equal temperament as a possible resource for creating new types of musical
textures that should be used more intensely by contemporary composers. In his
essay, Manfred Stahnke discusses possibilities microtonal systems can offer to the
composer. Pointing to ideas Harry Partch had explored in regard to the formation
of tone systems and scales, he continues with a presentation of music examples from
his own microtonal works.
The fourth section offers articles from ethnomusicology and folk music research
that combine observations from field work with reflections on concepts and methodology.
Hans-Hinrich Thedens, who has done extensive field work in Norway, and has
studied traditional music as well as the musicians who actually play and transmit
such music (e.g., Thedens 2001), in his article considers ’participatory discrepancies’
(a term that seems to have been introduced into ethnomusicology by Charles Keil)
that might possibly exist between fiddle players and dancers with respect to some
traditional Norwegian dance genres. Movements the fiddler executes and the rhythmic
accent patterns he creates from bowing must not always synchronize very well
with the apparent movements of the dancers. Noticing such discrepancies, Thedens
attempts to find features that make up "good rhythm" in traditional fiddle playing.
Ulrich Morgenstern is an ethnomusicologist who has studied the folk music and
its instruments in regions of Northwest Russia. He has published the results of his
fieldwork in the district of Pskov recently in a monograph (Morgenstern 2007). In
the article contributed to this volume, he relates current styles of accordion playing
in the Pskov district to possible older strata and genres of instrumental music.
In particular, Morgenstern believes that the double clarinet trostyanki (or similar
types) that in some Russian districts were in use until World War II (as historical
sources indicate, in some areas quite frequently so), could have influenced the old
style of accordion playing in the Pskov region that was based on two-part textures
(as apparently was the music played on the double clarinet).
Britta Sweers has studied a musical and performance style of English (and in
part also Scottish and Irish) folk music usually labelled ’Electric Folk’ that became
well-known with bands like Fairport Convention, Steeleye Span, and The Pentangle
(cf. Sweers 2005). More recently, she has expanded her research to the Baltic states
of Latvia and Lithuania. In her article, she first describes processes of socio-cultural
transformation that apply to folk music in many countries. She then details such

Studies in Systematic Musicology and Ethnomusicology 15
transformations she has observed when visiting Latvia and Lithuania, respectively.
Finally, she compares phenomena and concepts that result from processes of transformation
(e.g., hybridization) as found in English folk music and ’Electric Folk’,
on the one hand, and in folk music (including ’Electric Folk’) of the Baltics, on the
other.
Martin Boiko is a musicologist based at Riga, Latvia. He has studied the traditional
music of his home country on which he has published in-depth analyses
dealing with specific genres and styles (e.g., Boiko 1996). Some of the fieldwork he
carried out in the Latgalian district of Southeastern Latvia in the 1990s was devoted
to the study of religious music that had been neglected for a long time due
to political circumstances. A genre of prime interest to Boiko is the Office of the
Dead (the Catholic officium defunctorum) as still practiced in Latgalia. His report
based on fieldwork indicates continuity and change, the latter being mostly due to
demographic factors.
Tiago de Oliveira Pinto, who has been a member of the International Institute for
Comparative Music Studies (Berlin), is currently teaching ethnomusicology and comparative
musicology at Weimar, Göttingen, and Hamburg. He conducted fieldwork
in Brazil (cf. Pinto 1999) and in Angola. In his essay, he reflects on ethnography
and addresses problems a researcher might face when working in the field. Such
problems can be technical, however, there are issues that are possibly of greater
concern in regard to concepts and methodology: What is the role of the fieldworker
within a different society and cultural context? How can, and how should he or she
communicate with members of a (music) culture he or she wants to study? What is
the nature, and what is the purpose of (musical) ethnography? Pinto rightly points
to significant changes in anthropological thought that have affected the self-image of
ethnologists and ethnomusicologists alike, and which might call for a reassessment
of concepts and tasks relevant for ethnomusicology.
Jörgen Torp, an expert on Tango and Tango-related music and dance on both sides
of the Atlantic Ocean (Torp 2007), has conducted fieldwork in Argentine. From his
experience as a field-worker that is used to adopt a "culturalist" perspective and a
basically hermeneutic methodology (as has been advocated, perhaps most prominently,
by the anthropologist Clifford Geertz), Torp discusses such crucial issues
as the quest for ’objective’ methods and ’valid’ interpretations in ethnomusicology
and musicology. Pointing to the ’World of Tango’ as a specific cultural sphere that
includes (at least for the Milongueros) a peculiar way of life, he argues that it would
be in vain to expect that such a cultural complex could be investigated with some
standard methodology. Rather, an approach based on personal experience should
be allowed; though it might appear less ’scientific’ in regard to method, such an
approach might be more adequate with respect to the socio-cultural and subjective
phenomena under study.
Finally, we have included, as an appendix, a biographical note of Albrecht Schneider
as well as a bibliography that contains a selection of his scientific publications
from 1971 to the present. Besides doing research in the lab and in the field, Schneider
has been exceptionally active as an academic teacher who, in the Institute of
Musicology of the University of Hamburg, has supervised more than 120 students
writing their M.A. theses on topics in Systematic and Comparative Musicology un-

16 Bader, Neuhaus, Morgenstern
der his guidance. Further, he has been in charge of many graduates who did benefit
from his advice when preparing their Ph.D. dissertations. The present volume is
dedicated to Albrecht Schneider on the occasion of his 60 th birthday.
Hamburg, May 2009
Rolf Bader Christiane Neuhaus Ulrich Morgenstern
(Hamburg) (Leipzig) (Frankfurt)
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