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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.
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