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Is the search for universals incompatible with the study of cultural specificity?

Identifieur interne : 001A01 ( Istex/Corpus ); précédent : 001A00; suivant : 001A02

Is the search for universals incompatible with the study of cultural specificity?

Auteurs : Jean-Jacques Nattiez

Source :

Human & Social Studies. Research and Practice [ 2285-5920 ] ; 2012-10-01.

RBID : ISTEX:C12FDF2A14667CDDD782354AAACFF85BDD12A705

English descriptors

Teeft :
- Acoustical properties, Aesthetic judgments, Alan merriam, Anthropological approach, Biological foundations, Blacking, Broad mutations, Cambridge london, Chicago press, Christian bourgois, Cognitive, Cognitive psychology, Cognitive strategies, Constituent parts, Cultural context, Cultural conventions, Cultural explanation, Cultural interpretation, Cultural specificity, Descriptive stage, Different cultures, Different individuals, Different ways, Discrete pitches, Emic, Emic characterization, Ethnomusicology, Etic, Etic approaches, Famous book, Gilbert rouget, Human behavior, Human beings, Imberty, Innate capabilities, Jean molino, John blacking, Last essay, Linguaggio universale, Melodic behaviour, Merriam, Musical competence, Musical culture, Musical cultures, Musical fact, Musical instruments, Musical material, Musical phenomena, Musical phenomenon, Musical piece, Musical production, Musical scales, Musical semiotics, Musical sound, Musical structure, Musical structures, Musical system, Musical universals, Musique, National dance, Nattiez, Nigerian musicologist, Olschki editore, Other hand, Regole della musica, Savoirs musicaux, Simha arom, Simple reason, Social anthropologist, Social situation, Symbolic form, Thematic relationships, Tonal music, Toronto press, Traditional music, Trait, Transcultural communication, Universal, Universal gestaltist, Universal phenomenon, Universal trait, Universal traits, Venda songs, Verbal language, World music.

Abstract

What it was called “the anthropology of music” finds its roots in two founding papers: The Anthropology of Music by Alan Merriam (1964) and How Musicalis Man? by John Blacking (1973). In these two books, the musical structures are designed as a product of the culture. The methodological consequence is: the ethnomusicological investigation should begin from the study of the cultural context. The consequence of this position, quite widely used in the field, was to emphasize the music environment, rather than analyse its structure, with a few notable exceptions (the work of Simha Arom and his team). A fortiori, the research of universals, considered ethnocentric, was regarded in the field as inadmissible. After having proposed a setting up of this situation, the author examines the manner in which the issue of Blacking approaches the link between culture and musical structures, then reconsiders his positions with regard to universals, and possible biological foundations of music. The article ends with a plea for reconciliation, with a view to the ethnomusicology of tomorrow, from the point of view of the anthropology, taking into account the cultural determinations, the comparative study of the musical structures, and the search for universal

Url:

https://api.istex.fr/document/C12FDF2A14667CDDD782354AAACFF85BDD12A705/fulltext/pdf

DOI: 10.2478/v10317-012-0005-2

Links to Exploration step

ISTEX:C12FDF2A14667CDDD782354AAACFF85BDD12A705

Le document en format XML

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<abstract xml:lang="en"><p>What it was called “the anthropology of music” finds its roots in two founding papers: The Anthropology of Music by Alan Merriam (1964) and How Musicalis Man? by John Blacking (1973). In these two books, the musical structures are designed as a product of the culture. The methodological consequence is: the ethnomusicological investigation should begin from the study of the cultural context. The consequence of this position, quite widely used in the field, was to emphasize the music environment, rather than analyse its structure, with a few notable exceptions (the work of Simha Arom and his team). A fortiori, the research of universals, considered ethnocentric, was regarded in the field as inadmissible. After having proposed a setting up of this situation, the author examines the manner in which the issue of Blacking approaches the link between culture and musical structures, then reconsiders his positions with regard to universals, and possible biological foundations of music. The article ends with a plea for reconciliation, with a view to the ethnomusicology of tomorrow, from the point of view of the anthropology, taking into account the cultural determinations, the comparative study of the musical structures, and the search for universal</p>
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<item><term>Ethnomusicologty</term>
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<item><term>Anthropology of music</term>
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<item><term>Music universals</term>
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<item><term>Blacking</term>
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		<issn pub-type="ppub">2285-5920</issn>

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			<article-id pub-id-type="publisher-id">v10317-012-0005-2</article-id>

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				<article-title>Is the search for universals incompatible with the study of cultural specificity?</article-title>

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			<contrib-group>

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					<name>

						<surname>Nattiez</surname>

						<given-names>Jean-Jacques</given-names>

					</name>

					<bio>

						<p>Jean-Jacques Nattiez is a musical semiotician and professor of Musicology at the Université de Montréal and a prominent exponent of musical semiotics as a distinct discipline. In 2011, he was made Officer of the Order of Canada “for his contributions to the development of musicology as a researcher, professor and specialist of music semiotics”. In addition to his own thorough and characteristic development of semiotic theory, he has given the field substance through his influential teaching, organizational, editorial, and bibliographic endeavors. It is due largely to his intellectual leadership that the semiotics of music is now sustained by a very diverse and productive community of scholars. His main works are: Fondements d'une sémiologie de la musique (1975), Proust as Musician (1989), Wagner Androgyne (1993), Musiques, une encyclopédie pour le XXIème siècle (2007).</p>

					</bio>

					<email xlink:href="mailto:jean-jacques.nattiez@umontreal.ca">jean-jacques.nattiez@umontreal.ca</email>

				</contrib>

				<aff id="aff1"><sup>1</sup>
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				<day>1</day>

				<month>10</month>

				<year>2012</year>

				<string-date>1 October 2012</string-date>

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				<day>09</day>

				<month>11</month>

				<year>2012</year>

				<string-date>November 2012</string-date>

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			<volume>1</volume>

			<issue>1</issue>

			<fpage>67</fpage>

			<lpage>94</lpage>

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					<license-p>This content is open access.</license-p>

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			<related-article related-article-type="pdf" xlink:href="v10317-012-0005-2.pdf"></related-article>

			<abstract>

				<p>What it was called “the anthropology of music” finds its roots in two founding papers: <italic>The Anthropology of Music </italic>
by Alan Merriam (1964) and <italic>How Musical</italic>
<italic>is Man? </italic>
by John Blacking (1973). In these two books, the musical structures are designed as a product of the culture. The methodological consequence is: the ethnomusicological investigation should begin from the study of the cultural context. The consequence of this position, quite widely used in the field, was to emphasize the music environment, rather than analyse its structure, with a few notable exceptions (the work of Simha Arom and his team). A fortiori, the research of universals, considered ethnocentric, was regarded in the field as inadmissible. After having proposed a setting up of this situation, the author examines the manner in which the issue of Blacking approaches the link between culture and musical structures, then reconsiders his positions with regard to universals, and possible biological foundations of music. The article ends with a plea for reconciliation, with a view to the ethnomusicology of tomorrow, from the point of view of the anthropology, taking into account the cultural determinations, the comparative study of the musical structures, and the search for universal</p>

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				<kwd>Ethnomusicologty</kwd>

				<kwd>Anthropology of music</kwd>

				<kwd>Music universals</kwd>

				<kwd>Blacking</kwd>

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<abstract lang="en">What it was called “the anthropology of music” finds its roots in two founding papers: The Anthropology of Music by Alan Merriam (1964) and How Musicalis Man? by John Blacking (1973). In these two books, the musical structures are designed as a product of the culture. The methodological consequence is: the ethnomusicological investigation should begin from the study of the cultural context. The consequence of this position, quite widely used in the field, was to emphasize the music environment, rather than analyse its structure, with a few notable exceptions (the work of Simha Arom and his team). A fortiori, the research of universals, considered ethnocentric, was regarded in the field as inadmissible. After having proposed a setting up of this situation, the author examines the manner in which the issue of Blacking approaches the link between culture and musical structures, then reconsiders his positions with regard to universals, and possible biological foundations of music. The article ends with a plea for reconciliation, with a view to the ethnomusicology of tomorrow, from the point of view of the anthropology, taking into account the cultural determinations, the comparative study of the musical structures, and the search for universal</abstract>
<subject><genre>Keywords</genre>
<topic>Ethnomusicologty</topic>
<topic>Anthropology of music</topic>
<topic>Music universals</topic>
<topic>Blacking</topic>
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Is the search for universals incompatible with the study of cultural specificity?

Is the search for universals incompatible with the study of cultural specificity?

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