Extract
‘The necessity of and problems with a Universal Musicology’ by Francois-Bernard Mâche.
A review of the chapter considering its relevance to the teaching of music education
Introduction
This chapter is from ‘The Origins of Music’, edited by Nils L. Wallin, Bjorn Merker and Steven Brown. It consists of papers presented at a workshop on the origins of music held in Fiesole, Italy in May 1997.
Although music education in schools is primarily concerned with the experience of music, there is no reason why this should not be informed by a wider understanding of the nature of music. This article contributes to this wider understanding and raises a number of issues relevant to music education, some of particular importance in relation to the opportunities available in multicultural communities such as London.
The search for universals sits well with the National Curriculum notion of exploring music through consideration of its ‘elements’. Mâche’s account additionally shows how cultural relativism can militate against common sense conclusions about the nature of music. He also argues the case for a biologically determined origin of music, citing comparisons with animal calls, which has implications for our understanding of the origins, function and development of music.
Summary of article
Mâche starts by identifying the changes brought about by the invention of the tape recorder. These include the unequivocal end to the perceived universality of the western tonal system, the recognition of non-western systems as sophisticated musics, the availability of animal sounds for study and the tremendous impact of recording on the music industry.
Mâche describes how ethnomusicology emphasises cultural diversity, even though the diversity of basic schemes of music is much less than the diversity of traditions. Ethnomusicology has developed the idea that music can only be understood in terms of the culture within which it emerges, and common elements are presented as misunderstanding. Mâche sees this as an essentially anti-colonial position, which obscures the obvious. He suggests that it would be useful to reconsider the commonalities.
He also considers that it is important to understand the how and why of cross culturalism in music in a world in which traditional music is disappearing, 2 professionalism leads to specialisation in composers, interpreters and listeners and music is increasingly becoming a commodity.
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