Yesterday saw the horrendous news of the conviction of and 11-year jail sentence for Philip Pickett on charges of rape and sexual assault of students while he was teaching at the Guildhall School. Here is the original list of charges against Pickett from last year; I do not wish to say much more specific to this case, not least because of the possibility of further trials; suffice to say that I believe a good deal more will be made public about both actions and the complicity of others.
If anything good is to come from this case, I hope it may help to put pressure for a proper international debate about the nature of music education and the possibilities for abuse and exploitation therein. I blogged in some detail about this last December, in response to an excellent article by Damian Thompson in the Spectator. Yesterday I published an article on the film Whiplash in terms of its representation of bullying and abuse in teaching, on The Conversation , and a wider article in The Telegraph about abuse and elite music teaching, in particular raising the controversial question of whether self-regulation is ever likely, and whether that a system which places enormous powers of patronage in a few people’s hands needs a greater degree of external accountability (which would mean political/governmental intervention). Naturally, I would expect there to be and would welcome a range of different opinions on these subjects, but feel strongly that the debate needs to be had amongst music educators worldwide, and more widely in the profession.
With this in mind, I wanted to post here a set of draft guidelines for instrumental and vocal teachers and students at a tertiary level (generally 18 or over) in terms of their dealings with one another, as a starting point for discussion. I drafted these around 18 months ago (which included other guidelines on such things as when it is/is not appropriate to cancel a lesson, not so relevant here), and whilst they have not yet been taken up, I hope very much at some point they or something like them will be.
I would welcome all thoughts on the below, including new suggestions, disagreements, and so on. I accept some will disagree with my views on physical touching (I suggest this is OK so long as one asks permission) and whether student-teacher relationships or sexual encounters are ever permissible (I argue that where they happen, or one or other party demonstrates agency with the intention of inducing such a thing, then both parties should act like adults and report things, their formal teacher-student relationship brought to an end without other negative consequences, then they are free to continue like any other two adults). But I think we should be talking about these things, in order to arrive at a humane system which protects both students and teachers.
Guidelines for Teachers
• In general, treat your student with respect as a human being, independently of your reflections on the quality and extent of their achievements as a performer. This should be borne in mind at all times.
• Remember that you are there to help the student, rather than their being there in order to enhance your own reputation.
• It is your choice how you wish your student to address you, whether by first name or title and surname. It is advised to clarify this to the student at the beginning of a lesson.
• Where there are serious problems concerning a student and their progress, you should try and discuss these with the relevant member of staff as soon as possible.
• It is accepted that teachers will naturally need to voice criticisms of a student’s playing or singing, sometimes severe criticisms. This should always be framed in such a way as to make clear that the criticisms relate solely to the student’s achievements (or lack of) specifically in terms of their work as a performer, not to their wider qualities as a person. Criticisms should be balanced with encouragement in the form of positive steps forward in order to improve.
• Use language which makes the above clear: for example, instead of saying ‘You are a very poor player’, say ‘You really do need to do considerable work in order to improve’, followed by suggestions of what form that work might take, or (if necessary) ‘It will be very difficult in the time available to you here to attain the level necessary in order to gain a high mark in your recital’. Similarly, avoid other generalities such as ‘You have no technique’ or ‘You are profoundly unmusical’, in favour of the likes of ‘I have to tell you that a good deal of work is necessary if you wish to achieve a higher technical level’, or in the second case, focusing on specific things the student needs to consider in order to be able to produce a more musically satisfying performance.
• You should always avoid any type of deliberately demeaning or belittling language of a personal nature towards a student, especially that designed to undermine their confidence. This can include undue and harsh sarcasm, deliberate aloofness and coldness, ignoring a student, negative comparisons with others, insensitive jokes, setting unrealistic demands, malicious rumour-mongering, threats, sexual or racial harassment, or anything which might be construed as ‘bitchy’. It is no justification for this to argue that such talk and attitudes are commonplace in the professional musical world.
• A student’s personal life is their own business, and discussions of this should generally only be undertaken when personal issues have a direct impact upon their performing. If a singer or other musician’s lifestyle – in terms of problems to do with sleep, maintaining good health, and so on – is impinging upon their singing, then it is legitimate to raise this issue. If a student raises the issue of difficulties arising from family, health or relationship issues, and wishes to talk about it, this is fine, but you should not feel under any obligation in this respect. In general, such matters are better discussed with the appropriate member of staff, who has pastoral responsibility, and who can communicate directly with you about them.
• When teaching a student, avoid befriending them on social media. [Personally I believe this is a principle worth observing for undergraduates, but which can be more flexible with postgraduates.]
• If you wish to make physical contact with a student in order to demonstrate some matter relating to performing, you must first ask their permission to do so. This can be done at the beginning of a series of lessons in order to facilitate so doing in general (but this must then be made clear to the student), or separately on individual occasion. If the student is unhappy with such physical contact and declines, this must be respected, and physical contact must then be avoided.
• Under absolutely no circumstances should there be any touching which can be construed as being of a sexual or unduly intimate nature.
• However, it is accepted that much music – especially for singers – relates to matters of an intimate and sometimes sexual nature, and it is legitimate to discuss this in lessons. But please always respect boundaries here, and be clear that you are talking about the music or the role, not directly about the student.
• Whilst in general conservatoire students are aged 18 or over and are technically adults, remember that they are still in a very early stage of adulthood, likely to be dealing with many pressures due to being away from home for the first time, having to negotiate possible loneliness, homesickness, coping with a degree of independence likely to be unprecedented for them, and of course a demanding course. It is best to work with the assumption that they are thus likely to be at a vulnerable stage in life, and should be treated with corresponding sensitivity.
Guidelines for Students
• You should always treat your teacher with respect and courtesy, be punctual for lessons, and acknowledge the help they are able to give you.
• Your teacher can choose how they wish you to address them, whether by first name, title and surname, or otherwise, and you should respect this. It is advised that this is clarified in the first lesson.
• Whilst you are certainly encouraged to solicit your teacher’s advice concerning the extent of your progress, or on future study, avoid asking such questions as ‘Do you think I can make it as a performer?’ or other such things which might put your teacher in a difficult position.
• If asking your teacher what they imagine would be your likely mark for a recital, on the basis of how you are performing at the time of asking the question, bear in mind that their answer will be an approximation, and is in no sense binding.
• Avoid flirtatious or overly ‘forward’ behaviour towards your teacher such as might place him or her in an awkward situation.
• Teachers may wish to make physical contact in order to demonstrate some matters relating to performance. They are required to ask your permission before so doing, either at the beginning of a series of lessons in order to establish that this is generally acceptable, or on individual occasions. If you do not wish this, you are entirely within your rights to refuse. Such physical contact should never be of a sexual or unduly intimate nature, nor should you respond to it in such a fashion.
• Never use any abusive or offensive language towards your teacher.
• When there are personal matters – for example relating to family, health or relationships – which might affect your performing, you are advised first to speak to your personal tutor, who can discuss these sensitively with your teacher.
• Your teacher often has a life and career outside of their work at your institution. Avoid gossiping about them, even amongst other students, including with respect to the nature of their other activities, as this can have the potential to be hurtful and demeaning. Any form of rumour-mongering, sexual or racial harassment, aggressive behaviour or threats towards your teacher will be treated with the utmost seriousness.
• Your teacher is not your friend on social media, and you should not request that they befriend you on there. [Personally I believe this is a principle worth observing for undergraduates, but which can be more flexible with postgraduates.]
• If you wish to record lessons for other reasons (so as to have a more permanent record for your own study purposes), you must ask your teacher first, and must also respect their wishes if they decline this request. (But see also Guidelines for both Teachers and Students below)
Guidelines for both Teachers and Students
• In the event of any serious worries about the nature of the relationship between teacher and student as made manifest verbally in lessons, either the teacher or student can request that the lessons be recorded. In this situation, the appropriate individual should be informed of this.
• In the event of any type of romantic or sexual liaison between a tutor and student – which can include any form of agency on either part with the intention of inducing such a thing, whether or not this is fulfilled – it is an essential requirement that both teacher and student report this to an appropriate individual. As a general rule it will be considered that in such a situation the relationship has assumed a degree of intimacy which is no longer compatible with a normal teaching relationship, and the student will be assigned to a different teacher, but without further consequences for either party.
The articles presented on this blog fall into four categories: those on music and musicology, politics, abuse-related material, and other articles. The articles on abuse are indexed separately here. Here I index the rest of my blog articles.
MUSIC AND MUSICOLOGY
Musicology is not Musical PR (25/8/13)
The fetish of the ‘contemporary’ (5/11/13)
Remembering Bob Gilmore (1961-2015) (3/1/15)
Alan Doggett, first conductor of Joseph and Jesus Christ Superstar, and the Paedophile Information Exchange (28/3/14) (an updated version of original post from 7/3/14)
Reported Cases of Abuse in Musical Education, 1990-2012, and Issues for a Public Inquiry (30/12/13) (this post is in need of some updating to mention other cases during the period in question)
The Working of Cultural Studies (11/4/15)
An article I wrote calling for conservatoires to take the lead in ensuring a new safe environment for students, in the wake of the Philip Pickett trial, was published in the April issue of Music Teacher magazine, accompanied by my proposed guidelines for students and teachers at tertiary level. With permission from the magazine, I reproduce the article here.
The following is an expanded and more detailed version of a post submitted to the electronic discussion list of the American Musicological Society (AMS-L) as part of a thread about the decline of linguistic skills amongst students and musicologists, which grew out of an initial post about the removal of German from instruction in many French schools.
I believe passionately that we should consider whether the growth of certain areas of musicology have helped to accelerate a decline in foreign language skills amongst both students and musicologists. In particular, this applies to those various areas associated with increasing ‘diversity’ within the field of study. To even contemplate this possibility is sure to be controversial, but this should not deter serious consideration of the issues at stake.
To begin with, consider popular and film music studies: even a cursory glance at a cross-section of published English-language research in these areas shows a scarcity of any references to non-English scholarship or writing of any type. I have done a mini-study of two journals to consider these questions: first the Journal of Popular Music Studies, looking at all issues from March 2010 to March 2014. These include a total of 181 articles, including editorials and book reviews. Almost all of these have lists of ‘works cited’. Of these, just 12 showed regular use of foreign language sources – 6 of these in a special June 2013 issue devoted to German popular music . Otherwise, one article cited a Peruvian musical anthology in Spanish; one Michael Jackson article referenced one article in Spanish; another Jackson article referenced one article in French . Another article referenced one book in Portugese, though the ethnographic nature of the article implies full fluency in this language . Then one article references in Spanish two books, one article and one LP booklet (alongside, in English, 14 books or theses, and 15 articles or book chapters) ; another refers to a Dutch-Javanese dictionary; and another to two texts in French and one Toraja-Indonesian dictionary . In total this amounts to just 18 articles employing any foreign-language sources at all (the extent to which articles in this journal rely upon journalistic and internet sources is also notable).
Whilst Anglophone popular music is the focus of the overwhelming majority of articles (and this fact itself deserves more critical scrutiny), many of these make claims relating to philosophy, aesthetics, sociology, gender and much more, but still from the limited perspective available through monolingual reading. Furthermore, whilst many claims are made for the global significance of this music, this is hardly testable without access to some of the languages of the music’s global listeners. A small few articles involve ethnographic work requiring language skills, but these are mostly accounted for above.
I also scrutinised the journal Music, Sound and the Moving Image over the same period, looking at issues from Spring 2010 to Spring 2014. This time I considered only the full articles, not the book reviews which are briefer and involve less references. There were 44 articles here. The proportion employing foreign language sources was significantly enhanced by a special issue (Vol. 4, No. 2 (2010)) dedicated to Spanish cinema, in which most contributors were from Spanish-speaking countries and naturally referenced plenty of Spanish sources. This accounted for 9 articles ; otherwise there was one article citing two theses in Norwegian (one of these in a little detail) , another referencing three Spanish sources , another some French sources (but not Arabic ones, rather ironically considering this was an article dealing with colonialism and orientalism) , whilst another was a translation of a 1937 Spanish article  (I am not counting an article which cites one French source which has clearly only been accessed through a secondary source in English ). So a total of 13 with any foreign-language references; the proportion would have been more like that for the Journal of Popular Music Studies without the Spanish issue.
Something of the same phenomenon can be found in parts of the fields of New Musicology and Critical Musicology, even when this work entails broad (and frequently stereotypical) characterisations of European cultures, as has been pointed out wittily by Tim Carter in a review of Susan McClary’s 2000 book Conventional Wisdom . Looking through the references in Conventional Wisdom itself, I find just two not in English, one to a testo from Stradella’s La Susanna, as used by McClary herself in a music-theatre piece  the other text to a Petrarch sonnet given with translation . McClary’s earlier book Feminine Endings had four non-English sources: a reference to Monteverdi’s foreword to the Madrigali guerrieri ed amorosi  and to Bellerofonte Castaldi’s Primo Mazzetto di fiori musicalmente colti dal giardino Bellerofonteo (1623) , Joachim Burmeister’s Musica poetica (1606) , and Arturo Graf’s “Una cortigiana fra mille’, in Attraverso il cinquecento (Turin: Chiantore, 1926) .
Lawrence Kramer’s Music as Cultural Practice 1800-1900 (Berkeley and Los Angeles: University of California Press, 1990) makes just four brief references to German texts (Hanslick’s Vom Musikalisch-Schönen (1854), Kant’s Kritik der Urteilskraft (1790), Schiller’s Über naive und sentimentalische Dichtung (1795), and poems of Goethe , for all of which English translations are also available) but never engages with any scholarly literature not either written or translated into English, nor a vast range of primary sources which have never been translated (for example, much of the writings, correspondence and diaries of Schumann, for which only small sub-sections have been translated, or for that matter the literature of Jean-Paul). Kramer’s 1995 Classical Music and Postmodern Knowledge contains one place in which the French original of a passage from Derrida is placed alongside a reference to the translation, a single reference to a passage from the second volume of Heinrich Schenker’s Das Meisterwerk in der Musik (at that time not yet available in English translation), one article in French by Guy Rosolato, and a juxtaposition of a few lines of Celan and Derrida in the original languages . Kramer’s 2002 Musical Meaning: Toward a Critical History is a little better, with one translation and one modified one from short passages of Wagner, one reference to Schiller’s Über Matthissons Gedichte, another to Adolph Bernhard Marx’s Ludwig van Beethoven: Leben und Schaffen (1859), two to short passages from Heinrich Heine, and a modified translation of a passage Goethe’s Wilhelm Meister, a couple of references to Brecht in German, and one to a contemporary article by Horst Weber on Schoenberg , but this is in the context of over 95% references to English language sources. In none of these books is there almost any evidence of grappling with modern non-English scholarship on the many subjects addressed therein.
Of the 16 essays contained in the 1993 volume edited by Ruth Solie, Musicology and Difference: Gender and Sexuality in Music, four of these (by Leo Treitler, Gretchen A. Wheelock, Nancy B. Reich and Suzanne G. Cusick ) make regular reference to non-English texts, three others (by Ellen Koskoff, Carolyn Abbate and Lawrence Kramer ) very briefly to one or two texts, the other nine to none at all. Linguistic ‘difference’, and all that can be gained in terms of perceptions of difference by studying the work of scholars in other languages, is clearly not a major priority here.
Another collection supposedly celebrating ‘difference’ the 2000 volume edited by Georgina Born and David Hesmondhalgh, Western Music and Its Others, contains 11 articles and an extended introduction. Of these, those by Jann Pasler, Philip Bohlman and Martin Stokes regularly engage with foreign texts , Richard Middleton deals with a degree of detail with Joseph Riepel’s Grundregln zur Tonordnung insgemein (1755) , and Claudia Gorbman includes a few French references; the other half of the book only references English-language sources; all others belong within its own ‘Others’.
Tia DeNora’s 2003 After Adorno: Rethinking Music Sociology quite incredibly only lists English translations of Adorno in its bibliography . The other foreign texts cited in the bibliography are Joël-Marie Fauquet and Antonine Hennion’s 2002 La grandeur de Bach, and Hennion’s 1992 La passion musicale  (alongside various texts of Hennion in English) and two Italian texts by Anna Lisa Tota . However, these references are deceptive. Fauquet and Hennion is simply listed as a text which considers ‘the material and linguistic cultures that come to frame musical texts, that help to draw out particular meanings’  , and Hennion’s one cited text only in French is cited as an example of ‘a range of theorists who highlight the importance of theorising action as inhabiting and taking shape within a cultural matrix’  Tota’s 1997 study is merely listed as an example of ethnographic studies , and the other not cited at all (unlike a text of Tota in English which is given very slightly more detailed engagement ). But this should not be surprising, as DeNora, is also the author of Beethoven and the Construction of Genius, a potentially interesting subject which is thoroughly marred by the lack of any sustained engagement with German-language primary sources , even despite the fact that there is no real engagement with the music either !
Certainly some of these scholars are able to read other languages (as demonstrated in McClary’s work on the Italian madrigal, for example ). But many of the very broad arguments presented in this work are, in my view, untenable and unscholarly when the frame of reference is so narrow. The New Musicology has enabled musicologists to dispense sweeping pronouncements on whole swathes of music without any obligation to familiarise with the existing range of scholarship – in multiple languages – first. I could argue more harshly that this whole field of musicology very often amounts to an assertion of Anglo-American superiority and hegemony behind a smokescreen of rhetoric of diversity; this may be somewhat hyperbolic, but not without some truth.
In some fields featuring practice-as-research or practitioners writing scholarship exhibit similar issues. For example, I note that none of the four chapters relating to the Twentieth Century in The Cambridge History of Musical Performance  (to which I am also a contributor, but on the Nineteenth Century ) reference any non-English language texts at all, an option which would have been unacceptable for any chapters dealing with earlier periods.
I find it hard to avoid the conclusion that these fields of musicology have gained their popularity in part because it appears to be possible to produce work in them without language skills. This consideration might also be borne in mind with the growing fashionability of ‘ethnomusicology at home’ , often freeing its protagonists from the considerable linguistic skills required to do extended fieldwork in other musical cultures. All of these things are fruitful fields of endeavour for those who want to be productive without putting in the same amount of work as those in some other more traditional fields of study.
Furthermore, in some of the above cases, it is more than a little ironic when some fields eager to brandish their supposedly multicultural credentials end up contributing to a narrow monolingualism. It would not be inapt, in light of the above, to question the real agenda behind some varieties of musicological thought involving easy dismissals of many things ‘European’.
The historian Richard Evans, in his published series of lectures Cosmopolitan Islanders, draws attention to the remarkable range of historians from the UK and US who have produced pioneering and penetrating work on the history of many places beyond the English-speaking world, in sharp contrast to a large number of their European counterparts, some of who treat attempts by Anglosphere historians to trespass upon their countries with great suspicion . Yet Evans feels that with the decline of language teaching, as well as other pressures (specifically in the UK) to do with requiring many students and academics to finish projects in a short period of time, this era is coming to an end, and he notes that the majority of his own PhD students are from outside of the English-speaking world.
There are still a significant (if dwindling) number of Anglophone academics researching music from a multilingual perspective. It would be tragic if these were allowed to dwindle to near-oblivion in the name of a narrow populist Anglocentric ideology dressed up as something ‘global’.
1. These six are Maria Stehle and Corinna Kahnke, ‘German Popular Music in the Twenty-First Century: Politics, Trends, and Trajectories’, Journal of Popular Music Studies, Vol. 25, Issue 2, pp. 123-126; Andrew W. Hurley, ”Jack of All Trades’ or ‘Double Agent?’ The German Popular Musician as Novelist’, ibid. pp. 127-153; Sean Nye, ‘Minimal Understandings: The Berlin Decade, The Minimal Continuum, and Debates on the Legacy of German Techno’, ibid. pp. 154-184; Corinna Kahnke, ‘Transnationale Teutonen: Rammstein Representing the Berlin Republic’, ibid. pp. 185-197; Priscilla Lane, ‘One Like No Other? Blaxploitation in the Performance of Afro-German Rapper Lisi’, ibid. pp. 198-221; Maria Stehle, ‘Pop-Feminist Music in Twenty-First Century Germany: Innovations, Provocations, and Failures’, ibid. pp. 222-239. The other six articles are Ulrich Adelt, ‘Stunde Null: Postwar German Identity in the Music of Michael Rother and Klaus Dinger’, Vol. 24, Issue 1 (March 2012), pp. 39-56; Pauwek Berkers, ‘Rock Against Gender Roles: Performing Femininities and Doing Feminism Among Women Punk Performers in the Netherlands, 1976–1982′, Vol. 24, Issue 2 (June 2012), pp. 155-175; Shannon Garland, ‘“The Space, the Gear, and Two Big Cans of Beer”: Fora do Eixo and the Debate over Circulation, Remuneration, and Aesthetics in the Brazilian Alternative Market’, Vol. 24, Issue 4 (December 2012), pp. 509–531; Falina Enriquez, ‘The Ins and Outs of Cultura: How Bands Voice Their Relationships to the State-Sponsored Music Scene in Recife, Brazil’, Vol. 24, Issue 4 (December 2012), pp. 532-553; Janice Protopapas, ‘Verses of Attack: Nāmdhārī Sikh Services of Halē dā divan as Sonic Weapons’, Vol. 24, Issue 4 (December 2012), pp. 554-577; and Magdelana Red, ‘Who are the “Emos” Anyway? Youth Violence in Mexico City and the Myth of the Revolution’, Vol. 26, Issue 1 (March 2014), pp. 101-120.
2. Kirstie A. Dorr, ‘The Andean Music Industry: World Music Geographies in the San Francisco Bay Area’, Journal of Popular Music Studies, Vol. 24, Issue 4 (December 2012), pp. 486-508, referencing Raul R. Romero, Sonidos Andinos: Una Antología de la Musica Campesina del Perú (Lima: Pontificia Universidad Católica del Peru, 2002). Tamara Roberts’ ‘Michael Jackson’s Kingdom: Music, Race, and the Sound of the Mainstream’, Vol. 23, Issue 1 (March 2011), pp. 19-39, references José Peñín’s ‘Música popular de masas, de medios, urbana o mesomúsica venezolana’, Latin American Music Review, Vol. 24, No. 1 (2003), pp. 62–94; while Tavia Nyong’o, in ‘Have You Seen His Childhood? Song, Screen, and the Queer Culture of the Child in Michael Jackson’s Music’, Vol. 23, Issue 1 (March 2011), pp. 40-57, references Amelie Dalmazzo’s “Michael Jackson, une figure de tous les temps”´, Charismes et Fascinations: L’ideal et le Monstre´, 7 July 2009.
3. Gregory Mitchell, ‘“Michael, eles não ligam pra gente!” Brazilian Rentboys, Queer Affinity, and the Michael Jackson Exception’, Journal of Popular Music Studies, Vol. 23, Issue 1 (March 2011), pp. 109-123, which cites Luiz R. B. Mott and Marcelo Ferreira de Cerqueira, Matei Porque Odeio Gay (Salvador, Brasil: Editora Grupo Gay da Bahia, 2003).
4. Heidi Carolyn Feldman, ‘Translation Acts: Afro-Peruvian Music in the United States’, Journal of Popular Music Studies, Vol. 22, Issue 2 (June 2010), pp. 139-165. The Spanish sources are Feldman, Ritmos negros del Peru: Reconstruyendo la herencia musical africana (Lima: Instituto de Estudios Peruanos and Instituto de Etnomusicología de la Pontíficia Universidad Catolica del Perú, 2009); Rosa Elena Vasquez Rodríguez (Chalena). La práctica musical de la población negra en Perú: La danza de negritos de El Carmen (Havana: Casa de las Americas, 1982); Diana Taylor, ‘Hacia una definicion de performance’, in Paolo Vignolo (ed), Ciudadanías en escena: Performance y derechos culturales en Colombia (Bogota:´Universidad Nacional de Colombia, 2009), pp. 29–35; Nicomedes Santa Cruz (Gamarra), Cumanana: Antología afroperuana (booklet to accompany LP) 3rd edition (Lima: El Virrey Industrias Musicales S.A. P6350 001/002, 1970).
5. R. Anderson Sutton, ‘Gamelan Encounters with Western Music in Indonesia: Hybridity/Hybridism’, Journal of Popular Music Studies, Vol. 22, Issue 2, pp. 180-197, cites Theodore Pigeaud, Javaans-Nederlands Handwoordenboek (Gronigen: J.B. Wolters, 1938). Andy Hicken, ‘”The Wishes of Your Parents”: Power Ballads in Tana Toraja, Indonesia’, Vol. 22, Issue 2 (June 2010), pp. 198-218 cites Dana Rappoport, Musiques rituelles des Toraja Sa’dan, musiques du Couchant, musiques du Levant (Célèbes-Sud, Indonésie) ´ . (Villeneuve d’Asq, France: Presses Universitaires du Septentrion, 1997); Rappoport, ‘Chanter sans etre ensemble: Des musiques juxtaposees pour un public invisible’, L’Homme 152 (1999), pp. 143–62; and J. Tammu and Hendrik Van Der Veen, Kamus Toradja-Indonesia (Rantepao, Indonesia: Jajasan Perguruan Kristen Toradja, 1972).
6. These are Teresa Fraile and Eduardo Viñuela, ‘Recent Approaches to Sound and Music in Spanish Audiovisual Media’, Music, Sound and the Moving Image, Vol. 2, Issue 2 (Autumn 2010), pp. 135-138; Julio Arce and Yolanda Acker, ‘The Sound of Silent Film in Spain: Heterogeneity and homeopatía escénica’, ibid. pp. 139-160; Laura Miranda and Dan Hamer, ‘The Spanish ‘Crusade Film': Gender connotations during the conflict’, ibid. pp. 161-172; Philippe Roger, ‘Land Without Bread: A film that never stops ringing’, ibid. pp. 173-176; Karen Poe and Benedict Hoff, ‘The Bolero in the Cinema of Pedro Almodóvar’, ibid. pp. 177-195; Jaume Radigales, ‘Music and European Identity: Notes on Pere Portabella’s The Silence Before Bach’, ibid. pp. 213-224; Josep Lluís i Falcó and Dolores Gadler, ‘The Film Composer in Spain: The generation of ’89’, ibid. pp. 226-235; whilst Martin Barnier, ‘The Sound of Fear in Recent Spanish Films’, ibid. pp. 197-211 cites equal numbers of English and French sources (mostly by Martin Chion), but not Spanish ones.
7. Tina Rigby Hanssen, ‘The Whispering Voice: Materiality, aural qualities and the reconstruction of memories in the works of Janet Cardiff and George Bures Miller’, Music, Sound and the Moving Image, Vol. 4, Issue 1 (Spring 2010), pp. 39-54. This cites Anne-Karin Lundeby, ‘Elsker man livet, ‘Går man på kino’ – en studie av kinopublikumet i Ouagadougou, Burkina Faso’, (Master’s thesis: University of Oslo, 2002); and Arnt Maasø, ‘Se-hva-som-skjer!’: en studie av lyd som kommunikativt virkemiddel i TV’ (Doctoral thesis: University of Oslo, 2002).
8. Miguel Mera, ‘Outing the Score: Music, Narrative, and Collaborative Process in Little Ashes’, Music, Sound and the Moving Image, Vol. 6, Issue 1 (Spring 2012), pp. 93-108. This article on the composition of the music for a film on the romantic/sexual attraction between Federico Garcia Lorca and Salvador Dalí cites three biographical sources: Ian Gibson, Lorca-Dali. El Amor Que no Pudo Ser. La Apasionante y Trágiva Amistad de dos Colosos de la España del Siglo XX (Madrid: Nuevas Ediciones del Bolsillo, 2004); Andrés Sorel, Yo, García Lorca (Bilbao: Zero, 1977) and Rafael Santos Torroella, La miel es mãs dulce que la sangre: Las épocas lorgquiana y freudiana de Salvador Dali (Barcelona: Seix Barral, 1984), though not, most surprisingly, any of Lorca’s poetry or theatrical work, nor Dalí’s seven volume Obras completas, seven volumes (Barcelona: Fundació Gala-Salvador Dalí, 2003-2006).
9. Kathryn Lachman, ‘Music and the Gendering of Colonial Space in Karin Albou’s Le chant des mariées’, Music, Sound and the Moving Image, Vol. 7, Issue 1 (Spring 2013), pp. 1-17. Linguistic limitations to the study of orientalism are not new, however; as has been pointed out by various commentators, Said focused entirely on British and French orientalists, and neglected many German and Hungarian figures (from nations which did not have a foreign empire encompassing the ‘orient’ during the periods in question), such as Joseph Freiherr von Hammer-Purgstall (1774-1856), Johann Gottfried Eichhorn (1752-1827), Friedrich August Wolf (1759-1824),Gustav Weil (1808-89), Gustav Leberecht Flugel (1802-70), the Schlegel brothers, Franz Bopp (1791-1867), Christian Martin Frähn (1782-1851), Ignaz Goldziher (1850-1921) or Joseph Schacht (1902-1969). On, the other hand, Said made too much of Arthur de Gobineau (1816-82), who Said had probably only read through a secondary source. See Malcolm Kerr, review of Orientalism, International Journal of Middle Eastern Studies, vol. 12 (December 1980), pp. 544-547; Albert Hourani, ‘The Road to Morocco’, New York Review of Books, Vol. 26 (March 8th, 1979), pp. 27-30; Bernard Lewis, ‘The Question of Orientalism’, New York Review of Books, Vol. 29, No. 11, pp. 49-56; and Robert Irwin, For Lust of Knowing: The Orientalists and their enemies (London: Penguin/Allen Lane, 2006), pp. 150-158, 168-173, 249-250. Peter T. Daniels goes further, to question whether Said really had any ‘discernable qualifications to speak on the topic’. See Daniels, ‘The Decipherment of the Near East’ in Daniel C. Snell (ed), A Companion to the Ancient Near East (Blackwell Companions to the Ancient World) (Oxford: Blackwell, 2004), p. 427. Similar criticisms are made by veteran French scholar Maxime Rodinson in Nancy Elizabeth Gallagher (ed), Approaches to the History of the Middle East: Interviews with leading Middle East Historians (Reading: Ithaca Press, 1994), p. 124.
10. Marco Alunno, introduction to and translation of ‘Cinema and Music (1937) by Ignacio Isaza Martínez’, Music, Sound and the Moving Image, Vol. 8, Issue 1 (Spring 2014), pp. 87-91.
11. Lori Burns and Jada Watson, ‘Spectacle and Intimacy in Live Concert Film: Lyrics, Music, Staging, and Film Mediation in Pink’s Funhouse Tour (2009)’, Music, Sound and the Moving Image, Vol. 7, Issue 2 (Autumn 2013), pp. 103-140. This cites one French source (Michel Bernard, ‘Quelques réflexions sur le jeu de l’acteur contemporain’, Bulletin de psychologie, 38:370 (1985), 421-424) alongside 30 other English-language text sources, but even the Bernard appears only to have been accessed via a secondary source in English (Patrice Pavis, Analyzing Performance: Theater, Dance, and Film (Ann Arbor, MI: University of Michigan Press, 2003)).
12. Tim Carter, review of Susan McClary, Conventional Wisdom: The Content of Musical Form (Berkeley, Los Angeles & London: University of California Press, 2000), ‘An American
in…?’, Music & Letters, Vol. 83, No. 2 (May 2002), pp. 274-278. As Carter puts it, to McClary ‘The French are rational beings who dance a great deal; the Italians are exuberantly erotic and always ready to mix sex with religion; the Germans are bourgeois burghers with festering morbid sensibilities (I exaggerate only slightly)’ (p. 277).
13. McClary, Conventional Wisdom, p. 175 n. 19. ‘La bella Donna intanto sul’ verde pavimento movea le molli piante, Ambiano l’erbe di prostrarsi al sue piè, parea che ì fiori apostati del sole a la novella luce chi nassero idolatri le cervici odorose— […] Ivi tuffa nell’acque il petto ignudo e sirena del Ciel dentro il liquido gel così confonde crome di foco a l’armonia dell’ onde’.
14. Ibid. p. 122. The citation and translation are ‘i miei gravi sospir non vano in rime, il mio duro martir vince ogni stile’ (my deep sighs will not submit to rhyme, my harsh martyrdom
defeats all styles) (Petrarch, ‘Mia benigna fortuna’, Rime sparse 332).
15. Susan McClary, Feminine Endings: Music, Gender, & Sexuality, revised edition with new introduction (Minneapolis and London: University of Minnesota Press, 2002) (first published 1991), p. 176 n. 1.
16. Ibid. pp. 177-178 n. 7.
17. Ibid. p. 179 n. 15.
18. Ibid. p. 180 n. 23.
19. Lawrence Kramer, Music as Cultural Practice 1800-1900 (Berkeley and Los
Angeles: University of California Press, 1990), pp. 3-4, 27, 167-168.
20. Lawrence Kramer, Classical Music and Postmodern Knowledge (Berkeley and Los Angeles: University of California Press, 1995), pp. 240, 257 n. 24, 268-9 n. 12, 272 n. 48, 279 n. 9, 289 n. 14.
21. Lawrence Kramer, Musical Meaning: Toward a Critical History (Berkeley, Los Angeles & London; University of California Press, 2002), pp. 290 nn. 6, 9, 292 nn. 4, 16, 298 nn. 18-19, 300 n. 35, 316 n. 1, 317-8 nn. 12, 14, 319 n. 25. The Horst Weber article is ‘‘Melancholisch düstrer Walzer, kommst mir nimmer aus den Sinnen!’ Anmerkungen zum Schönbergs ‘soloistischer Instrumentation’ des Kaiserwalzers von Johann Strauss, Musik-Konzepte 36 (1984), pp. 86–100.
22. Leo Treitler, ‘Gender and Other Dualities of Music History’, in Ruth Solie (ed) Musicology and Difference: Gender and Sexuality in Music (Berkeley, Los Angeles and London: University of California Press, 1993), pp. 23-45; Gretchen A. Wheelock, ‘Schwarze Gredel and the Engendered Minor Mode in Mozart’s Operas’, ibid. pp. 201-221; Nancy B. Reich, ‘Women as Musicians: A Question of Class’, ibid. pp. 125-146; and Suzanne G. Cusick, ‘Of Women, Music, and Power: A Model from Seicento Florence’, ibid. pp. 281-304.
23. Ellen Koskoff, ‘Miriam Sings Her Song: The Self and the Other in Anthropological Discourse’, ibid. pp. 149-163; Carolyn Abbate, ‘Opera; or, the Envoicing of Women’, ibid. pp. 225-258; Lawrence Kramer, ‘Carnaval, Cross-Dressing, and the Woman in the Mirror’ ibid. pp. 305-325. Koskoff’s article draws upon ethnographic work amongst a Hasidic Jewish community in Brooklyn such as clearly betokens wider linguistic skills in Hebrew and Yiddish, but only uses a few non-English texts. Abbate (p. 232 n. 14) references a few articles on cinema in French, though these may only have been accessed via a secondary source in English; also (p. 238 n. 26) Sarah Kofman’s Quatre Romans analytiques (Paris: Éditions Galilée, 1973), and (p. 243 n. 34) an essay from Christian Metz’s Essais sémiotiques (Paris: Klincksieck, 1977). Kramer simply cites one Goethe text in German (p. 308 n. 6).
24. Jann Pasler, ‘Race, Orientalism, and Distinction in the Wake of the “Yellow Peril”’, in Georgina Born and David Hesmondhalgh (eds), Western Music and Its Others: Difference, Representation, and Appropriation in Music (Berkeley, Los Angeles & London: University of California Press, 2000), pp. 86-118; Philip V. Bohlman, ‘Composing the Cantorate: Westernizing Europe’s Other Within’, ibid. pp. 187-212; Martin Stokes, ‘East, West, and Arabesk’, ibid. pp. 213-233.
25. Richard Middleton, ‘Musical Belongings: Western Music and Its Low-Other’, ibid. pp. 59-85. The reference to Riepel is on p. 63.
26. Claudia Gorbman, ‘Scoring the Indian: Music in the Liberal Western’, ibid. pp. 234-253. Gorbman cites (p. 252 nn. 16, 18) two French texts: Yves Kovacs, Le Western (1963; reprint, Paris: Gallimard, 1993) and Georges-Henri Morin, Le Cercle brisé: L’Image de l’indien dans le western (Paris: Payot, 1977).
26. Tia DeNora, After Adorno: Rethinking Music Sociology (Cambridge: Cambridge University Press, 2003), p. 159.
27. Joël-Marie Fauquet and Antoine Hennion, La grandeur de Bach (Paris: Fayard, 2002); Antoine Hennion, La passion musicale (Paris: Metaille, 1992).
28. Anna Lisa Tota, Etnografia dell’arte: Per una sociologia dei contesti artistici (Rome: Logia University Press, 1997); La memoria contesa. Studi sulla comunicazione sociale del passato (Milan: Angeli, 2001).
29. DeNora, After Adorno, p. 27.
30. Ibid. p. 126.
31. Ibid. p. 91.
32. Ibid. pp. 75.
33. Tia DeNora, Beethoven and the Construction of Genius: Musical Politics in Vienna 1792-1803 (Berkeley, Los Angeles & London: University of California Press, 1995). In the bibliography, DeNora cites nine German sources: the Allgemeine Musicalische Zeitung from 1798 to 1806 (p. 209), Marthe Bigenwald’s Die Anfange der Leipziger Allgemeinen Musikalischen Zeitung, reprint (Hiversum: FAM Knuf, 1965) (originally published 1938); Eduard Hanslick’s Geschichte des Concertwesens in Wien, reprint (New York: Olms, 1979) (originally published 1869); Herbert Matis, Herbert. “Die Grafen von Fries”, Tradition: Zeitschrift für Firmengeschichte undUnternehmenbiographie, Vol, 12 No. 1 (1967), pp. 484-96; Ludwig Nohl, Beethoven’s Leben, four volumes (Leipzig: Günther, 1864); Gustav Nottebohm, Beethoven Studien 1 (Leipzig: Winterthur, 1873); Otto G. Schindler, ‘Das Publikum des Burgtheaters in der Josephinischen Ära: Versuch einer Strukturbestimmung’, in Das Burgtheater und sein Publikum, vol. 1. (Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 1976), pp. 11-96; J. Schönfeld, Jahrbuch der Tonkunst von Wien und Prag (facsimile), edited Otto Biba, reprint (Munich: Emil Katzbichler, 1976), (originally published 1796); Hannes Stekl, ‘Harmoniemusik und ‘turkische Banda’ des Furstenhauses Liechtenstein’, Haydn Yearbook 10 (1978), pp. 164-75; and Constantin Wurzbach, Biographisches Lexikon des Kaiserthums Oesterreich, 1750-1850 (Vienna: K. K. Hof- und Staatsdruckerie, 1856-91). But once again this is deceptive: most of the AmZ references come from secondary sources in English translation; Bigenwald is simply a ‘See also’ (p. 205 n. 11), Schindler and Matis are just sources mentioned in brackets alongside an English one (pp. 30, 47), Nohl is mentioned because cited by Maynard Solomon (p. 138), Nottebohm is cited briefly on errors in some manuscripts (p. 105, 135), whilst the references to Stekl (pp. 40-41, 51) come from a translation by Julia V. Moore (‘Beethoven and Musical Economics’ (PhD. dissertation: University of Illinois, Urbana-Champaign. 1987). Wurzbach is used for a description of Schönfeld (p. 167) and for compiling a list of Viennese patrons (pp. 21-23). Hanslick’s history gets one paragraph’s serious attention (pp. 37-38), whilst two sentences are translated from Schönfeld (p. 40), a few other phrases elsewhere (pp. 42, 106, 154) and he is alluded to briefly in several other places (pp. 43, 46, 87-89, 102, 113, 116, 167-8, 195 n. 13, 196); another citation comes from a translation of H.C. Robbins Landon (Beethoven: A Documentary Study (New York: Macmillan, 1970)) (p. 87). Else Radant Landon is thanked for providing information on the Schönfeld families (p. 204 n. 9) and it is possible most of this information may have come from this source.
34. A scathing but well-focused critique of this book is Charles Rosen, ‘Beethoven’s Career’, in Critical Entertainments: Music Old and New (Cambridge, MA: Yale University Press, 2002), pp. 105-124.
35. Susan McClary, Modal Subjectivities: Self-Fashioning in the Italian Madrigal (Berkeley, Los Angeles & London: University of California Press, 2004).
36. These are Stephen Cottrell, ‘Musical performance in the twentieth century: an overview’, in Colin Lawson and Robin Stowell (ed), The Cambridge History of Musical Performance (Cambridge: Cambridge University Press, 2012), pp. 725-751; Jane Manning and Anthony Payne, ‘Vocal performance in the twentieth century and beyond’ ibid. pp. 752-777; Roger Heaton, ‘Instrumental performance in the twentieth century and beyond’, ibid, pp. 778-797; William Mival, ‘Case study: Karlheinz Stockhausen: Gruppen für drei Orchester‘, ibid. pp. 798-814. The latter in particular devotes a disproportionate amount of attention to British performances of this work and their reception.
37. Ian Pace, ‘Instrumental performance in the nineteenth century’, ibid. pp. 643-695.
38. This is a field with its own ‘canon’ of works, often treated almost like scripture by members of this sub-culture. Time and space do not permit for a detailed examination of this here, but I intend to embark upon such a thing in some format in the future.
39. Richard J. Evans, Cosmopolitan Islanders: British Historians and the European Continent (Cambridge: Cambridge University Press, 2009).
40. Ibid. pp. 189-234.
Originally posted on cathyfox blog:
Is this the answer to a trial for Janner or will the kakocracy stop it?
HT to Dan for finding this article which can also be found at Western Morning News  under the following slightly inaccurate headline.
Man found guilty of abusing six under-age girls
Posted : May 15, 2010
A DEVON man has been found guilty of abusing six under-age girls in a trial held in his absence at Exeter Crown Court.
Jurors yesterday unanimously found that Michael Collingwood, now 69, of Tedburn St Mary, near Exeter, committed 23 sex offences, including raping one girl.
Judge Paul Darlow instructed the jury to formally enter not guilty pleas to the other six sex offence allegations.
Jurors heard the trial in Collingwood’s absence after being told he suffers from severe dementia.
The jury forewoman, giving her verdicts, was required to say she found Collingwood “did the act charged”…
View original 190 more words
Some reports from the 1960s and 1970s show how early on his career as a lawyer and politician, Greville Janner took a great interest in issues affecting children. This would be utterly consistent with the behaviour of paedophiles, and some of the causes and the nature of the way they are presented, is also consistent with the mentality of the Paedophile Information Exchange as revealed through their publication – or the supposed empathy with children to be found in both life and work of Benjamin Britten. Paedophiles will often present themselves as advocates for children’s rights (one PIE publication was called Childhood Rights) in order to gain children’s trust and the opportunity to have maximum contact with them.
Have a look at the below and decide for yourself. I feel a lot of it now seems very disturbing.
ADDENDUM: Barbara Brown posted the following on Twitter:
‘He [Janner] was to lecture Human Rights students at Ruskin re PIE’s stance on sex with children but we were not happy and he got cold feet.’
And below here she posted the following reply to my question about when this occurred:
‘Ruskin College Oxford late 70’s early 80’s as I remember. It was a short residential course summertime mainly trade unionists/ working men/ just myself (female ) and two other women in their twenties. I think I was seconded by local Labour party ( so long ago ) . We heard he was coming down from London and feelings ran high. He failed to turn up. You won’t find any record as all Ruskin records have been destroyed…. Some of the course participants were from Scotland–some miners I think but not sure about that.
The Guardian, August 8th, 1964
The Times, June 22nd, 1966
Daily Mail, March 15th, 1972
The Guardian, May 11th, 1972
The Guardian, May 23rd, 1972
The Guardian, May 29th, 1972
Daily Mail, September 16th, 1972
The Guardian, November 25th, 1972
Daily Mail, March 15th, 1974
This picture from 1974 was reproduced in Guy Adams, ‘Child sex claims, a police ‘cover-up’ and troubling questions for a Labour peer’, Daily Mail, October 3rd, 2014.
The Times, May 5th, 1974
Evening News (Edinburgh)
May 29, 2001, Tuesday
Tom Curtis, ‘Nazi War Suspect to be Extradited’
Konrad Kalejs, 87, is wanted in Latvia for alleged atrocities committed during the Second World War.
The news of Kalejs’ case came as the head of Britain’s all-party war crimes group criticised the delay in extraditing Gecas – wanted in Lithuania – and called for him to be tried “without delay”.
Kalejs arrived in a wheelchair to hear Melbourne magistrate Lisa Hannan’s decision, delivered after weeks of hearings.
Defence lawyers immediately said they would appeal against the ruling, describing it as “inhumane and unjust”.
Kalejs left Britain for Australia last January after Nazi hunters tracked him down to a retirement home in Lutterworth, Leicestershire.
Home Secretary Jack Straw previously insisted there was nothing Britain could have done to bring him to trial.
Kalejs had already been ordered to leave the United States and Canada because of allegedly lying about his wartime record.
Latvia indicted him for allegedly taking part in atrocities during the 1941 -44 occupation when 80,000 Jews were killed.
He is accused of being a guard at the Salaspils concentration camp near Riga, where Jews and Russian prisoners of war were executed, tortured or died of malnutrition.
Jewish and human rights groups claim he was an officer in the Arajs Kommando, a Nazi-sponsored death squad responsible for the murder of 30,000 Latvian Jews. He denies all the charges.
He was arrested in Australia last December after Latvia requested his extradition. He is staying on bail at a home for the elderly.
Today, two months after Lithuanian prosecutors issued an arrest warrant for Gecas, followed by an extradition request, Lord Janner urged the British authorities to act “as swiftly as possible.” His comments increased pressure on Justice Minister Jim Wallace, in charge of deciding the merits of the case.
Gecas, 85, who lives with his wife, Astrid, and their two children in Moston Terrace, is alleged to have been a member of a Lithuanian police battalion which collaborated with the Nazis during the Second World War.
His unit is said to have been responsible for the deaths of up to 30,000 civilians.
He was publicly named as a war criminal nine years ago and then lost a libel case, during which the judge said he was satisfied Gecas was responsible for war crimes. But the Crown Office decided there was not enough evidence for a criminal prosecution.
Failure to see him brought to trial contributed to Britain’s recent poor showing in a league table by the Jewish Simon Wiesenthal Centre.
Mr Wallace told the Scottish Parliament two weeks ago he had asked for further details on Gecas from the Lithuanian authorities.
Lord Janner, Britain’s leading Holocaust campaigner and secretary of the cross-party parliamentary war crimes working group at Westminster, said: “The authorities should move as swiftly as possible to deal with this horrendous case. He should be extradited and tried without delay. I’m concerned at any delay in this matter.”
SNP MSP Lloyd Quinan said: “The lack of urgency over this whole situation is appalling.
“For the Scottish Executive to drag its heels like this puts Scotland in a very bad light.”
A spokeswoman for the Scottish Executive said officials could not be contacted to update the position.
Gecas, who was admitted to hospital earlier this month after suffering a suspected stroke, denies the allegations. His lawyer has said he may be too ill to stand trial.
The Guardian (London)
August 13, 1997
Duncan Campbell, ‘Alleged Nazi War Criminal dies at 86′
THE first man to be brought to court under modern war crimes legislation has died in hospital.
Szymon Serafinowicz died in hospital last Thursday, aged 86, his solicitor, Ted Dancey, said yesterday. He had been ill since April.
In January, an Old Bailey jury decided that Serafinowicz was unfit to stand trial on three counts of murders said to have taken place in Belorussia – now Belarus – when it was under Nazi occupation in 1941 and 1942.
Mr Dancey said yesterday that his client’s condition had deteriorated after the death in April of his younger son.
Serafinowicz moved to Britain after the war, settled in Surrey with his Polish -born wife, who died in 1993, and worked as a carpenter. He was arrested in 1993 under the 1991 War Crimes Act.
He was charged originally with four murders in the villages of Kryniczne and Dolmatowszczyzna and the town of Mir between November 1941 and March 1942 when he had been first police chief and then police district commander working with the Nazis. One case was dropped by the Crown Prosecution Service before trial.
Witnesses against him were due to fly from South Africa, Israel, the United States and Siberia. Serafinowicz denied the offences.
His lawyers argued at the Old Bailey that he was suffering from senile dementia, which made it impossible for him to understand fully the trial process. The jury heard from defence and prosecution psychiatrists about his ability to follow the case.
Serafinowicz, who appeared to be frail, was allowed to move out of the dock and sit with his lawyers. The jury decided unanimously he was not fit to plead and the case was dropped.
His prosecution raised the issue of whether similar cases should be brought after such a length of time. Four more cases are pending after investigations identified 369 people – 112 of them deceased – as being suspected war criminals who moved to Britain after the war.
David Cesarani, of the all-party parliamentary war crimes group, said yesterday: “Justice has caught up with him very late in the day. The fact that there was no verdict in this case leaves open the question of whether he was guilty or innocent. If this case had been pursued with energy and efficiency at an early stage he may have been acquitted and lived without a shadow over him or been convicted and spent a time in prison.”
Former Labour MP Lord Greville Janner, vice-president of the World Jewish Congress and chairman of the Holocaust Educational Trust, said he was disappointed that Serafinowicz had not been brought to trial sooner.
A 1940s war crimes investigator himself, Lord Janner said: “There was an abundance of evidence alleging individual and mass murders against him. I am sorry that he was not tried while he was fit enough to stand. War criminals have managed to evade prosecution under our system of justice for decades. There were absolutely no reasons why he should have escaped charges for ever.
“The CPS had a huge file of powerful evidence against him. He was accused of individual involvement in more than 3,000 murders.
“His defence was that he saved a few lives. But all Nazi killers saved families. It was like an insurance policy.
“Serafinowicz was typical. There were thousands of killers involved in carrying out the Holocaust – and not just Germans. The allegations accuse him of being a typical Nazi killer on a massive scale. I’m very sorry that more have not come to court.”
One of the principal witnesses against Serafinowicz, Oswald Rufeisen, a Jew who posed as a Pole to save his own his life and secure interpreting work with Serafinowicz, said he felt no bitterness towards him. “About the dead, say nothing but good. About his judgment, he has his own judge, I cannot judge him.”
In a recent scathing article on contemporary academia (‘The Slow Death of the University’, Chronicle of Higher Education, April 3rd, 2015), Terry Eagleton mentioned one university bureaucrat who actively tried to discourage academics from keeping too many books, lest they build ‘private libraries’. Heaven knows what this individual would think of my own shelves heaving with books, though I have encountered adverse comments from some disinclined to do any sort of research requiring more than a small range of standard texts.
As a passionate bibliophile, for whom when young buying books was the ultimate indulgence, I tend to be discouraged by academics in the arts and humanities who do not love or buy many books, though accept that some texts may be better kept in electronic form. But more important, for academics in the field of music, is to ask whether they love to listen to music, and as such go to concerts, listen to recordings and so on (do they have recordings or sound files in their office, has the CD player ever been turned on in years)?
Unfortunately I have encountered too many academics – not a majority, but still too many – who have very little interest in listening to music, at least in a manner which requires any sustained attention. Some even have a sneering and superior attitude to anyone who really cares about music at all, and exhibits any enthusiasm for it. I have even had the misfortune to be faced by the argument that playing music in lectures is a waste of time. I find those people of this persuasion, and much of their work, life-denying, bleak and depressing, and this tendency is fundamentally in opposition with every reason I wished to be a scholar myself, and all the values I wish to encourage in students.
There are various disciplines which, at worst, serve in large measure to enable the scholar to ‘dominate’ the object of their study. These enable the scholar to stand in a position of superior judgement to other people or the fruits of their endeavours, dissecting them in a judgmental fashion, frequently of a dismissive variety. Amongst the disciplines I would characterise as prone to this are psychoanalysis, some varieties of anthropology and ethnography, and indeed some types of ideology critique and other forms of cultural ‘interrogation’ (including some undertaken from the position of gender studies, post-colonial studies, orientalism and so on). Ultimately, many serve to flatter the scholar, and thus inflate their scholarly capital within the field of academia, but what is their wider value?
I fear that this is equally the case with musicologists not interested in engaging with, listening to, and opening up their own ears and minds to music, treating it instead at most as something to be consumed and then even excreted, or basically ignored in an aural sense. I am reminded of the character Tom Townsend in Whit Stillman’s 1990 film Metropolitan, who opines that ‘You don’t have to read a book to have an opinion’ and as such prefers to read literary criticism rather than novels. There is no humility in this attitude, no real interest in reading or listening to others, just a desire to gain power by having the type of opinion which would impress.
Similarly, it is too often possible to write musicology entirely on the basis of others’ views of music, without ever listening carefully to it oneself. Some of this can brush off on students; I have certainly read and marked far too many essays of this type. Many appear to stem from a fundamental self-consciousness about arriving at one’s own conclusions (and being judged upon those).preferring instead the safety of the already-tried and tested; in reality just another form of essential plagiarism even when sources are attributed. In a recently published review-article of mine (‘Ferneyhough Hero: Scholarship as Promotion’, Music and Letters, Vol. 96, No. 1, pp. 99-112), I felt the need to comment that most of the book could have been written without any aural experience of the music (pp. 101-102), and this is far from being the only text by a music academic about which I could say this.
The very last thing for which I would argue (indeed, have argued strongly against here and here) is a type of musicology which adopts a thoroughly servile relationship towards practice, and essentially fulfils a promotional function for practitioners. Nor for various of the species of ‘practice-as-research’ which do not succeed as a genuine interplay between theory and practice (the best realisation of such work) but simply serve as a diary or other form of unreflexive documentation of practical activity. It is imperative that musicologists maintain some degree of critical distance from the object of their study, and that the integrity of their judgement is not compromised by other professional considerations (a difficult issue for practitioner-scholars, in which category I count myself; too many fail to consider these issues). I have also seen too many events featuring guest composers in academic environments which amount essentially to love-ins, whose whole atmosphere preclude consideration of any response other than adoration.
But on the other hand, if one does not in some sense enjoy music, and want to listen to it, then why spend a good part of a lifetime studying it? If the urge is to dominate, in the manner I described above, then I think this is rather sad and even a little pathetic; this type of work (which I link to the field of ‘cultural studies’) rarely has much impact outside of academia other than to legitimise broad dismissal of vast swathes of work without listening. Nowhere is this more prevalent than in a good deal of writing on modernist music; it is far easier to be told that this music is little more than a repository for white male elite privilege, and thus can be safely ignored, than have to spend any time grappling with it oneself. This combination of populist dumbing-down and cynical appropriation of identity politics characterises the worst and most destructive of all academic writing; if the majority of the humanities were to become like this, I would find it hard to mourn their demise.
Happily, there is plenty of musicology which is not of this nature, and carried out by scholars with a real love or fascination for music. Not all music is of course of equal value, and some music is worth studying even when it is not of the highest order. A fair amount of repertoire has fallen into neglect for good reason and would be unlikely to stand up well to repeated exposure today, but it can be worth studying to gain a deeper knowledge of and insight into styles, genres and practices of its time and place. Some music which served particular social functions is of interest so as to understand more about those functions and the types of ceremony they entailed, not least in the case of dictatorial regimes. I have personally even considered (only briefly, so far) why some music might appeal to those of paedophile tendencies, and whether there might be recurrent stylistic features which might even make possible the codification of such a sub-category.
I do genuinely believe that some of the now-forgotten music of the Third Reich or Soviet Union, composed by musical ideologues keen to serve the regime, should occasionally be heard in concert, however contentious this might be. Not least for the sake of us scholars who would like the chance to actually hear it live and gain a deeper sense of the effect it might have had in its original context, but also to force more serious consideration of whether such music demands an engagement beyond reduction to social and aesthetic-ideological history. In many cases of relatively prominent composers active and/or successful in the Third Reich (e.g. Richard Strauss, Hans Pfitzner, Carl Orff, Werner Egk, Wolfgang Fortner, Winfried Zillig and others), I can usually identify some musical elements which resonated with wider aspects of the ritualised culture (though not necessarily less compelling as a result – opening oneself to why they (or, say, the films of Leni Riefenstahl) might have been compelling is an essential part of understanding the elemental power of sacralised aspects of that society), but in no cases could I account for everything significant about the music in this manner. And there is no reason to assume this could never be the case for more minor composers as well. I would certainly not dismiss considerations of how ideologies of ethnicity, gender and more might be codified into musical language (I teach students to consider such things, for example in the context of nineteenth-century exoticism), especially in operatic and programmatic work, but cannot see why one would spend much time on these if the music was nonetheless still worth hearing.
To dissolve musical engagement into a footnote to social or cultural history, sociology, anthropology or whatever is really to give up on musicology as a profession deserving of its own identity. At a time when, in the UK at least, funding opportunities are enhanced by the extent to which one can spin one’s work as being ‘interdisciplinary’, it is not difficult to see the temptation to bracket out the specifically musical content, especially when few scholars in other disciplines are prepared or competent to gain the technical and analytical skills to engage themselves in depth with music.
Musicology remains an important and stimulating profession, but should be pursued by those interested in using their ears, and with a real love or fascination for music. Others would find their time more profitably spent in other fields.
Addendum: A further thought which occurred to me when reflecting upon scholarship as ‘domination’, and thinking about the fundamental ambiguity of sounding music. This is not a mystification or other attempt to render music beyond meaning, simply to point out the extent to which it exceeds attempts to contain it within particular boxes. To me this is a strength rather than a weakness of music (and something of the same can be said of various visual arts, poetry and other media), but it frustrates the attempts of those who aim for total domination. For this reason, those possessed by the will-to-dominate frequently need to bracket out sounding content.