My contribution to the debate ‘Are we all ethnomusicologists now?’

The following is a text from which I read an abridged version at the debate at City University on ‘Are we all ethnomusicologists now?’, which took place on June 1st, with panelists Amanda Bayley, Tore Lind, Laudan Nooshin, Michael Spitzer and myself. This entailed a series of statements and then a debate following on from Nicholas Cook’s article ‘We Are All (Ethno)musicologists Now’, in The New (Ethno)musicologies, ed. Henry Stobart (Lanham, MD: Scarecrow Press, 2008), pp. 48-70.

The text and powerpoint slides used by Nooshin for this event can be viewed here. This statement contains the outlines of arguments I will be pursuing in more detail, with full references, in a forthcoming article. The filmed debate will be made available online soon, and furthermore some accounts and responses to it will also be going online at the Music at City blog. [EDIT: These are now online here. Furthermore, Michael Spitzer’s statement can be viewed here]

I have also posted a long section from the earlier ‘outsider’ critique of ethnomusicology by J.P.E. Harper-Scott, which is given with commentary (and a related passage from Aijaz Ahmad) here.

 

Are We All Ethnomusicologists Now?

Position Statement by Ian Pace, for debate at City University, June 1st, 2016.

 

The Term ‘Ethnomusicology’

The very term ‘ethnomusicology’ has obvious implications through the use of the prefix ‘ethno’, which Nooshin and others have suggested is itself problematic. Despite the non-geographically-specific origins of the Greek term, nonetheless the long history of ‘ethnomusicology’ having dealt with musical cultures outside of the Western art tradition, whether folk and vernacular traditions in the West, or musical cultures (including ‘high cultures’) from the non-Western world in particular, together with the contemporary resonances of ‘ethno’ or ‘ethnic’, all suggest something post-colonial, anti-imperialist, on the side of the wider masses, and so on. Who of an even vaguely left-of-centre political persuasion would want to be seen opposing such a thing? But this is different when the object of study for this sub-discipline is Western art music, and it is on this body, or even canon, of work in English that I intend to concentrate today. In general, I believe it is always a cause for concern when any type of scholarship is judged more for its politics than its scholarly rigour, whatever those politics might be, and ethnomusicology of whatever type should not be immune from critique for purely political reasons.

 

Own positions – introduction

The very last thing I would want to do is in any sense deny the value of studying music from outside the Western art music tradition; on the contrary, I believe it is essential. In the context of my own work on Michael Finnissy I have drawn extensively on ethnomusicological and folkloristic work, including John Blacking on Vendan African music, Alexis Chottin on Moroccan and Berber music, Habib Touma more widely on Arabic music, Diego Carpitella and others on Sardinian folk music, Samuel Baud-Bovey on Cretan folk music, Michael Hauser on Traditional Greenlandic music, any number of writers on African-American spirituals, and much else, not to mention related issues of orientalism and exoticism in music. These latter concerns have involved engagement not only with the tradition of Edward Said and later post-colonial theorists, but also alternative perspectives and critiques provided by the likes of Albert Hourani, Maxime Rodinson, Aijaz Ahmad and others.

I do not think however that we should have to be over-apologetic about a certain Eurocentrism in music study in Europe. Nor for the fact of being drawn to various types of music from very different social contexts primarily as a result of attraction to the sounds they make.

Nor would I wish in any sense to deny the vital importance of studying the social and political context of music and music-making. Ten years or so ago, I would get into furious arguments with some conservative musicians and others who were adamant that it was wrong to ‘bring politics into music’, and all my teaching and research into music history and other subjects involves a good deal of wider consideration of history, society, ideology, economics, the workings of musical institutions, and so on.

Yet nowadays I am deeply concerned, not about the incorporation of a plurality of approaches to music, but at the potential for subsumation of musicology into other disciplines, to such an extent that it loses any distinct identity of its own.

 

The Canon of Ethnomusicology of Western Art Music

On the hand-out you will find a bibliography I have compiled of relevant texts. I do not claim this to be comprehensive, but do believe it gives a fair range of what I would characterise as canonical works in this tradition. To keep the list within manageable limits, I have omitted studies of the performance and reception of Western art music outside of the Western world, such as the interesting work of Rachel Beckles Willson, Ben Etherington, Geoff Baker or Suzanne Wint, or various work dealing with the role of Asian musicians and music in Western traditions, such as that of Yayoi Uno Everett and Frederick Lau, Sheila Melvin and Jindong Cai, and Mari Yoshihara. There are three texts on the bibliography which time has not permitted to read: Livingston, which I haven’t been able yet to obtain (but am working on it), Chaikin and the full dissertation by Usner; so I will not refer to these.

I would separate out from my critique the excellent book by Michael Chanan which is really of a quite different nature to most of the others. This is really a social and economic history of music, in a long tradition of the work of Combarieu, Weber, Bloch, Mellers, Blaukopf, Raynor, Durant, and others, including some working in the former Soviet Bloc. Also I feel the work of Peter Jeffrey, to which I will return, is on another level of depth and expertise compared to most of the others, though not without some significant problems.

 

Sub-disciplines and issues of territory

As many have commented, defining ethnomusicology as a sub-discipline can prove elusive. But we still have scholars who self-identify as ethnomusicologists, and others who do not. Now there are very few ethnomusicology degrees in the UK, and as such ethnomusicologists have to find work on degree programmes simply identified as ‘music’. And while many popular music or music technology degrees are allowed to have dedicated degrees in which specialists in those fields can choose the whole core curriculum, those courses centered upon Western music, history, analysis, etc., are most frequently the ones which need to incorporate the ethnomusicologists. This can cause a good deal of tension, as found in various faculties.

In much of the literature I am considering (and also in the so-called ‘new musicology’), the writers spend a lot of time maligning Western art music, and so-called ‘traditional musicology’, often without detailed knowledge of either field – straw man characterisations are frequent, as for example in the work of Henry Kingsbury, Bruno Nettl, Stephen Cottrell or Pirkko Moisala. At the same time, I have seen no other sub-discipline so jealously defensive and keen to assert its own superiority, nor which spends so much time talking about itself in a somewhat cliqueish manner, endlessly telling its own story and creating its own canons of hallowed figures, as for example with Shelamay’s recounting of the figures behind the great ‘milestones’ of ethnomusicology: Alan Merriam, Alan Lomax, Timothy Rice, Mark Slobin, and equally revered non-musical sources such as the work of Clifford Geertz and Arjun Appadurai. Almost every writer in the canon I have drawn up cites most of the others before them, not least the work of Kingsbury, Philip Bohlman, Ruth Finnegan and Nettl, thus locating themselves within a newly constructed ‘great tradition’. Internal critique is very rare.

It often appears as if the simple fact of having employed what is identified as an ethnomusicological approach to the study of Western art music is enough to win any such writer a seat at the top table, and this overrides any more sober critical investigation of their work. This is the attitude I find in Kay Kaufman Shelemay, Jonathan Stock, Cottrell, Tina K. Ramnarine, Moisala, Laudan Nooshin and some others. As such, in a relatively self-regulating world – through the processes of peer review, external examination and so on – what I believe to be very serious flaws in a good deal of this work, in terms of relatively standard scholarly criteria, are frequently overlooked. This is an approach which says as much about territorial motivations than any concern for fair and rigorous assessment of scholarship, and I find it very unhealthy.

Now I want to give you two quotes from John Blacking and Henry Kingsbury.

It is not enough to identify a characteristic musical style in its own terms and view it in relation to its society (to paraphrase a definition of one of the aims of ethnomusicology by Mantle Hood, who has done more for the subject than almost any other living ethnomusicologist). We must recognize that no musical style has “its own terms”: its terms are the terms of its society and culture, and of the bodies of the human beings who listen to it, and create and perform it.

John Blacking, How Musical is Man? (Seattle and London: University of Washington Press, 1973), p. 25)

The standard rhetoric for this is that music be studied “on its own terms,” a phrase which generally means that certain abstract concepts (“melody,” “harmony,” “rhythm”) are to be analysed in terms of other similarly abstract terms (“structure,” “form,” “development”). The prevailing idea is that music is not to be understood in terms of its sociocultural context, but rather in terms of its internal organization and cohesion.’

Henry Kingsbury, Music, Talent, & Performance: A Conservatory Cultural System (Philadelphia: Temple University Press, 1988), p. 16.

I was once told that if I did not judge ethnomusicology, or some other types of research, on their own terms, I should not be assessing them at all. But I believe that what’s sauce for the goose is sauce for the gander. I do not identify as an ethnomusicologist, but I have read a reasonable amount of such literature. Some would say though that I am unqualified to have a view, but by the same token, many ethnomusicologists would be disqualified from speaking about other musical disciplinary areas or fields of practice about which they do not hesitate to pronounce – not least, for example, Born and others on modernist music, about which there is little evidence of any detailed engagement or familiarity.

This is one reason why I want to concentrate my own critique on a limited sub-section of ethnomusicology, rather than claiming to be able to make sweeping statements about a whole discipline, something I doubt many, including many ethnomusicologists, could really do, unless able to read a huge number of languages and derive expertise in practically all the musics of the world.

 

Music in social and cultural context – dialectical approaches

The study of music in a wider social context is actually nothing like as new as sometimes suggested; even Nicholas Cook concedes this when mentioning musicological traditions from outside of the English-speaking world. But this can take various forms. I want to consider the following statement from Bruno Nettl, which appears in his book Heartland Excursions:

A major theme of ethnomusicological discourse is that fundamental values of a culture are expressed in its music.

The word ‘society’ could also be substituted for ‘culture’ if one wishes to give this statement a more sociological rather than anthropological feel. I do find this statement, at least if applied in a general manner, to be reductive and limiting. In its most fundamentalist manifestation – and I do recognise that this is not true of all ethnomusicological work – it resembles what was once called a ‘vulgar’ form of Marxism, by which all elements of a societal superstructure are nothing more than a by-product of the economic base. Engels in particular in some important late letters rejected this view and argued Marx also did (and there is significant evidence for this in his writings), maintaining that the relationship was more dialectical, and that the superstructure could reflect back upon and affect the base. Acceptance of this dialectical formation underlies a good deal of continental Western Marxism in the 20th century, and I would argue strongly for a similar model for the relationship between music or any other specific cultural form and the wider social and cultural context in which it occurs. I do not believe that there are many contexts which one can use to account for every detail of the music emerging from therein (I will concede there are a few), and so this makes for degrees of ‘relative autonomy’. In some societies, not least advanced industrial ones, is there not an important place for some dissident culture, which wishes to confront that society? In contrast to this, the reductive view I describe ultimately leads to the politics of Zhdanov, and I would characterise hostility towards consideration of aspects of musical autonomy in such a fashion.

Nettl also writes about how the ethnomusicologist should try to avoid doing anything to affect the culture being studied. Over and above the question of whether this is indeed possible, even just through writing and publishing about it, I wonder why this should always be paramount? As Marx famously said, philosophers have only interpreted the world, the point is to change it; the same might be said of some anthropologists and ethnomusicologists. But many of these latter are not, say, education reformers with positive proposals for meaningful change, but those embroiled at the heart of academic systems and seeking academic capital through the allegiances and ideologies of their work. I find this somewhat futile and symptomatic of an academic world whose social engagement is little more than skin deep.

Walter Benjamin argued that there no record of culture which is not also a record of barbarism; even if this is hyperbolic, there are plenty of cases for which this is true. Instead of fetishizing cultures simply by being able to be labelled as such, I believe we might do better to look for those aspects of cultures which are worth valuing in contemporary contexts.

Much of the ethnomusicological work I have been looking at does not simply consider the relationship between sounds and contexts, but brackets out sounding music out entirely. Without detailed consideration of the specifics of musical material, it is impossible to gauge the possibility of a dialectical relationship between sounds and context, and I believe this is one reason why many writers do not do so.

What remains is what I call ‘musicology without ears’. This requires little in terms of traditional musical skills (in whatever tradition), and I believe the more this achieves a dominant or hegemonic place within contemporary musical education, the more it contributes to what I have referred to elsewhere the deskilling of a profession (meaning the loss of many skills specific to that discipline). Musicology can become little more than a more elementary sub-section of sociology, anthropology, cultural studies, but rarely with the breadth or depth of methodological awareness to be found in some of those other disciplines (though I have wider doubts about cultural studies/industries in general). This can facilitate the ominous possibility of musical departments being closed or simply incorporated into others. With this in mind, I would suggest that musically deskilled ethnomusicology might itself be better housed within these other disciplines already.

 

The Limits of Ethnography Alone

Now I have another quote on slide from a 2014 article by anthropologist Tim Ingold, ‘That’s enough about ethnography’, which I would just like to give as background to what I am about to say.

“Ethnographic” has become the most overused term in the discipline of anthropology. It is hard to say exactly when the term broke loose from its moorings, or what the reasons were for its subsequent proliferation. These reasons are undoubtedly complex and could be the subject for a separate historical study. My concern in this article, however, is prospective, not retrospective. For I believe that this overuse is doing great harm to anthropology, that it is holding it back while other fields of study are surging forward, and that it is actually preventing our discipline from having the kind of impact in the world that it deserves and that the world so desperately needs. And because the cause is desperate, I shall not refrain from polemic. The tenor of what follows is partisan, and deliberately so. I am sick and tired of equivocation, of scholarly obscurantism, and of the conceit that turns the project of anthropology into the study of its own ways of working. A discipline confined to the theatre of its own operations has nowhere to go. In its spiraling descent into irrelevance, it has no-one and nothing to blame other than itself.

My aim is not to eliminate ethnography, or to expunge it from our anthropological consciousness. Nor is it to underrate its significance, and the complex demands it places on those who practice it. Rather, I am concerned to narrow ethnography down so that to those who ask us, in good faith, what it means, we can respond with precision and conviction. Only by doing so, I contend, can we protect it from the inflation that is otherwise threatening to devalue its currency to the extent of rendering the entire enterprise worthless. For it is not only within anthropology that ethnography is on the loose. I am sure I speak for the majority of anthropological colleagues in deploring the abuse of the term that has become commonplace in social sciences beyond our shores. How many research proposals have we read, coming from such fields as sociology, social policy, social psychology and education, in which the applicant explains that he or she will conduct “ethnographic interviews” with a sample of randomly selected informants, the data from which will then be processed by means of a recommended software package in order to yield “results”?

Such a procedure, in which ethnographic appears to be a modish substitute for qualitative, offends every principle of proper, rigorous anthropological inquiry— including long-term and open-ended commitment, generous attentiveness, relational depth, and sensitivity to context—and we are right to protest against it. And, we are equally entitled to protest when those who assess our own proposals demand of us, in the name of ethnography, the same slavish adherence to the protocols of positivist methodology, by requiring us to specify—for example—how many people we intend to talk to, for how long, and how they will be selected. Against such benchmarks, anthropological research is bound to be devalued.

I do not deny the value of ethnographic approaches, but I do have severe doubts about their exclusive or simply primary use, especially when this entails an ideological opposition to combination with other methods. It can be as if it is more important to maintain a territorial ‘purity’ than draw upon the widest range of possible strategies to help with producing the result.

In the work of Kingsbury, Nettl and Cottrell, one encounters very crude historical and analytical approaches. For example, Kingsbury’s consideration of the pedal marking in the second movement of Beethoven’s C minor Piano Concerto takes no account of the type of instrument involved, which can profoundly affect the sounding result, and seems to imagine that it is impossible to execute opposing dynamics in two hands on the piano. Furthermore, his comments on Marcus Goldmann’s thoughts on Chopin editions shows little awareness of the real complications entailed, as Chopin published most of his works simultaneously in slightly different versions in three countries (and which differ in the specific case cited here). I believe he is dead-set upon setting up a clear dichotomy between fidelity to a text and some nebulous notion what is ‘expressive’, the latter defined with minimal thought to the historically problematic nature of such a category.

In the case of Shelemay’s article on the Boston early music movement, to my mind one of the weakest articles I have read, here are some of the findings (there are numerous others of a similar nature):

Early music practitioners, speaking from their own experiences, referred often to the scholarly literature and critical editions, which they know intimately and on which they draw in preparing detailed notes for concert programs and published recordings.

Thus the early music movement, while drawing on music of the historical past, is powerfully informed by the creative impulses of its practitioners and the aesthetics of the present.

Musicians in all of the ensembles with which we worked testified to the centrality of creative activity in their conceptualization and performance of musical repertory.

Many of our associates provided considerable detail about their instruments, conveying not just extraordinary technical knowledge, but the instrument’s history and social significance with great elegance.

For example, violinist Daniel Stepner noted the creative role of members of the Boston Museum Trio, consisting of himself, gambist Laura Jeppesen, and keyboardist John Gibbons, in such basic and little discussed processes as selecting and formulating their own repertory:

There’s lots of music that’s appropriate for us to play together, but very little, relatively little music that was written specifically for these instruments. (Daniel Stepner, 22 October 1996)

That musicians discuss performance practices in detail is no surprise, but the manner in which they were able to articulate details of musical practice as well as values behind them was one of the richest outcomes of the ethnographic process. For instance, while testimony about musical instruments is perhaps more easily rendered because of the easy availability of the instruments themselves, we found that singers also provided nuanced discussions of vocal production as well speculated on the difficult philosophical issues surrounding the voice and textual articulation.

I would have to say that this is all extremely basic (as is, say, the work of Frederick Seddon and Michelle Biasutti), certainly in comparison to a wide range of scholarly historical work on these areas; engagement with this work would have enhanced this study very considerably.

Finnegan admits reasonably that she does not feel qualified to engage with the music she encounters, but ultimately I feel her survey is quite limited as a result, and in many ways serves more as a list of data rather than critical analysis. Catherine M. Cameron tries to define ‘experimental music’ but with no evidence of familiarity either of later traditions to which this term has been applied, the history of the term, or perhaps most significantly of music created in Europe at the same time as that she studies. As such, I do not believe she is really in a position to argue for American ‘experimental music’ as a distinct field from European traditions, in the manner she does, though this is also true of others who have written on the subject, which is the subject of another paper!

In particular, in the majority of the work in my bibliography, there is little or no engagement with sound – this is true of the work of Marcia Herndon, Finnegan, Georgina Born, Vicky L. Brennan, Shelemay, Cottrell, Stephanie E. Pitts, Seddon and Biasutti, Eric Usner and Hettie Malcolmson. Instead the writers use comments from others about music, mostly of a very vague and general nature, without much consideration of what self-fashioning might be involved; Cottrell even cites xenophobic comments from musicians about making the Hitler salute at a conductor who rehearsed in German, without further comment. If there were no attempts to draw conclusions about the sounding music, that might not be so bad – as with Finnegan, say – but some do. But even with more modest aims, I feel such work to be flawed – it is almost like assessing a performance or piece simply by asking the performer or composer their view of it, and reproducing that as one’s own view – indeed Moisala does precisely that.

When I taught at Dartington College, I sometimes found students would undertake a project simply by asking a handful of questions of their friends, then using their answers as data for a supposedly scholarly and statistically representative survey. I feel some ethnography essentially does this on a slightly bigger scale, not least because of a lack of critical and analytical perspective on the data sourced and its limitations.

There is an understandable post-colonial reticence on the part of many Western ethnomusicologists and anthropologists for engaging in critical views of non-Western societies and cultures they encounter. When this attitude is carried over into the study of Western art music, however, and text is padded out with long ethnographically sourced quotations (often from those who are not necessarily very verbally articulate) presented without much commentary, critique or analysis, one is left with a type of writing which resembles nothing so much as casual journalism or even a publicist’s material, as in the work of Brennan, Cottrell, Moisala and Ramnarine.

In many classic ethnographies (for example Bronislaw Malinowski’s Argonauts of the Western Pacific, Margaret Mead’s Coming of Age in Samoa, William Foote Whyte’s Street Corner Society, or Paul Willis’s Learning to Labour), the collation and presentation of ethnographically sourced data, especially quotations, is a starting point for the study, leading to detailed critical analysis. Some of the work on Western art music essentially omits the second stage, or renders it rather trivial. I would not claim that description is a neutral activity, and can be undertaken with great care and skill, but in many cases here it amounts to little more than reportage, perhaps ‘filed’ in a handful of unremarkable categories. In a similar manner Finnegan’s long book does read rather like a government inspector’s report. Other work, such as that of Pitts, resembles feedback surveys conducted by marketing departments for musical institutions. Other work like that of Moisala can read like a hagiographic publicity piece, not so different from a much earlier type of ‘life and works’, but with much less analytical detail on the works.

Those entail one type of approach; another is very agenda-driven, and most phenomena are described in extremely loaded language. This is true of the work of Christopher Small, Kingsbury, Nettl, Born, Malcolmson. It is hard to imagine work with such a strong axe to grind being viewed so favourably if applied to a group of South Pacific Islanders, as Björn Heile has pointed out in the context of Born.

Ethnography also relies upon the investment of a good deal of faith on the part of the reader that the author has represented their source material in a fair manner, not distorting, misattributing, quoting radically out of context, fabricating, or blatantly ignoring substantial amounts of data which might not suit an argument. Where documentary sources are available, these can at least be checked by another where there is reason for doubt. I have to say that in some of these cases, seeing how information which can indeed be checked is treated in such a cavalier manner, I am not always sure I feel prepared to invest this faith, and might be sceptical about some of the writers’ other work as a consequence.

 

Oral Tradition, Jeffrey and Lind

I have had chance just to skim Tore Lind’s book The Past is always Present: The Revival of the Byzantine Musical Tradition at Mount Athos, which is fascinating, and clearly very far from being narrowly territorial or ideological – it combines fieldwork with other forms of evidence, paleographic, historical, etc. And I am aware that there is a wide range of other scholarship identified in one way or another as ethnomusicological for which this is the case; and for that matter other scholarship where very little other sources are available than those provided by fieldwork. But this is patently not the case with Western art music.

Lind writes about the concepts of ‘real’ and ‘reinvented’ pasts, with relation to Eric Hobsbawm and Terence Ranger’s work on the ‘invention of tradition’. If I cannot buy into the characterisation of modern social theory cited from Arjun Appadurai which argues that such theory posits a ‘single modern moment’ – I find that too crude a characterisation on Appadurai’s part – I do believe there can and should be some type of middle way. This is where I think ideologies self-identifying as postmodern have been far from enlightening when presenting stark alternatives between the idea of history as some utterly objective body of facts on one hand, or completely unknowable on the other. I know of no serious historian who would argue the former position, but few other than the likes of Keith Jenkins or Patrick Joyce would deny there are some things which can be construed as facts with a fair degree of certainty. And there have been and will be many who would prefer that some of these are removed or at least marginalised from the historical record. Not just nationalistic politicians, but also many others associated with some institution or set of cultural practices in whose positive reputation they have much vested. Many in the Catholic Church might not like the long history of the abuse of children by priests, and their protection by the higher church authorities, to feature prominently in histories of that church, but I believe these are absolutely a part of that culture. For ‘traditions’ to be ‘invented’ does not require that nothing about these traditions has some palpable historical basis, but can simply mean that the particular selections are too narrow, idealised, and so on, and often used simply to legitimate present practices even where there exists historical evidence to the contrary. And for that reason I find Lind’s suggestion of allowing ‘various culture members to determine what they themselves believe to be authentic’ problematic – I would ask which culture members are granted such authority, and why should one necessarily privilege their view over that of others, including those who might have less obvious vested interests, and may be more subject to proper scholarly critique? When practitioners lay claim to historical foundations for their practice, as so many do, then it appears entirely legitimate to me to investigate critically the basis upon which those claims are made. This is not, of course, to say that there would necessarily be anything less worthy per se of a contemporary tradition which has no basis for such claims and does not make them.

Lind himself makes a critique of Peter Jeffrey’s work which concurs with that to which I was arriving – he says ‘It is a fantasy to imagine that some contemporary (“primitive”) practices exist untouched by time, making themselves available for chronological comparison, and, equally, to suppose that medieval chant has existed in a static form throughout history’ (p. 30). This indicates a wider problem with the use of ethnographic approaches alone to establish historical information, in cases where there are no living witnesses to the historical time in question, and especially where a long period of time has elapsed, as obviously with medieval chant. But even where living witnesses do exist, even then oral testimony can be problematic, not least because of the fallibility of human memory, as has been studied in detail by scholars working with survivors of genocide or other atrocities.

Lind does make the point that checking contemporary practice against historical evidence would not work in his study of Mount Athos, as the monks use the same historical evidence – though I presume he does not rule out the possibility, in this or other contexts, of discovering new historical evidence of which practitioners are unaware, and which might problematize such practice in terms of historical questions? Nonetheless, he says that ‘the ways that the monks interpret and relate to historical evidence become the central issue’ which seems eminently reasonable as an approach, and has some parallels with historically-informed performance of Western art music (bearing in mind that a large number of performers of such music, including those who would not self-identify as ‘historically informed’, appeal to some concept of a historical tradition to legitimate their practices).

Kingsbury, Nettl, Cottrell and Jonathan Shull all comment on the extent to which classical performers are often keen to present their pedagogical lineage – their teacher studied with X, who studied with Y, etc., etc., who studied with Beethoven, and so on. All except Shull view this unfavourably, and I would agree, seeing it as akin to a game of Chinese Whispers. Yet I do not see how then one can maintain that similar processes are so reliable with respect to oral traditions in other cultural environments, some of which have experienced major historical upheavals.

 

Jargon

Kingsbury notes how any study of modern American culture is lent an ‘anthropological aura’  by referring to ‘the tradition of studying “simple” or “primitive” societies’. He gives as an example J.M. Weatherford’s ethnography of US Congress, uses of terms like ‘shamans’, ‘bigmen’, ‘warlords’, etc.

Many of the phenomena for which ritualistic or other anthropological explanations are given in this body of work, as in the work of Small, Kingsbury, Hearndon and Nettl, can be explained in practical terms. For example, the fact of not having doors opening directly into a concert hall can simply be a way of avoiding extraneous noise generated by latecomers. Kingsbury insists that when students contrast administrative weaknesses of an institution with the strength of teachers, they ‘conceal the fact that these factors are elements of a single organizational structure’. Well, many of the staff on the second floor of the Juilliard School during my time simply couldn’t care less about practical student matters, sometimes acting as if we were trespassing upon their time and space. I can’t see how asking them to buck their ideas up would have undermined the artistry of the faculty members.

It can seem, in line with Ingold’s critique, various writers including Kingsbury, Cottrell, Pitts, Malcolmson, and Shull are more concerned with forcing far-fetched analogies with other anthropological findings than the investigation of specifics relating to the matter under investigation. And this is part of a wider tendency to clothe the work in a good deal of jargon in ways I believe to be unnecessary.

Academics need to show in this day and age how they are supposedly connecting with a ‘real’ world, so often choose areas of study accordingly. But they also need to prove their writing is ‘academic’; simple liberal use of jargon serves this purpose, and will impress some naïve people belonging to management, REF examiners, or research council board members, even where the underlying thought and research is banal and unremarkable. I have seen countless examples of this not just in this body of ethnomusicology, but also new musicology, popular music studies, music sociology, film and media music studies, acoustic ecology, and so on.

A wider question exists of this work serving as a substitute for other political engagement, such as through industrial action within higher education, but that is beyond the scope of this talk.

 

Wider Politics and Aesthetics

Whilst the likes of K.A. Gourlay, Chanan, to some extent Nettl, and for that matter Howard Becker, come from slighter older traditions in the social sciences still showing the influence of Marxism – albeit frequently of the empirical and Stalinist variety dominant in the English-speaking world – the work of many younger figures demonstrate clearly the influence of ideologies frequently identified as postmodern. I would associate these strongly with the growth of neo-liberalism during the Thatcher-Reagan years, and then continuing after the end of the Cold War. This is most explicit in the work of Born, who has elsewhere expressed a clear view of the superior virtues of culture supported through ‘petty capitalism’ than by institutions supported by the state (which I would categorise as democratically accountable institutions financed through taxation and public spending), referring back to her IRCAM study in such a context. This accords perfectly with David Cameron’s ideal of the ‘big society’, and is music to the ears those who want to cut arts funding generated through taxation even further. One might conclude from Born’s work that the remoteness of the possibility that a UK or US government might ever give financial backing to similar institution should presumably be welcomed?

In general, in a lot of this work musical institutions are viewed very critically, but it is rare that industries – in many cases institutions funded by private capital rather than through taxation, as with much of the popular music industry – are subject to the same level of critique (as in Cottrell’s essay on ethnomusicology and the music industries). This is quite emblematic of an ideological phenomenon which some radical thinkers, including critics of cultural studies such as Todd Gitlin, Robert McChesney, Keith Tester or Joseph Heath, or anti-capitalist thinkers like Naomi Klein, have identified: whereby a superficial politics of ‘diversity’ is not so much a moderate call for a modification of capitalist society, but actually a means of giving new life and purpose to high capitalism, not least through the destruction (rather than reform) of existing social democratic institutions.

Similar views can be found in the writings of Nicholas Cook, in whose wider work one can encounter harsh criticism of the ‘disdain for the marketplace and its discourses’ in various European writers. When a French musicologist, Anne Boissière, criticised his Music: A Very Short Introduction for nihilism, his response was to accuse her of being part of ‘the attack on capitalism and consumerism that developed throughout the German-speaking countries in the 19th century (where it was associated with the nostalgic values of an idealised rural past), and fed ultimately into the Nazi creed of “blood and soil”’. Dismissing social democratic European thinkers by contrived association with the Nazis is one of the least edifying aspects of our profession.

Timothy Rice writes in his Ethnomusicology: A Very Short Introduction (2014)

Ethnomusicologists do not begin their research with a judgment about what they imagine is “good music” or “music worthy of study” or “music that has withstood the test of time.” Instead, they assume that whenever and wherever humans make and listen to music with the keen devotion and attention that they do, then something important and worthy of study is going on.

Elsewhere one can often find ethnomusicological rejection of aesthetic value judgement – how do those coming from such a position really mark compositions or performances?

Cook rejects aesthetic valorisation directing study, arguing that musicologists should instead, like sociologists, ‘study social reality as they find it’, so that ‘The point is not that Madonna is good or bad but that she’s there’. But to bracket out or otherwise marginalise anything which is not ‘there’ (assuming ‘there’ means something which has gained some degree of prominence, for otherwise everything is ‘there’) renders invisible that cultural work whose producers have been unable to garner public visibility. Only a belief that the market will always provide the most fair selection could legitimise musicologists and others neglecting all else.

In place of explicit aesthetic judgement, in this work and much new musicology one encounters politically and morally loaded characterisations which I believe serve principally to attempt to close down debate. I find it sad when musicology has moved from a position of intense interest in music to one of morally self-righteous judgement, which as I have written about elsewhere, I believe derives in part from a desire to dominate one’s subject, a charge which can be laid at the door of aspects of some other disciplines, including anthropology and psychoanalysis, as well.

There are numerous moral grounds with which some will condemn the ethnomusicological work and ideologies of Bartók, or some of the work upon which Finnissy draws. But to me the value of that work is palpable because of the vital creative composition which would not have been possible in the same way without it. The same is true of some of the amazing music which has come out of IRCAM: amongst which I would include Boulez’s Répons, Berio’s Chemins ex V, Aperghis’s Machinations, Harvey’s Mortuos Plango, Vivos Voco, Risset’s Inharmonique, Saariaho’s Verblendungen, Manoury’s Pluton, Dillon’s Introitus, Murail’s L’Esprit des dunes, Nunes’s Lichtung I & II, Dusapin’s To Be Sung, or Czernowin’s Hidden. Ultimately I do believe that the importance of this type of compositional work (and its performance) exceeds that of any musicology, ethno- or otherwise.

 

Conclusion

I will end with a reapplication of Marcel Mauss to this field of ethnomusicology itself. Its participants offer up endorsements for the right theorists, the right canonised and revered ethnomusicologists, the right political outlook, generally that sort of ‘consumerist multiculturalism’ which accords well with modern neo-liberalism, to those who are in a position of power above them, and are rewarded for this through promotion and research grants in a process of exchange. Collegiate relationships within hierarchical academic structures are made possible through this process of reciprocity. This may be an unfair caricature, but no more so than many of the analyses in this body of work.

 

ETHNOMUSICOLOGY OF WESTERN ART MUSIC

A Bibliography

 

Studies

Robert Faulkner, ‘Orchestra Interaction: Some Features of Communication and Authority in an Artistic Organization’, Sociological Quarterly 14 (1973), pp. 147-157.

Catherine M. Cameron, ‘Dialectics in the Arts: Composer Ideology and Culture Change’ (PhD dissertation, University of Illinois at Urbana-Champaign, IL, 1982). Modified version published as Dialectics in the Arts: The Rise of Experimentalism in American Music (Westport, CO, and London: Praeger, 1996).

Christopher Small, ‘Performance as Ritual: Sketch for an Enquiry into the Nature of a Symphony Concert’, in Lost in Music: Culture, Style, and the Musical Event, edited Avron Levine White (London: Routledge, 1987), pp. 6-32.

Henry Kingsbury, Music, Talent, & Performance: A Conservatory Cultural System (Philadelphia: Temple University Press, 1988).

Marcia Herndon, ‘Cultural Engagement: The Case of the Oakland Symphony Orchestra’, Yearbook for Traditional Music 20 (1988), pp. 134-145.

Ruth Finnegan, The Hidden Musicians: Music Making in an English Town (Cambridge: Cambridge University Press, 1989).

Bruno Nettl, ‘Mozart and the Ethnomusicological Study of Western Culture (An Essay in Four Movements)’, Yearbook for Traditional Music 21 (1989), pp. 1-16; republished in Disciplining Music: Musicology and its Canons edited Katherine Bergeron and Philip V. Bohlman (Chicago and London: University of Chicago Press, 1992), pp. 137-155.

Philip V. Bohlman, ‘Of Yekes and Chamber Music in Israel: Ethnomusicological Meaning in Western Music History’, in Ethnomusicology and Modern Music History, edited Stephen Blum, Philip V. Bohlman and Bruno Nettl (Chicago: University of Illinois Press, 1991), pp. 254-267.

Peter Jeffery, Re-envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant (Chicago: University of Chicago Press, 1992).

Tamara Elena Livingston, Community of music: an ethnographic seminar in Champaign-Urbana (Champaign, IL; Elephant & Cat, 1993)

Michael Chanan, Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism (New York: Verso, 1994).

Bruno Nettl, Heartland Excursions: Ethnomusicological Reflections on Schools of Music (Urbana, IL: University of Illinois Press, 1995).

Georgina Born, Rationalizing Culture: IRCAM, Boulez, and the institutionalization of the musical avant-garde (Berkeley, Los Angeles and London: University of California Press, 1995).

Vicky L. Brennan, ‘Chamber Music in the Barn: Tourism, Nostalgia, and the Reproduction of Social Class’, The World of Music 41/3 (1999), pp. 11-29.

Kay Kaufman Shelemay, ‘Toward an Ethnomusicology of the Early Music Movement: Thoughts on Bridging Disciplines and Musical Worlds,’ Ethnomusicology 45 (2001), pp. 1-29.

Stephen Cottrell, Professional Music-Making in London: Ethnography and Experience (Aldershot: Ashgate, 2004).

Stephanie E. Pitts, ‘“Everybody Wants to be Pavarotti”: The Experience of Music for Performers and Audience at a Gilbert and Sullivan Festival,’ Journal of the Royal Musical Association 129 (2004), pp. 143-160.

Stephanie E. Pitts, ‘What Makes an Audience? Investigating the Roles and Experiences of Listeners at a Chamber Music Festival’, Music & Letters 86/2 (2005), pp. 257-269.

Jonathan Shull, ‘Locating the Past in the Present: Living Traditions and the Performance of Early Music’, Ethnomusicology Forum 15/1 (2006), pp. 87-111.

Pirkko Moisala, Kaija Saariaho (Urbana and Chicago, IL: University of Illinois Press, 2009).

Frederick Seddon and Michele Biasutti, ‘A Comparison of Modes of Communication Between members of a String Quartet and a Jazz Quartet’, Psychology of Music 37 (2009), pp. 395-415.

Yara El-Ghadban. ‘Facing the Music: Rituals of Belonging and Recognition in Contemporary Western Art Music’, American Ethnologist 36/1 (2009), pp. 140-60.

Paul Chaikin, ‘Circling Opera in Berlin’ (PhD dissertation, Brown University, 2009).

Eric Martin Usner, ‘Cultural Practices of Classical Music in 21st Century Vienna’ (PhD dissertation, New York University, 2010).

Tina K. Ramnarine, ‘The Orchestration of Civil Society: Community and Conscience in Symphony Orchestras’, Ethnomusicology Forum 20/3 (December 2011), pp. 327-351.

Melissa C. Dobson and Stephanie E. Pitts, ‘Classical Cult or Learning Community? Exploring New Audience Members’ Social and Musical Responses to First-time Concert Attendance’, Ethnomusicology Forum 20/3 (December 2011), pp. 353-383.

Amanda Bayley, ‘Ethnographic Research into Contemporary String Quartet Rehearsal’, Ethnomusicology Forum 20/3 (December 2011), pp. 385-411.

Eric Martin Usner, ‘‘The Condition of Mozart’: Mozart Year 2006 and the New Vienna’, Ethnomusicology Forum 20/3 (December 2011), pp. 413-442.

Pirkko Moisala, ‘Reflections on an Ethnomusicological Study of a Contemporary Western Art Music Composer’, Ethnomusicology Forum 20/3 (December 2011).

Hettie Malcolmson, ‘Composing Individuals: Ethnographic Reflections on Success and Prestige in the British New Music Network’, twentieth-century music 10/1 (March 2013), pp. 115-136.

Karen Burland and Stephanie Pitts (eds), Coughing and Clapping: Investigating Audience Experience (Farnham: Ashgate, 2014).

 

 

Methodological

Bruno Nettl, ‘A Technique of Ethnomusicology Applied to Western Culture’, Ethnomusicology, 7/3 (September 1963), pp. 221-224.

Fredric Lieberman, ‘Should Ethnomusicology Be Abolished?’, with responses by E. Eugene Helm and Claude Palisca, Journal of the College Music Society 17/2 (1977), pp. 198-206.

K.A. Gourlay, ‘Alienation and Ethnomusicology’, in The Ethnography of Musical Performance, edited Norma McLeod and Marcia Hendon (Norwood, PA: Norwood Editions, 1980), pp. 123-146.

Klaus Wachsmann, ‘Applying Ethnomusicological Methods to Western Art Music’, World of Music 23 (1981), pp. 74-86.

Marcia Herndon and Norma McLeod, Music as Culture (Darby, PA: Norwood, 1980).

Joseph Kerman, Musicology (London: Fontana Press, 1985), pp. 155-181.

Stephen Blum, ‘Ethnomusicology vis-à-vis the Contemporary Fallacies of Musical Life’, Pacific Review of Ethnomusicology 8/3 (1986), pp. 1-19.

Kay Kaufman Shelemay, ‘Crossing Boundaries in Music and Musical Scholarship: A Perspective from Ethnomusicology’, The Musical Quarterly 80/1 (1996), pp. 13-30.

Jonathan Stock, ‘New Musicologies, Old Musicologies: Ethnomusicology and the Study of Western Music’, Current Musicology 62 (1997), pp. 40-68.

Gary Tomlinson, ‘Musicology, Anthropology, History’, in The Cultural Study of Music: A Critical Introduction, edited Martin Clayton, Trevor Herbert and Richard Middleton (New York and London: Routledge, 2003), pp. 31-44.

Henry Stobart (ed), The New (Ethno)musicologies (Lanham, MD: Scarecrow Press, 2008). Includes essays by Jim Samson, Michelle Bigenho, Fabian Holt, Nicholas Cook, Laudan Nooshin, Caroline Bithell, Tina K. Ramnarine, Philip V. Bohlman, John Baily, Martin Clayton, Abigail Wood, Jonathan P.J. Stock, Martin Stokes.

Stephen Cottrell, ‘Ethnomusicology and the Music Industries: An Overview’, Ethnomusicology Forum 19/1 (June 2010), pp. 3-25.

Georgina Born, ‘For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn’, Journal of the Royal Musical Association 135/2 (2010), pp. 205-243.

Laudan Nooshin (ed), ‘The Ethnomusicology of Western Art Music’, special issue of Ethnomusicology Forum 20/3 (December 2011). Includes essays by Nooshin (‘Introduction: The Ethnomusicology of Western Art Music’, pp. 285-300), Rachel Beckles Willson, Tina K. Ramnarine, Melissa C. Dobson and Stephanie Pitts, Amanda Bayley, Eric Usner, Pirkko Moisala (all listed above). Reprinted with an afterword by Philip V. Bohlman as The Ethnomusicology of Western Art Music (Farnham: Ashgate, 2014).

 

Ian Pace: ian.pace.1@city.ac.uk

 

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New article on abuse and classical music by Damian Thompson in the Spectator, and some wider reflections on classical music and abuse

A new article went online yesterday on abuse in the classical music world – Damian Thompson, ‘Classical music’s dirty little secret’, The Spectator, December 6th, 2014. It contrasts in particular the revelations about alleged abuse within the El Sistema organisation through the work of Geoff Baker, and those about abuse at Chetham’s School of Music and elsewhere, featuring an interview with me on this and related subjects. The article goes deeper than most have done previously, and I would urge all to read it.

I have been reflecting more widely on the relationship between the callous exertion of power in music and also aestheticised outlooks, and the abuse of both children and adults, and wanted to share a few thoughts growing out of what I said for the Spectator interview. I have published previously on this in the Times Educational Supplement here and here, and will write at more length on these issues at a future date. At the heart of this lie the issues of the exploitation of power beneath an artistic veneer, and the relegating of human interests secondary to other aesthetic or more abstract concerns, an subject which has exercised me for a great many years. Here are my thoughts for now.

There are multiple ways in which sexual abuse occurs in musical education in the UK (see my earlier posts here and here for documentation of various cases since 1990). One involves abuse of pre-pubescent boys in choirs, and has been found time and time again in many leading private schools; another involves adolescents, primarily but not exclusively girls, who are sexually exploited by instrumental teachers, especially in specialist music schools and at summer music courses and the like. There is also of course much evidence of abuse of both sexes by private music teachers, who are often not subject to the same checks as those working in some institutions. The process of sexual exploitation of adolescents also continues with young adults in conservatoires, in a similar fashion. Instrumental teachers have great power and prestige which can easily be exploited when they have access to vulnerable, sometimes star-struck, girls and young women. The many stories I have heard are utterly hideous and depressing. Teachers regularly reduce their students to tears so they can then comfort and sexually touch them, or ask the students to perform sexual acts as a sign of how much they ‘trust’ them. Some are told they can only do justice to certain types of music when they have become a ‘whole woman’, as a prelude to sex. Other teachers simply attempt to force themselves on students in lessons in ways which can be terrifying and amount to attempted rape. Some have been told by directors of institutions that if they dare to go to the police, then they can give up any hope they might have had of a musical career; those with powerful connections are indeed often in a position to do this.

But there are certainly non-sexual forms of abuse which have gone on at all the music schools as well, which can be just as damaging. The issues of abuse in the classical musical world are not in my opinion simply about some people in power being sexually attracted to some musicians – I don’t think that is something surprising, unnatural or wrong, even if they act on those desires, when the musicians are above the age of consent and of course consenting. But I believe these link to a deeper culture of power and its wilful exertion, a vocabulary and mentality of sexual predation as a strategy to demean, dominate, humiliate for reasons that are far from merely sexual. In this field, in my experience, there is no reason to believe that female teachers are any less likely to be culpable than male ones (and in the case of actual sexual abuse the gender divide is not necessarily so simple; even where not actual perpetrators, some female teachers and others have been amongst the most staunch defenders of abusers, and acted in hateful and vicious ways towards those they have exploited).

In such a context sexual abuse can often be an extension of other forms of emotional and physical abuse, in order to enforce a relationship of domination and dehumanisation mystified by the aura surrounding ‘artistic’ personalities and their relationships to others. An artistic aura and its associated temperament can often mask simple cases of fragile egos and other insecurities, which can be bolstered by dominating others. Such domination works best with a willing or at least helpless victim in the form of a child, or one who acts and appears like one.

At the same time, I think we need to look hard at the way audiences and others ‘consume’ and psychologically dominate musicians, especially young ones. Is the young performer presented in a rarefied fashion for an audience’s delectation so different from a glamour model, or even one in a window in a red light district? Are they meant to have a will of their own, or merely to please others?

The world view of the nineteenth-century aesthete still has a profound impact upon classical music culture, certainly in the UK, US, France and some other places. I have spent quite some time studying this in various contexts (not least the ways in which this outlook can be linked to fascism, as diagnosed in different ways by Walter Benjamin, Roger Shattuck and Frederic Spotts). The aesthetic movement was a type of quasi-aristocratic rearguard group of aesthetes reacting against the growth of bourgeois society and mass culture. They believed moral questions and human interests to be of little importance relative to their own notions of beauty. This beauty was of course something only a small number were in a position to appreciate, an aesthetic aristocracy if you like, and they often viewed other human beings in purely aesthetic terms. I believe this is profoundly dehumanising. There is also a considerable overlap between early aesthetes, including Pater, Wilde, Huysmans, Crowley and others, and the movement of ‘Uranian’ poets and some artists, a group of pederasts who were described in the volume Betrayal of Youth as like a nineteenth-century version of the Paedophile Information Exchange.

To the aesthete, a young boy not yet faced by the doubts, moral choices and responsibility of an adult, is unthreatening and more ripe to be adored and salivated over. If you look at pederastic photographs of naked young boys in classical poses by Wilhelm von Gloeden, who was associated with the Uranians (and whose work I have earlier written about in terms of its influence upon some music of Michael Finnissy), you will see a similar thing. Certain qualities are favoured – looks suggesting arrogance but submission, petulance and self-centeredness, and sometimes exaggerated hyper-masculinity, absolutely nothing which would suggest an emerging mind or any trappings of an intellectual-to-be.

I have seen exactly the same attitudes at play regularly amongst those with power in the classical music world. Young men and women favoured to the extent they exhibit (deliberately or unwittingly) certain of these attributes. Some men because they look like a slightly thuggish rent boy, some women because they can give the right type of Shirley Temple-like sickly-sweet smile. Fundamentally, they become objects, and often the critics, administrators, radio producers and so on who favour them will abandon them as they get older, so they can move onto their next bright young things. This is all part of the same processes of domination of which sexual abuse of children is the most extreme form.

There’s a very obvious continuum, to me, between von Gloeden’s arrogant yet submissive naked boys and the picture of Gustavo Dudamel with a smug and self-satisfied expression, showing how his willingness to conform to the needs of others is rewarded with a Rolex watch. Similarly between Lewis Carroll’s pederastic pictures of young girls and some of the images routinely encountered of young female violinists. The same is true of the publicity materials and discursive constructions around numerous Wunderkind young composers and performers. The arbiters of classical music enmesh musicians into their own web in ways which bear an uncanny resemblance to the grooming strategies of paedophiles. I have even come to consider more sinister interpretations of the apparent innocence, suffused with unspoken desire, which I hear in works such as Erik Satie’s Gymnopédies, possibly representing dances of naked boys (in part) at an ancient Spartan festival, at a time when the concept of ‘Greek love’ (love between men and boys) was very much in vogue in British and French artistic circles.

There were tyrannical teachers and educational practices which grew in the nineteenth century. It was seen as perfectly acceptable to beat students; teachers put them through gruelling (and generally useless) regimes of exercises so that the few who had not had a nervous breakdown or suffered irreparable muscular damage could feel themselves blessed and ‘toughened up’ for a musical career, in which they could inflict the same on their own students. Learning, practising, and music-making were made mind-numbing and conducted in an atmosphere of intense fear. In the educational culture bequeathed above all by the early Paris Conservatoire, the emphasis was no longer upon producing a rounded musician and individual, as in earlier times, but more simply a streamlined playing machine. But in many places these methods were found to be unsatisfactory in many respects and more mature and humane approaches began to take their place, which also often produced much finer musicians.

But then with the Cold War and the Soviet need above all to produce competition winners rather than rounded musicians, there was something of a backlash. Dictatorial approaches to teaching, with no concern for the wider consequences, came back into fashion. Some were aped in the West, crowding out some alternative approaches. Several of the specialist music schools in the UK – all of which were founded between 1962 and 1972 – were explicitly modelled on Russian institutions and styles of teaching, at a time when considerations of the welfare of children and the dangers of such hothouse environments hardly registered.

I have heard major allegations of abuse at all five institutions. The schools have certainly all produced some successful musicians, but if they are happy to take credit for these, they must also take responsibility for the ruined lives, sometimes racked by depression, self-harm, suicide attempts and more, which are equally their legacy. The effect of a school upon all who attended it, not just a small successful minority, matters.

Bullying and malicious exploitation of power in musical education are also rampant. Insecure teachers do this plenty. One of my own former students underwent some serious bullying at the hands of another teacher on a course, who tried everything he could to undermine this pianist by repeatedly spreading malicious talk about him to others, doing all he could to humiliate him in front of others (and before he was about to perform) and so on, because he saw him as a threat. Various people complained about the behaviour of this teacher, but of course nothing was done. This individual once proudly pronounced ‘I get students who think they are good – my job is to make them realise they suck’. This attitude is all-revealing – it is not about helping the student, but playing power games to bolster the teacher’s own self-esteem.

Other types of behaviour I have often encountered have deeply shocked me – just the callousness of it all. One privileged young composer thought nothing of fabricating false rumours about a rival, claiming he was being beaten up by his father, so as to portray this rival as unstable and thus unlikely to be up to being a composer. What has shocked me even more is how many people know this and other similar things about this person, but are completely unbothered by it – certainly it did not impede his own progression in academia. I know one instrumentalist who feigns friendship in order to gain other musicians’ confidence, so that they might reveal such things as spells of depression, which he then uses as malicious gossip to undermine them; another did the same when he found that one woman was going through a legal process in which she alleged her father had abused her. A prominent musician, upon being appointed to a prominent position, bragged to others that now he had the chance to get revenge on all those who had previously stood in his way.

Classical music and its associated culture is still shot through by some fundamentally hierarchical nineteenth-century values which are little in vogue any longer in other cultural fields. I am not saying we should throw out the baby with the bathwater, but do believe much rethinking is necessary. Sexual abuse in classical music is maybe the most extreme symptom of a wider corruption. When you have a culture which idolises a small few ‘great men/women’, sees narcissism, bullying and despicable treatment of others not simply as unavoidable evils but actually as signs of artistry, and encourages an attitude of awe and submission, rather than concrete and critical engagement, then the dangers of abuse are acute.

Whilst figures such as Beethoven or Wagner or Furtwängler or Britten continue to be idolised not just for the work they produced but for the personalities they were, then the role models for younger musicians are fatally flawed. We should reject entirely the idea that musicians are a breed apart, and discourage such thinking.


Geoff Baker on El Sistema: sexual and other abuse in an authoritarian, hierarchical, archaic music culture

I was privileged to chair an important paper by Dr Geoff Baker, Reader in Musicology and Ethnomusicology at Royal Holloway College, University of London, on Wednesday October 29th at my own institution, City University London. This was a penetrating and hard-hitting talk on the institution of El Sistema (Fundación del Estado para el Sistema Nacional de las Orquestas Juveniles e Infantiles de Venezuela, now renamed Fundacíon Musical Simón Bolívar), founded in 1975 in Venezuela by José Antonio Abreu, purportedly to provide access to musical education for impoverished children, and now a global organisation operative in 60 countries, with major branches in the US, UK and Portugal. Baker’s research, based upon fieldwork in Venezuela (consisting of observations, interviews and archival work), is some of the first to take a critical view of the institution (most other writing has simply reiterated the institution’s own propaganda in relatively unmediated form, a peril for musicology about which I wrote last year); he looked first at the dominant narratives presented by the acolytes, and set this against information about the political activities and machinations of Abreu, the founder, the relationship of the institution to banks and other financial institutions, its total adherence to some of the most authoritarian and cruel ‘disciplinary’ approaches to musical education rooted in nineteenth century Europe, the issues involved in holding a middle class European musical model up as the root to salvation (little Venezuelan or other South American music is played by El Sistema), and the ultra hierarchical structures the organisation embodies and perpetuates. Furthermore, he questioned the basis upon which the organisation’s claims to be helping poor children, drawing attention instead to the predominantly middle-class make-up of the institution and its showcase ensemble, the Simon Bolivar Youth Orchestra, not to mention the rise of the leading conductor Gustavo Dudamel (b. 1981) at the behest of a socialist government, so that he could become the face of a Rolex watch advertising campaign.  Baker’s book El Sistema: Orchestrating Venezuela’s Youth (New York and Oxford: Oxford University Press, 2014) has just been released in the US and will be released in the UK in January; he has also maintained an extensive blog on El Sistema for a while.

Earlier this week, Baker published a short article in The Guardian arguing cogently some of the above points (Geoff Baker, ‘El Sistema: A Model of Tyranny?’, The Guardian, November 11th, 2014) which brought of his research and conclusions to a wider audience for the first time. This immediately brought a great many reactions, many of them – by those emotionally or otherwise wedded to El Sistema – quite negative, which have been collected in various places (see Hannah Ellis-Petersen, ‘Venezuela’s El Sistema music scheme is ‘model of tyranny’, UK academic says’, The Guardian, November 11th, 2014; Norman Lebrecht, ‘Exposing the Underside of El Sistema’s Musical Revolution’, Slipped Disc, November 12th, 2014; ‘”El Sistema”: un modèle de tyrannie?’ France Musique, November 13th, 2014; ‘Gustavo Dudamel: “Estoy en evolucíon permanente”‘, El Universal, November 13th, 2014 ; ‘El Sistema se defiende ante acusaciones’, Ultimas Noticias, November 13th, 2014 ‘Sistema de Orquestas prepara una generacion avasallante. El director Dietrich Paredes revela que viene un lote de orquestas’, El Universal, November 14th, 2014Phil Miller, ‘Academic makes a noise over tuition row’, Herald Scotland, November 15th, 2014 ). Baker has himself posted some other responses on the blog.

I am expecting to receive my own copy of Orchestrating Venezuela’s Youth on Monday, so have not yet been able to read it in full. I write as one deeply sceptical about some branches of ethnomusicology, especially some of them involved with the study of institutions. Much research depending heavily upon results gathered through fieldwork, where sources remain anonymous, requires a good deal of faith on the part of the reader that the researcher is giving a fair representation, when it is difficult to test this against data. Having heard Baker’s paper and read his articles and blog, as well as having had quite extensive correspondence and exchanges with him over these subjects over an extended period, it is clear to me that this important research is poles apart from some of the hack work in this field of which I would be most critical (as with the lack of context, knowledge of or interest in the area of activity, or musical engagement, of Georgina Born’s study of IRCAM or Hettie Malcolmson’s study of the BMIC New Voices scheme, amongst the poorest examples of the genre, or the pedestrian work of Kay Kaufman Shelamay on the Boston Early Music Movement, spending a good deal of time only to discover very elementary results). Baker’s work appears not to be about proving a polemical point with respect to a singular methodology to the exclusion of all others, nor a self-aggrandising assertion of the domination and superiority of the author over their subject in the manner of Born, but a piece of work far from easy to have undertaken, resulting from a process of research which led the author to seriously rethink his earlier benevolent or at least benign assumptions. This is not to say that I am unlikely to have some criticisms of the final work – in the below, for example, the conclusions (which may be quite tautological, as some of the authors, wishing to deny the validity of any sexual dimension to power, would define a sexual encounter involving a power imbalance – true of the vast majority of all possible encounters – as exploitative) cited of Catherine Donovan, Liz Kelly and others could do with more critical treatment rather than simply the ‘We know, because of…..’ approach to argument.

Nonetheless, this work is naturally of great interest to me as one involved in research into the nineteenth-century symphony orchestra and all its associated structures and ideologies, the history of musical education, and above all the potential for abuse in the latter. Baker is acute on locating specifically sexual abuse within the wider culture of the institution, about which I will write more on a later date. With this in mind, I am able for the first time to give a preview of some of the material (not mentioned in the City presentation but alluded to in the Guardian article) by Baker on sexual abuse within El Sistema. This is disturbing material which requires extensive investigation immediately, and in which I hope some journalists will take a wider interest.

SEX AND EL SISTEMA

Many stories that circulated privately concerned sex. This is hardly surprising given El Sistema’s age profile and orchestras’ reputation. Seminarios, which see large numbers of teenagers and young adults sent off on long residential courses, are notorious, and the reports that emerge sit uneasily with Abreu’s austere, moralistic discourse.

Less predictable and more problematic than the frequent tales of promiscuity and infidelity was the relative normality of sexual relationships between teachers and pupils. On my first day in the Veracruz núcleo I had lunch with a teacher and his rather young-looking pupil/girlfriend; the next time I saw her she was wearing her school uniform. Rodolfo, a longtime Sistema musician, described a culture of permissiveness at all levels of the organization. He reported three cases of teachers being caught having sex with pupils in teaching rooms at a Sistema institution. He described this scenario as an institutional rather than individual problem, the result of a culture of turning a blind eye.

Eva, another Sistema musician, felt that there was a widespread problem around sex. She named five prominent Sistema teachers who were alleged to have a particular inclination toward their female pupils. One Veracruz teacher was renowned for working his way through female students during seminarios. Two núcleo directors had dated school-age members of their orchestras.

Relationships between teachers and pupils (some under eighteen) are conducted openly; they are not even viewed askance, much less the object of sanctions. This may be a consequence of blurring the line between youth and adult orchestras. Yet Eva was concerned that such relationships were clouded by institutionalized imbalances of power: students’ career prospects are often in the hands of their teachers and directors, putting pressure on students to accept invitations or advances. Eva spoke from experience, having dated a teacher herself while a student.

The age of consent in Venezuela is sixteen, making most such relationships legal, but they would be illegal in some of the countries where El Sistema has been lauded and copied, and would be banned, taboo, or at least contentious in most countries because of the institutional connection and power imbalance between the parties. Sexual relations between teachers and students aged under eighteen have been illegal in the United Kingdom since 2001. Some music education institutions prohibit sexual relationships between faculty and students of whatever age, and the composer Michael Berkeley proposed a blanket ban on such relationships within U.K. music institutions (Higgins 2013).

Eva also reported an incident of group sex at a seminario, involving both teachers and students. Those responsible were caught and thrown out of the seminario, but they went back to their núcleos and carried on playing in their local orchestra and giving lessons to children. There are no criminal record checks on teachers, she claimed, and most sexual misdemeanors are brushed under the carpet.

Most disturbingly, a number of allegations of sexual abuse surfaced in my interviews. Two former Sistema students claimed to have been victims themselves, while a number of prominent individuals—including three founders, a senior journalist, and an institutional head—stated that they knew victims or had strong suspicions of abuse. Two teachers and two former students made similar claims. Several older musicians had heard rumors of abuse involving figures of authority, though most claimed to be unsure about their accuracy. One prominent Venezuelan musician said about allegations of sexual abuse: “I know some very serious individuals who claim this with certainty.” He went on, however: “It is something so horrendous that I prefer to forget about it.”

One ex-Sistema musician described the program as “like a chain of secrets and favors—like a secret society.” She claimed that stories of sexual abuse were widespread and that other young musicians regarded the trading of sexual favors as an unremarkable, even humorous, subculture within the orchestra. She mentioned so-called niños bonitos (pretty boys) appearing with brand-new, expensive instruments: “you think, there’s something more going on there than just talent.”

One established musician with whom I discussed these issues emailed me a few days later: “Now that we are on this strange aspect of our subject matter, I am getting commentaries from almost everyone I talk to, with exactly the same script. Molesting attempts, then departed from Sistema, kept the secret for years.” Four current or former Sistema musicians made allegations about the covering up of cases of sexual abuse. “These kinds of issues have always been managed with impressive stealth,” confided a founder. “It’s really difficult to prove the things that have happened because the network of complicity is very extensive.” He named several of his contemporaries, now senior figures in El Sistema: “Among ourselves, when we were adolescents, I heard comments from them that suggest that some things happened that were at the very least incorrect.”

There is no concrete evidence that these allegations or suspicions are true, for all that many come from seemingly reliable sources. It was impossible for me, a foreign musicologist, to assess their veracity, particularly since many related to events that had allegedly taken place years or decades earlier; but the regularity with which they surfaced in interviews, conversations, and Internet forums was striking. Whatever the reality, stories of sexual abuse circulate in and around El Sistema and form part of its belief system.

Nevertheless, my informants were unaware of any significant action being taken as a result. Allsup and Shieh (2012, 48) write: “At the heart of teaching others is the moral imperative to care. It is the imperative to perceive and act, and not look away.” The starting point for social justice is noticing and responding to injustice, they argue. Such attitudes seem to have been somewhat thin on the ground in El Sistema. Yet they would appear to be vital to a project that claims to connect disadvantaged young people and classical music, since it could be argued that the kinds of practices and relationships commonly found in classical music education create the perfect conditions for sexual abuse—a point raised repeatedly during a scandal that erupted recently around U.K. music schools and colleges.

SEXUAL ABUSE AND CLASSICAL MUSIC SCHOOLS

In 2013 thirty-nine current and former teachers at Chetham’s School of Music and the Royal Northern College of Music (RNCM) were investigated for alleged sexual abuse of pupils, with several other specialist music institutions also implicated (Pidd 2013). As former students began to speak out, it became increasingly clear that the problem had been endemic, especially in the 1970s and 1980s, though allegations spanned four decades. Former Chetham’s pupil Ian Pace (2013) was among those calling for a full public inquiry given the number of stories circulating in the music profession yet the reluctance of victims to come forward “in a close-knit world of classical music in which careers are dependent upon the whims of a few powerful individuals.”1

William Osborne, in a comment posted to Slipped Disc on February 17, 2013, pointed to the obstacles to uncovering this issue, helping to explain why decades may pass before such problems are properly investigated: “victims often do not find the understanding, confidence, and support to speak out until they are adults.” One obstacle is a lack of support structures; another is denial. In the words of Michal Kaznowski (2013), cellist of the Maggini Quartet and former pupil at the Yehudi Menuhin School: “if you had confronted me aged 15 and asked me about the school I would have told you it was a wonderful place with huge opportunity. [. . .] Almost nothing would have made me talk about the lessons and my humiliation and pain.” If many victims simply could not articulate their experiences, those few who did found their complaints were generally swept under the rug. Even when problems were common knowledge and reported, allegations were extremely hard to prove. It was thus very rare that anyone spelt out the problem in public or took significant action to confront it.

There is increasing recognition today not just that sexual abuse has been a widespread and longstanding problem within classical music educational insti- tutions, but also that there is a particular relationship between the abuse and the institutions. In other words, there is a systemic problem within classical music education, not simply a few rogue individuals or schools but a more generalized culture of abuse, manifested internationally. Tindall (2005) suggested that faculty-student sexual relations were part of the landscape of North American music schools in the 1970s and 1980s. Osborne provided a catalogue of more recent cases of sexual harassment and abuse from North American and European institutions and orchestras.2 Robert Fitzpatrick (2013), former dean of the Curtis Institute of Music, went much further, describing physical, psychological, and sexual abuse as endemic in European and North American conservatoires since the nineteenth century, yet, “[l]ike the Catholic Church, music schools tended to sweep their dirty little secrets under the rug. Students were never willing to discuss the improper actions of their instructors because of fear of reprisal that could sink their career as a performer.” Fitzpatrick’s own institution had been nicknamed the “Coitus Institute” in the 1930s. Among the soul searching, there were suggestions that abuse of one kind or another was an inherent feature of learning classical music.3

Several prominent musicians spoke out about the risks of intense, power- laden, one-to-one teacher-student relationships in hothouse musical environments. Vicci Wardman, a former teacher at the RNCM, described this relationship (Pidd, Ibbotson, and Carroll 2013): “Its very nature is intimate, detailed and precise, and most often conducted behind closed doors. [. . .] Tragically, that very structure can also be an invitation to the sort of predators who up to now have operated freely within musical institutions.” Martin Roscoe, another former RNCM teacher, identified classical music schools as high-risk places, pointing to the combination of one-on-one lessons, the idolization of top players, teenagers “with hormones going berserk,” and the music itself: “you are inevitably touching on the most passionate places of the soul with adolescents” (Higgins 2013b).

Researchers are beginning to respond to this issue and underline the need for serious examination. Gould (2009, 66) describes sexual harassment as “music education’s unspoken ‘dirty little secret,’” one that demands urgent attention. Bull (2012) confronts the “sexual economy” [that] shapes both the well-known phenomenon of sexual relationships between music teachers and students; and the now-emerging issue of child sexual exploitation and abuse that this relationship arguably facili- tates, with its privacy, intimacy and entrenched power imbalances. It is well established (e.g., by Catherine Donovan, Liz Kelly, and many others) that power imbalances (for example, age differences) between adults are a predictor for abusive or sexually exploitative relationships. I would argue that the combination in classical music pedagogy of intense musical experiences, intimate one-to-one lessons, and the authority of the teacher or conductor, is a perfect recipe in which sexual exploitation or abuse can occur, and so examining structures of power and authority in classical music institutions and practices is an urgent point of investigation.

Given the systemic nature of this problem, it is important to know what child protection measures El Sistema has in place. I could not make an official inquiry without jeopardizing my research, but Sistema musicians in Veracruz were unaware of any specific institutional measures. Many Sistema teachers receive little training of any kind, let alone child protection training targeted at preventing abuse. Nevertheless, there is a growing consensus that clear institutional strategies are essential to combating this problem, so establishing a rigorous and widely known child protection policy would surely be a wise move. Fitzpatrick (2013) gives a detailed list of suggestions for avoiding and dealing with cases of abuse, and in comments on his post, Osborne provides examples of programs and training that have been implemented in some European and North American institutions, such as clear sexual harassment policies, specifically assigned staff, and online reporting of complaints. Such developments reflect a shift in attitudes since the 1970s and 1980s—a shift that still seems to be waiting to happen in El Sistema.

The reports that I heard in Venezuela raised a number of fundamental issues. El Sistema’s disciplinary focus, production of power differences, male dominance, and opaque, autonomous institutional culture are ideologically problematic in themselves, but they also create the perfect conditions for abuse. The urgency of critiquing these dynamics is thus redoubled. As discussed in Chapter 3, progressive scholars of music education have been wary for some time about hallowed institutions such as specialist music schools, and their views have been borne out by recent events in the United Kingdom. Their argument that schools need to be put under the spotlight is irrefutable, and El Sistema is no exception, since reports of abuse (psychological as well as sexual) from Venezuela suggest that endemic, problematic features of classical music education are being reproduced rather than revolutionized in El Sistema.

The knottiest question of all, however, is whether intensive classical music education is the most suitable focus for a program centered on vulnerable children and youths. Power imbalances are at the core of sexual abuse, and they are as evident in El Sistema as in classical music institutions in other countries. Given the emerging evidence of an endemic culture of abuse in such institutions, putting vulnerable children in this situation looks like a high-risk strategy. Indeed, one ex-Sistema musician reported that his núcleo director tried to abuse him precisely when he, at that time a troubled adolescent with family and drug problems, went looking for help. Classical music education appears to be a problematic sphere, and adding at-risk youths may be creating a potentially volatile combination.

At present, the allegations and suspicions that circulate around El Sistema are no more than that. However, events in the United Kingdom illustrated that even world-renowned institutions had skeletons in their closets; that grave problems could take decades to become public knowledge; and that while these problems were discussed within musical circles, many students were nevertheless unaware of them. The fact that this problem has not emerged publicly in Venezuela does not therefore mean that it is insignificant there. Even stern, open critics of El Sistema told me that they would not touch the issue of sexual abuse, despite having heard about it, for the simple reason that conclusive evidence was too hard to come by. Also, the fear factor that Pace describes in the United Kingdom is even more pronounced in Venezuela: El Sistema’s dominance of the national classical music scene means that any public allegation would be tantamount to professional suicide. It may take careful research, then, to determine whether the silence hides personal troubles that ought to be turned into a public issue.