The Tory Government distrusts the arts and humanities – but what about academics?

The cover story of today’s Sunday Times indicates a plan on the part of the UK government to reduce fees in higher education.

Sunday Times 18-2-18

According to the story:

He [Education Secretary Damian Hinds] revealed that future fees would be determined by “a combination of three things: the cost [to the university] to put it on, the benefit to the student and the benefit to our country and our economy”.

Ministers expect this to lead to dramatic cuts in fees for arts and social science courses, which universities have expanded because they are the cheapest to run and make them the most money.

Under the plans, universities will be told to offer: more two-year degrees; sandwich courses, where students spend time in the workplace; and “commuter courses”, where they live at home to cut costs.

Various television interviews today with Hinds and also with Universities Minister Sam Gyimah have done nothing to dispel such suggestions, though precise details are vague. A statement from the Prime Minister is promised tomorrow, though it is unclear how much has yet been decided, how much will be the outcome of a review.

There are various outcomes I could envisage, few of them likely to be positive for those working in the arts and humanities in British universities. The items on the following list are not mutually exclusive.

  1. A re-introduction of the pre-1992 divide (though ministers will be at pains to stress how different it is), whereby the sector will once again divide into a series of universities in the traditional sense (probably the Russell Group and a handful of others) and others offering more vocational and technical courses (most of those which became universities after 1992 and maybe some others as well). This will be spun as entailing a new level of support for technical education, with the second group of institutions intended to be akin to German Technische Universitäten. The latter institutions will receive little or no support for research, and most lecturers will be on teaching-only contracts. The government money thus saved will be used to finance a cut in some tuition fees.
  2. A push for many degrees, especially in the arts and humanities, to be able to be undertaken in two years, delivered by a mixture of lecturers on teaching-only contracts (whose increased teaching burden would leave little time for any research), casual academic staff without permanent contracts, and postgraduates.
  3. A limitation of practically all government research money to STEM (Science, Technology, Engineering, Mathematics) subjects, with nothing for the arts and the humanities, though the social sciences may keep some.
  4. A variant of 3, in which all or the bulk of arts and humanities research money is only available to those in Russell Group institutions.
  5. The introduction of a direct link between ’employability’ (as measured by the Teaching Excellence Framework) and the level of fees which an institution is allowed to set.
  6. An insistence that the majority of academic jobs be teaching only. Having a research position will then become one of the most sought-after things in HE.

Most of these measures, or some variants thereof, will be designed to enable the government to cut fees without having to pledge any more money for HE. I believe strongly in the abolition of tuition fees and re-installment of maintenance grants for all, but realise at present this is unlikely to be on the cards (even with a Labour government which pledges to abolish fees, but will be hit by the dire economic consequences of a Brexit they are doing little to stop).

The outlook for the arts is bleak, and especially for degrees in performing arts such as music, theatre, dance, or various types of spatial arts, which include a practical element requiring significant resources for appropriate facilities. Already, as a result of the introduction of the Ebacc (English Baccalaureate), there was a five-fold fall in the numbers of pupils taking arts subjects at secondary school in 2015-16, while other evidence points to a special fall in take-up and provision of music. When combined with other likely problems relating both to recruitment and access to research funding following Brexit, this will put various music and other arts departments in a highly precarious position, as some already are.

The arguments for the employment benefits of arts and humanities degrees have been rehearsed often, as for example in response to politicians such as former Conservative Education Secretary Nicky Morgan dismissing arts and humanities subjects and urging pupils at school to concentrate on STEM if they want a better career. I do not wish to dwell on these further here, not because I do not believe them to be true, but because I resent the debate always being framed in such narrowly utilitarian terms. Rather, I want to ask why many – including some in academia – have lost such faith in the value of the study of the arts and humanities as an end in itself, and are submitting to terms of reference which will always place them at a disadvantage?

In many continental European universities, there are battles to save rare subjects in the face of declining student numbers, but at least some measures are being taken to prevent these from extinction. It would be nice to imagine that the UK government (or the opposition) were backing similar measures, but evidence of that is in short supply. I wonder in how many other developed countries one would find a vice-chancellor of a major university declaring the irrelevance of the study of sixth-century history, as the late Patrick Johnston, of Queen’s University Belfast, did in 2016. I refuse to accept that the study of early medieval (or ancient) history is somehow automatically less ‘relevant’ than modern history – or that the study of Guillaume de Machaut is less ‘relevant’ than that of Madonna. Any measure of the relevance of history in proportion to the temporal remoteness of the period in question ultimately undermines the case for the study of history at all. There has also been, in the UK, a marked decline in foreign language degrees, no doubt linked to a decline in their study in schools. It is dispiriting and more than a little arrogant when those in Britain no longer feel it important to engage with any of the world’s many other languages.

There have been, and will be for a long time, heated debates about the value to individuals and society as a whole of various types of art, and especially regarding their purported humanising or civilising potential. Overwhelming evidence exists from the fascist era that individuals with a love for and firm schooling in high culture could still commit crimes against humanity. At the very least, this renders automatic assumptions of such culture’s civilising potential impossible to maintain. But one need not subscribe to the views of Matthew Arnold (themselves more complex and nuanced than sometimes credited) in order to believe that a society with only minimal support for and education in the arts and humanities to be one which is deeply impoverished.

So what should be included in teaching and research of these disciplines? I would argue that at the very least, students should be encouraged to explore not only the forms of culture that they would encounter anyhow, but also those of different times and places, not to mention less familiar or commercially successful genres. Such culture can benefit from being examined in its social, historical, geographical, political, ideological contexts, without in any way neglecting its specifics and technical details, which are not merely the by-product of such contexts. The relationships between different cultural forms (between music and theatre, between theatre and performance art, between literature and film, just to give a tiny few obvious examples) are also greatly important, as are the relationships between culture and the intellectual environment of its time/place/social milieu, the societal functions of various cultural forms, the nature and demographics of those who partake of such culture and their responses (i.e. the study of reception), the economic situation of cultural production, the role of changing technology, and much else.

Yet so often I encounter the dismissal of many of these things, including by some academics, in ways which mirror government ideologies, despite being presented in somewhat different language. In the case of my own field, music: government emphasis on STEM subjects is mirrored in increasing emphasis on technological skills in music over other varieties of musical study and musicianship (and in the case of research, favour bestowed upon anything which has a contemporary technological dimension), as if musical study is somehow more acceptable when it has some of the veneer of science. Positions become available for the teaching of commercial music, or functional music for another commercial medium (such as popular film or video games), more frequently than those requiring expertise in a historical field, or in musical cultures outside of the Western world. I was recently informed by one Professor of Theatre that historical study of that discipline has all but disappeared except in Russell Group institutions (though am interested to hear of any evidence to the contrary).

I accept that some of this is pragmatic, borne of desperate attempts to recruit and maintain students who have less and less of a foundation in music and the arts at primary and secondary school than ever. But I am dismayed at how many embrace rather than tolerate this situation. There was a time when the study of popular music (see this debate from two years ago on this blog) could reasonably be argued to inject increased diversity into rather rigid curricula. At best, this can entail the study of many different popular musics from various times and places, critical interrogation of the concept of the ‘popular’, consideration of various social contexts, means of production and distribution, not to mention relationship to other cultural traditions, languages, and so on. But when it means limiting a good deal of musical study to Anglo-American popular music of a restricted period (essentially that music which is already familiar to students), then the net effect for diversity is negative rather than positive. Ethnomusicologists (see another debate on this blog) eager to decry not only relatively traditional approaches to teaching Western art music, but also older approaches to their own disciplines which involved Western scholars spending considerable amounts of time in remote places, absorbing as best as they can the language, cultural practices, and so on, might reflect upon how precarious their own discipline might become if there is less of a place or welcoming environment for those interested in such things. The more musical study becomes simply about the application of a selection of methods derived from sociology or cultural anthropology to fields of musical activity close to home, the less reason there will be for institutions to support music as a separate field of study. The sociology and anthropology of music are vitally important sub-disciplines with multiple intellectual trajectories of their own, but if those engaged with them are housed solely in sociology and anthropology departments, they will then be in direct competition for students, funding and positions with the rest of those fields.

More widely, in many fields of cultural studies, especially the populist varieties which, as I have argued in some recent papers, are rooted in the work of the Birmingham School and especially that of Stuart Hall, commercial utility is equated with relevance, musical engagement is viewed as just another consumer activity, and research can amount either to conducting focus groups, or dressing up familiar informal chat about popular culture with a modicum of jargon. Any deeper critical engagement with popular taste, the latter empirically measured at one particular time and place, is dismissed as elitism. This amounts in many ways to an eschewal of arts education itself, and can lead to rather patronising ways of patting students and ‘the masses’ on the back simply for having the tastes they do, rather than encouraging them to venture beyond their comfort zones.

I do believe, after working in HE for 15 years (in multiple institutions), that most students who study arts subjects at university do so after having read some literature, heard or played some music, seen and acted in some theatre, looked at or produced some visual art, etc., and care about these and want to know more. They often seek help and guidance to navigate an overwhelming range of available culture, and also learn technical skills so as to be able to engage with this more incisively. Certainly not all will become equally drawn to all the manifold areas of study, methods, or emphases involved, nor could any realistically study all in detail in the limited time available for an undergraduate degree (for which I think we should be looking towards four- rather than two-year degrees, ideally) which is why we offer some degree of elective options. But I do believe it is important, indeed vital, that educators attempt to broaden students’ horizons, encourage them to explore beyond what they already know, and also consider the familiar from unfamiliar angles. Those educators, with years of experience in their own fields, are in a position to facilitate all of this. Not through spoon-feeding, teaching-to-test, or rote learning, but introducing what to students will be a plurality new ideas, new cultural forms, new contexts, and encouraging them to consider these critically.

I also realise this type of humanistic approach may not be attractive or feasible to some potential students, and this situation is unlikely to change without wider changes in primary and secondary education. With this in mind, I would not rule out questions as to  whether the removal of the pre-1992 divide has been wholly beneficial, and whether a need to maintain the pretence that all degree courses are roughly equal just entails a race to the bottom for all. But technical colleges are not universities in the traditional sense, and it benefits nowhere to pretend otherwise, as argued well by Marxist scholar Terry Eagleton:

Just as there cannot be a pub without alcohol, so there cannot be a university without the humanities. If history, philosophy and so on vanish from academic life, what they leave in their wake may be a technical training facility or corporate research institute. But it will not be a university in the classical sense of the term, and it would be deceptive to call it one.

Neither, however, can there be a university in the full sense of the word when the humanities exist in isolation from other disciplines. The quickest way of devaluing these subjects – short of disposing of them altogether – is to reduce them to an agreeable bonus. Real men study law and engineering, while ideas and values are for sissies. The humanities should constitute the core of any university worth the name. The study of history and philosophy, accompanied by some acquaintance with art and literature, should be for lawyers and engineers as well as for those who study in arts faculties.

I would not like to live in a narrow, utilitarian, technocratic society in which there is little wider societal interest in other times and places, in all the questions which the humanities raise, or one in which such interest and knowledge is limited to the upper echelons of society. Nor a society in which art has no meaning other than as a form of commercial entertainment, as some right-wing politicians in the UK have been urging for many years (see the notorious 1990 Westminster speech by then-Tory MP Terry Dicks, and the spirited and witty response by then-Labour MP Tony Banks). And I doubt that this type of society would be attractive to many, especially not those working in arts and humanities fields. But if many of them are not prepared to defend the ideals of the arts and humanities, acting instead as advocates for narrowly conceived notions of social ‘relevance’, defined in terms of being contemporary, technocratic, and generally restricted to the place and milieu of them and/or their students, what are the chances of any meaningful opposition to governments who would happily slash most of these?

Universities, the arts and the humanities, are not just means to ends but valuable in their own right. Cultures and cultural histories are far from unblemished things, to say the least, but it would still be negligent in the extreme to let them fade into oblivion. And allowing students to retreat into the comfort zone of the already-familiar is damaging to global citizenship. In some ways, those who advocate such an approach to education are already doing the Brexiteers’ work for them.

 

 

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Musicological Observations 3: Multicultural Musicology for Monolingual Academics?

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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 them in a special June 2013 issue devoted to German popular music [1]. 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 [2]. Another article referenced one book in Portuguese, though the ethnographic nature of the article implies full fluency in this language [3]. 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) [4]; another refers to a Dutch-Javanese dictionary; and another to two texts in French and one Toraja-Indonesian dictionary [5]. 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 wider 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 fewer 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 [6]; otherwise there was one article citing two theses in Norwegian (one of these in a little detail) [7], another referencing three Spanish sources [8], another some French sources (but not Arabic ones, rather ironically considering this was an article dealing with colonialism and orientalism) [9], whilst another was a translation of a 1937 Spanish article [10] (I am not counting an article which cites one French source which has clearly only been accessed through a secondary source in English [11]). 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 [12]. 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 [13] the other text to a Petrarch sonnet given with translation [14]. McClary’s earlier book Feminine Endings had four non-English sources: a reference to Monteverdi’s foreword to the Madrigali guerrieri ed amorosi [15] and to Bellerofonte Castaldi’s Primo Mazzetto di fiori musicalmente colti dal giardino Bellerofonteo (1623) [16], Joachim Burmeister’s Musica poetica (1606) [17], and Arturo Graf’s “Una cortigiana fra mille’, in Attraverso il cinquecento (Turin: Chiantore, 1926) [18].

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 [19], 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, of 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 [20]. 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 [21], 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 [22]) make regular reference to non-English texts, three others (by Ellen Koskoff, Carolyn Abbate and Lawrence Kramer [23]) 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 [24], Richard Middleton deals in some degree of detail with Joseph Riepel’s Grundregln zur Tonordnung insgemein (1755) [25], and Claudia Gorbman includes a few French references; the six articles making up the other half of the book only reference 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 [26]. The other foreign texts cited in the bibliography are Joël-Marie Fauquet and Antonine Hennion’s 2002 La grandeur de Bach, Hennion’s 1992 La passion musicale [27] (alongside various texts of Hennion in English), and two Italian texts by Anna Lisa Tota [28]. 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’ [29], 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’ [30] Tota’s 1997 study is merely listed as an example of ethnographic studies [31], and the other not cited at all (unlike a text of Tota in English which is given very slightly more detailed engagement [32]). 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 [33], even despite the fact that there is no real engagement with the music either [34]!

Certainly some of these scholars are able to read other languages (as demonstrated in McClary’s work on the Italian madrigal, for example [35]). 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 themselves 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.

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 [36] (to which I am also a contributor, but on the Nineteenth Century [37]) 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’ [38], 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 [39]. 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 Michel 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 und Unternehmenbiographie, 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.