Table of Contents

Table of contents

Foreword. The Past is No Longer a Foreign Country
Keith Howard
Acknowledgments
Chapter 1. Foundations of Historical Ethnomusicology
Jonathan McCollum and David G. Hebert
Chapter 2. Methodologies for Historical Ethnomusicology in the Twenty-First Century
David G. Hebert and Jonathan McCollum
Chapter 3. Philosophy of History and Theory in Historical Ethnomusicology
David G. Hebert and Jonathan McCollum
Chapter 4. Hearing Echoes, Sensing History: The Challenges of Musical Diaspora
Judah Cohen
Chapter 5. Ancient Music, Modern Myth: Persian Music and the Pursuit of Methodology in Historical Ethnomusicology
Ann Lucas
Chapter 6. Analysis of Notation in Music Historiography: Armenian Neumatic Khaz from the Ninth through Early Twentieth Centuries
Jonathan McCollum
Chapter 7. Southern American Fiddling through the Mid-Nineteenth Century: Three Snapshots with Modern Connections
Chris Goertzen
Chapter 8. A Tale of Two Sensibilities: Hindustani Music and its Histories
Daniel M. Neuman
Chapter 9. The Legacy of Music Archives in Historical Ethnomusicology: A Model for Engaged Ethnomusicology
Diane Thram
Chapter 10. Contested Contextualization: The Historical Construction of East Asian Music
Keith Howard
Chapter 11. Advancing Historical Ethnomusicology
Jonathan McCollum and David G. Hebert
Index
About the Contributors

About the Author

Jonathan McCollum is an associate professor of music at Washington College.

David G. Hebert is a professor of music with the Grieg Academy, Bergen University College, Norway.

Reviews

By means of thoughtful commentary on potential sources and procedures, the editors and authors of new articles will hopefully stimulate burgeoning interest in historical perspectives on the part of ethnomusicologists.
*Bonnie C. Wade, University of California, Berkeley*

A timely, thoughtful, and engaging collection, Theory and Method in Historical Ethnomusicology is sure to become an important resource. McCollum, Herbert, and their collaborators have done a great service to musical scholars of all stripes, be they historical musicologists, ethnomusicologists, or somewhere in between.
*Ken Prouty, Michigan State University*

This book is an ardent call for a historical turn in ethnomusicology.
*Alexandra Kertz-Welzel, Ludwig Maximilian University*

A scholarly and incisive account of the place of historiography in ethnomusicology. Editors McCollum and Hebert adopt an organizational structure that achieves a fine balance between historical, philosophical, and theoretical foundations, and their application is illustrated brilliantly in studies of diverse global music traditions. The text transcends music disciplinary boundaries and points the way to an expanded vision for historiography in music scholarship.
*Marie McCarthy, University of Michigan*