Innehåller bibliografi och index.

Preface / Reinhard Strohm -- Towards a transcultural music history? / Max Peter Baumann -- Panafrica and the idea of (non) absolute music / Tobias Robert Klein -- History, mathematics and auditory perception in African music: a roundtrip through the lecturer's fieldwork / Gerhard Kubik -- Ballanta, Trittelvitz and Hagena: a 1920s conversation on church music in Africa / Anna Maria Busse Berger -- The West in musical retrospect: the historiographical implications of South African maskanda music / Barbara Titus -- Chaos and order: issues in the historiography of martial music / Morag Josephine Grant -- Blowing and hitting: Korean envoys, processionals and martial music / Keith Howard -- Military music in 16th- and early l7th-century Europe: a musical command system between improvisation and denotation / Silke Wenzel -- Bach in the early Shōwa-period Japan (1926-1945): historiography and reception / Thomas A. Cressy -- The Bach tercentenary in South Korea (1985): commemoration, recollection and reflection / Kayoung Lee -- Bach and the renewal of Chilean musical life since the 1920s / Daniela Fugellie -- Through the lenses of neoclassicism, the Viennese School and exile: an examination of Johann Sebastian Bach in Argentina, 1920 to 1950 / Christina Richter-Ibáñez -- Bach in Spain and Mexico (1917-1958) through the works of Adolfo Salazar / Eva Moreda Rodríguez -- Bach (and his absence) in postcolonial Indian literature: the politics of absolute music and genius / Christin Hoene -- Towards a comparative history of tonal text-setting practices in South East Asia / James Kirby -- The Siamese gramophone record industry 1903-1940 in regional context / James Mitchell -- Electronic music, socialism and modernity: on remastering the archives of the Polish Radio Experimental Studio / Dariusz Brzostek -- The non-Russian sound of post-Soviet Moscow / Razia Sultanova -- Archival silence: friction, remediation and purification in online sound archives / Tom Western

"This book engages with a transcultural history of music: with musical events, processes and discourses that happened because the world is not compartmentalised in national cultures. The musical experiences reported in these stories, distributed over several continents, were guided by a transcultural consciousness. This means that the historiographers of African music, the practitioners of military music, the proponents of Bach's music in other continents, the creators and users of sound media, could act as they did because they were conscious of a globalised cultural environment. They participated in wider options but often insisted on their own diversity. A global history of music (to quote the Balzan Musicology Project from which this volume originates) would be the sum total of musical histories, large and small, around the world. The focus of this book, however, is on musical processes and debates that have in themselves been conditioned by the transcultural consciousness of the modern era. Nineteen specialists of music history, ethnomusicology and cultural studies describe a surprising patchwork of local expertise and global significance. The people who have contributed to this patchwork are innumerable."-- Baksidestext