The European Journal of Musicology (EJM) is a peer-reviewed forum for critical analyses addressing cultural, social, economic, political, and religious aspects across the full range of what is understood as music, sound, and performance.
Diversity in Classed Spaces: Inviting Ethnically Different Music into the Classical Music Concert Hall
This article explores processes of exclusion and inclusion in classical music institutions in Western Europe. The field of classical music, also called Western art music, is highly classed and widely exclusionary in its performance traditions and practices. Over the last decade, an increasing number of initiatives have been implemented to increase diversity in this particular cultural field. Using a case study of a renowned concert house in Vienna, Austria, which “invited” ethnically marked musicians to perform in a concert series, this article explores the discourses, challenges, chances, and experiences of both performers and audiences that emerge from such musical encounters. We examine how the underlying conditions of class and ethnic inequality have been addressed in this context. In addition, we show how musicians and audiences engaged with this “invitation” and how they used the opportunity provided—whether consciously or unconsciously—to navigate and challenge existing power structures. Overall, we put forth the argument that, while diversity initiatives in classical music commonly focus primarily on ethnic differences, the mechanisms of inequality in this field can only be meaningfully identified and addressed through a thorough intersectional analysis of ethnicity/race and class—particularly given to the deeply class-exclusionary nature of classical music practices.
Copyright (c) 2026 Anja Brunner, Tessa Balser-Schuhmann https://creativecommons.org/licenses/by/4.0
John Blacking and the “Human/Musical Instrument Interface”: Two Plucked Lutes from Afghanistan
Blacking’s theories about music structures and the physical movements in their performance –– Baily’s experimental work on motor control in pointing at visual targets –– ethnomusicological research on playing two Afghan lutes (dutar and rubab) with radically differing linear and tiered arrays of note positions –– learning to perform as an ethnomusicological research technique –– how the typical repertoires of the two lute types are related to the spatial distribution of note positions.
Copyright (c) 2025 John Baily https://creativecommons.org/licenses/by/4.0
The Intersectionality of Performing Bodies: Dance and the Afghan Refugee Experience
This article explores from an intersectional perspective how difference gains meaning through musicking, especially dancing bodies. It introduces intersectionality as a means of analysis in ethnomusicology, referring to fieldwork with Afghan refugees in Austria. I examine the specific preconditions of forced migration and diasporic life realities of Afghans in Austria, specifically focusing on the interdependency of anti-Muslim racism and gender policies. After roughly sketching an Afghan music history, I discuss Afghan pop music in the context of forced migration and present diasporic transformations with reference to social dance events. Finally, I address the interrelatedness of gender, sexuality, and dance by analysing performing bodies and their movements as corporeal signifiers of gender and sexuality as well as of race and ethnic “Otherness.” While showing how music and dance help in negotiating a sense of belonging within the web of origin, migration, and relocation, this article emphasises the role of gender and sexuality as well as that of racialisation and ethnicization in both the music and dance practices of Afghans in Vienna and in general public discourse.
Copyright (c) 2025 Marko Kölbl https://creativecommons.org/licenses/by/4.0
Dance in Steelband Performance and its Connection to Decoloniality
Discarded 55-gallon oil barrels were used for music making in 1930s colonial Trinidad and Tobago; a period deeply shaped by discrimination of its performers. Large ensembles consist of over 500 drums played by 120 musicians, who all move as one. Analysing large ensemble performances, this chapter examines dance as a decolonial aesthetic and epistemology, discussing how dance enables performers to regenerate the communal and thereby transgress the colonial matrix of power. It explores the potential of the performing body for broader understandings of decoloniality. This chapter seeks to understand the moving body in musical performance as a historical and current practice of transgressing and (re-)existing beyond coloniality. It asks: how does music enable people to (re-)exist beyond the colonial matrix of power and its working in the epistemic realm, which is crucial to understanding subjectivity, the control of knowledge, and personal and political consciousness. The performing body is socio-political because it generates space for the receipt and exchange of emotions and experiences, bringing about feelings of joy, love, and communion, thereby enabling a way of being that transgresses coloniality.
Copyright (c) 2025 Charissa Granger https://creativecommons.org/licenses/by/4.0
Music and the Body: From Cognition to Performance
This article provides an overview of some recent approaches to the study of music and the body. Among the topics discussed are embodied music cognition, phenomenology, affect and atmosphere, entrainment and gesture, and “reading” bodies as cultural texts. The different concepts are defined, and examples of relevant studies are identified and discussed. Themes that cut across these topics include the moving body, the nature of embodiment, and the relationship between non-discursive forms of meaning making and language. Earlier work on music and the body within ethnomusicology is also discussed, as well as more recent work that theorises music and embodiment. The article concludes that ethnomusicology is especially well situated to study the body and embodiment due to its ethnographic approach to performance, where moving, performing, and listening bodies are in focus.
Copyright (c) 2025 Thomas Solomon https://creativecommons.org/licenses/by/4.0
Understanding Tango Danceability by Accessing Embodied Knowledge: The “Harmonic Comfort Zone”
“The Tango Danceability of Music in European Perspective” is the title of a research project in which the translocal genre tango argentino is examined, focusing on its history and some of its manifestations in Europe. The broad objective of the project is to determine which factors in sound, movement, and social relations are relevant to the question of “tango danceability.” To access embodied knowledge of danceability by tango dancers, we designed an experiment in which tango dancers throughout Europe were asked to dance to newly composed pieces and write down their immediate reactions to it. Some of the outcomes of this experiment confirm inside knowledge I have gained as a tango dancer for more than a decade. Other aspects, such as the importance of harmonic structures, were surprising and led to insights impossible to uncover without quantitative, experimental approaches in combination with qualitative expert knowledge.
Copyright (c) 2025 Kendra Stepputat https://creativecommons.org/licenses/by/4.0
Investigating Embodiment in Oral Mnemonics within Japanese Music
An oral mnemonic system known as shōga (literally meaning “singing song”), which can be practised without a musical instrument, is an indispensable means for transmitting or representing melodies in Japanese traditional music genres. While it has come to be written as a kind of music notation as well, shōga is primarily the bodily experience that begins with imitating the master’s voice and movements in a one-on-one teaching scenario. This article aims to approach the nature of shōga-performing practices from both quantitative and qualitative angles, dealing especially with the case of a wind instrument in court music (gagaku). After discussions on shōga and the rhythmic properties of instrumental music in gagaku, sound/movement data will be examined and combined with interview results from a participating musician. The investigation reveals that a multi-angled knowledge of shōga practices can provide insight into the essence of rhythmic expression in Japanese music genres.
Copyright (c) 2025 Sayumi Kamata https://creativecommons.org/licenses/by/4.0
Being Inspired, Being Possessed: Performative Techniques for the Embodiment of the Spirits in Burmese Urban Ceremonies
Dance is regarded as the expression of spirit possession in Burma. In nat kana pwe (private urban ceremonies), the nat kadaw (spirit medium) dances, embodying consecutively the Thirty-Seven nats, a defined pantheon of spirits whom devotees propitiate in order to gainhealth and wealth. In embodying these as well as other spirits, the medium moves fluidly between human and animal, masculine and feminine, young and old, refined and harsh spirit characters. The ritual performance is supported and controlled by the clashing sound of the hsaing waing, the Burmese tuned drums and gongs ensemble. Together, the movements of the nat kadaw and sound of the hsaing ensemble make the spirits come into presence in the ritual space, so that humans can interact with them. This paper investigates the affects and effects of spirit embodiment from the perspective of sound and movement analysis. Addressing the Burmese conceptions about spirits and spirit possession, the paper highlights the exchanges of embodied feelings that link musicians, dancers and spirits during a ceremony. Drawing on fieldwork videos and ethnographic descriptions, the paper considers the coming-into-presence of the nat Nankarine Medaw, the Buffalo Mother of Bago, and analyses the different performative techniques (dramatic representation, spirit dance) and mimetic processes through which this spirit person is danced and sounded, thus allowing her concrete and bodily manifestation.
Copyright (c) 2025 Lorenzo Chiarofonte https://creativecommons.org/licenses/by/4.0
This contribution introduces this special issue of the European Journal of Musicology on “Performing Bodies” as a whole, as well as the individual articles included.
Copyright (c) 2025 Laura Leante, Samuel Horlor https://creativecommons.org/licenses/by/4.0
Rezension von Un Beethoven ibérico. Dos siglos de transferencia cultural von Teresa Cascudo García-Villaraco (Hrsg.). Comares: Albolote, 2021.
Copyright (c) 2023 Cristina Urchueguia https://creativecommons.org/licenses/by/4.0
Copyright (c) 2024 Jun Pow https://creativecommons.org/licenses/by/4.0
The Cyclical Genealogy of Schoenberg’s Second Chamber Symphony
In 1939 Schoenberg was facing the challenge to complete his Second Chamber Symphony, which was started 33 years earlier. Through a harmonic study of his sketches, I propose that Schoenberg made an implicit application of Jewish cyclical repetitions as a creative concept to overcome the long compositional block. This article is divided into two parts. I begin with a discussion on the use of cyclical form in the modern history of Western classical music before laying out some of Schoenberg’s ideas on repetition. Thereafter, harmonic analyses of the two complete movements of the Second Chamber Symphony as well as fragments from the third movement are used to support the argument that an extended cyclic form could have been adopted by Schoenberg as a method of musical organization during the first few years after his conversion back to Judaism. The cyclical formation of Schoenberg’s Second Chamber Symphony could critically be part of an unconscious and anxious process that reveals itself as part of the Semitic musical genealogy from Mendelssohn to Mahler.
Copyright (c) 2024 Jun Kai Pow https://creativecommons.org/licenses/by/4.0
Schoenberg’s Metronome Markings: A Study of His Music Manuscripts and Early Editions
While Schoenberg had consistently indicated tempo using words exclusively in his early tonal music, metronome markings became a common practice in his twelve-tone music. Situated within a historical context, this study demonstrates the process by which Schoenberg employed metronome markings as an indispensable means to create his music. The first section of this article discusses Schoenberg’s writings regarding his ideas on tempo indications and speculates on the motivation behind the switch to metronome markings. The second section examines the source documents of Schoenberg’s Second String Quartet, Op. 10, Erwartung, Op. 17, and the Four Orchestral Songs, Op. 22. Exploring Schoenberg’s method of tempo indication in these works, I suggest that his approach towards tempo indications started to change around the fall of 1913 when he composed the first song of Op. 22. Here, the metronome marking became a tool to indicate the basic tempo of the music. Finally, I argue that the composer’s instruction to performers that “the metronome marks must not be taken literally,” which is usually found in the prefaces of his scores published after 1914, was due to the highly expressive nature of his music.
Copyright (c) 2024 Fusako Hamao https://creativecommons.org/licenses/by/4.0
In common with many Viennese thinkers of his time, Arnold Schoenberg was an avid reader of the writings of Karl Kraus. In his day, Kraus was as famous for his recitations of his own works as for the writings themselves, his charismatic renderings producing almost ecstatic responses from audiences. Elias Canetti describes Kraus’ recitations as sites within which the audience was “learning how to hear”.[1] This is both about refining one’s sensitivity to sound and about becoming more sensitive to ideas that are carried upon the acoustic cantilena of the words. The importance of a focus upon listening cannot be over-estimated if one is trying to understand the relationship between Kraus’ style of presentation, the compositions of the Second Viennese School and performances of their works. Schoenberg saw an expression of ‘truth’ in the language of Kraus, an artist for whom what is said and how it is delivered were intimately connected but whose art’s significance lay, as Nicholas Cook has written, “not in the effects it made on the audience […] but in how far the artist, in creating it had attained ‘the origin’”.[2] This seems to echo the often problematic relationship between embodied sound and embedded idea that colours common perceptions of Schoenberg’s music. This article tests these claims through a case study of Schoenberg’s Herzgewächse Op. 20, linking a reassessment of its historicity with aspects of the tension between the musical material and its realisation when uncovered in performance. It suggests that the ‘remaking’ of the voice embedded in the demands written into the soprano soloist’s line becomes a series of ethically-charged encounters between composer, performer (idealised and actual) and, ultimately, audience. These encounters are fraught with hazard, redrawing the boundaries of what constitutes ‘right action’ in terms of creation, enactment and reception. [1] Elias Canetti, The Torch in my Ear, (London: Granta, 1999), 220. [2] Nicholas Cook, “Schenker’s Theory of Music as Ethics”, in Journal of Musicology 7.4. (Berkeley: University of California Press, 1989), 425.
Copyright (c) 2024 Darla Crispin https://creativecommons.org/licenses/by/4.0
Unravelling Schoenberg’s Violin Concerto: Tracing the Crystallization of the Idea as a Performance Plan in the First Movement
Copyright (c) 2024 Stelios Chatziiosifidis https://creativecommons.org/licenses/by/4.0
Performing Form: A Dialogue between Performance and Analysis
What happens when a pianist who is not a trained musicologist, and a composer with a background in musical analysis, discuss the piano music of Schoenberg? In this article, Pina Napolitano and Hugh Collins Rice explore that dialogue. Their main focus is the Klavierstück Op.33b. They discuss the relationship between the performance and analysis of key passages, and their impact on the perception of form. From this discussion moves to Op.33a and three of the Op.23 Klavierstücke. The authors discover analysis and performance to provide intriguingly complementary and enriching perspectives. Passages which had clear analytical explanations were often problematic in performance; conversely music which was difficult to interpret analytically could be entirely natural for the performer. The authors conclude that these differences are not problematic, but combine to enhance their respective experiences of the music.
Copyright (c) 2024 Hugh Collins Rice, Pina Napolitano https://creativecommons.org/licenses/by/4.0
Copyright (c) 2024 Gordon Root https://creativecommons.org/licenses/by/4.0
This article examines and contextualizes Arnold Schoenberg’s arrangements of waltzes by Johann Strauss, arguing that they demonstrate how Schoenberg’s music, while radically modern, was at the same time profoundly shaped by nostalgia. This particular type of nostalgia—not simply a longing for a lost past, but rather an act of remembering that is imperfect, a dialectical process that looks backwards even as it participates in constructions of the self that are oriented towards the future—underwrites Schoenberg’s engagement with the past and anxiety about the future. His waltz arrangements, celebrating the pinnacle of Viennese imperial culture, are contemporary with his foray in dodecaphony, and as such curiously anachronistic. But, as I argue here, considering Schoenberg as a nostalgic—via the work of cultural theorists like Svetlana Boym—opens the door to some possible different narratives for music history. Schoenberg’s legacy of “crisis and progress” can thus be challenged, and something like Boym’s “third way” of modernism, with its “lateral possibilities,” can emerge.
Copyright (c) 2024 Alexander Carpenter https://creativecommons.org/licenses/by/4.0
This essay investigates what I regard as the two main challenges for historical musicology today: where it might be heading in the age of post-critical musicology and how it should react to the age of post-truth whose perceptual and moral relativism paired with its a priori rejection of expertise represents a fundamental challenge to all academic pursuits – a challenge so serious that it needs to be addressed by musicology as much as by all other disciplines in the humanities, social sciences and sciences. Juxtaposing critical musicology and what many call “the music itself” I will undertake this discussion following the structure of the most dialectical of all musical forms, the sonata form – albeit with the proviso that the resulting synthesis cannot consist of the tonic asserting its primacy at the expense of the dominant; there will have to be a more equitable outcome.
Copyright (c) 2023 Wolfgang Marx https://creativecommons.org/licenses/by/4.0
This article is discussing the way twentieth-century musical creation managed to deal with the erosion of the homogenous temporality connected to tonal music, and doing so, how it suggested at different levels, new ways to consider music writing. Using a pluridisciplinary approach necessary to explain how the concept of montage introduced in plastic arts has been able to take root into the musical field at the turn of the century, we will look at various examples focusing on continuity versus discontinuity as a key element of this shift, after reviewing the ins and outs of what could be seen as a “temporality crisis” in music. We will highlight what we can view as a reversal of the classical paradigms in the musical field with regard to time and space. Then, we will show how these aesthetic approaches are in fact reconnecting with some new modes of continuity, improbable ones at times, as they appear to contradict the very nature of continuum.
Copyright (c) 2023 Joseph Delaplace https://creativecommons.org/licenses/by/4.0
“You should be more cute, you know”: cuteness and negotiations of power in Japanese vocal jazz
Jazz has for a long time been a male dominated field and is to a great extend produced as a hegemonic masculine project still today. In this study, our focus is on the social context of music performance in Japan, rather than on an analysis of jazz music itself. We attempt to understand musicians’ meaning making processes: the ways in which they talk about their music, manage identity-related tensions, and ultimately how musicians make sense of their experiences on and off stage. Studying the social context around music therefore provides insight into social history itself, into different constellations of gender organization available at any given moment, whether these are hegemonic or resistant.
Copyright (c) 2023 Liv Quist Christensen, Jennifer Branlat https://creativecommons.org/licenses/by/4.0
Discovering Italian Free Metal Reeds: A Fieldwork Enquiry
This article presents some of the results achieved in the complex and still little-known production system of metal free reeds for mechanical bellows aerophones. It starts from the encounter with Lorenzo Antonelli, director of the Italian factory "Voci Armoniche", which is one of the oldest and most important in the world. The account of this encounter will be used to demonstrate how intensive fieldwork research in ethnomusicology (i.e. the practice of cyclical alternation of phases in situ and ex situ) can mutually enrich the knowledge of both observer and observed and, at the same time, stimulate changes in individuals, as well as in the objects covered by the survey. The methodological structure of the article is based on the account of my fieldwork experiences, used here as an anthropological approach, with the intent of clarifying some crucial aspects of research on oral transmission contexts within an aural culture. Finally, this article aims to contribute to the debate on the relation between basic and applied research in the context of ethnomusicological, organological studies and research on the anthropology of techniques.
Multisector Industrial District of Recanati-Osimo-Castelfidardo
Copyright (c) 2022 Raffaele Pinelli http://creativecommons.org/licenses/by/4.0
Francesco Demuro is a 43-year-old accomplished opera singer from Sardinia. In the present days his career as a tenor singer takes him to famous concert halls all over the world. He took his first steps in the world of singing, however, not as an opera singer, but as a folk singer in the Sardinian tradition of a chiterra song. He debuted as a mini-cantadore (‘little singer’) on the stages of the local festivals and TVs in Sardinia and, ever since, has come to be known amongst the enthusiasts of a chiterra song with the diminutive of Franceschino, ‘little Francesco’. After having reached the most prominent position in this Sardinian traditional style, Demuro started studying as an opera singer. Later he abandoned his career as a folk singer to pursue opera singing once and for all, while always proudly declaring his origins as a singer of Sardinian traditional music. In this paper, some aspects mastered by Demuro with regard to the different vocal styles – as a singer of Sardinian music and as an opera singer – will be examined through both a detailed analysis of his vocal style in the two genres over the years and by gathering Demuro’s personal memoirs and accounts of his evolution as a professional singer.
Copyright (c) 2022 Paolo Bravi, Salvatore Carboni http://creativecommons.org/licenses/by/4.0
An Andean Musical Structure That Defies Borders
In many existing repertoires of traditional music in the South American Andean area a type of melodic structure that seems to refer to a common antecedent can be detected, even though its adaptation to the various genres is manifested through musical variants. The comparative analysis of these expressions (some belonging to the heptatonic modal and tonal systems of European origin and other that are typical of the anhemitonic pentatonic Andean system) allows a possible influence of the latter on the former to be hypothesized. This proposal aims to advance in this direction and will try to highlight one of the characteristics that give cohesion to musical expressions from a cultural area affected by processes of transculturation and identity affirmation. To achieve new knowledge about this phenomenon one has to analyze both the musical structures and the implications of its use in repertoires emerging at different times and in different circumstances, linked to the search and affirmation of an Andean cultural identity through organized sound.
South America; Andes; Modality; Transculturation; Identity; Musical Analysis
Copyright (c) 2022 Enrique Camara de Landa http://creativecommons.org/licenses/by/4.0
Terminal Archive? Taking and Returning Sound recordings: Two Examples from the Vienna Phonogrammarchiv
An overall assumption might express that music in general and songs in particular belong to the performers – researchers are interested in any music and “take” songs or instrumental pieces (as sound recordings) with them, often also to an archive. Metaphorically speaking, the sounds of a region leave their original place, captured by interested persons, enthusiasts or researchers, to be then studied, listened to and stored elsewhere. The stories behind the recorded music will be shown. Unequal recording situations give rise to recordings of different content and context – in that respect, the moving around of what was recorded where and by whom will be retraced from early expeditions showing a “standard” field research situation, in contrast to an “exceptional” research situation as conducted in prisoner-of-war camps during WWI. Two examples, a recording of instrumental music performed by a Crimean Tatar and a well-known story spoken in a special South Italian dialect, underline the process of taking and returning sound recordings. Finally, the discussion is related to what happened with the music and what the role of the performer or the source community, researcher and archivist is. What are the consequences of their relationship with each other?
Copyright (c) 2022 Gerda Lechleitner http://creativecommons.org/licenses/by/4.0
Migration of People and Melodies in the Taiga Area of Southern Siberia
The article focuses on the song tradition of the Chalkans – a small Turkic-speaking population living in a taiga zone of southern Siberia. The main objectives are: analysis of archival collections; comparison of the results of this analysis with historical data; and possible reconstruction of the historical process of the spreading of melodies in the area. The introduction examines different concepts of transhumance as applied to cultural artefacts. This concept is then discussed with regard to the Chalkan culture. Natural, social, economic and historical contexts are briefly described prior to the analysis of Chalkan songs. After discussing materials and methodology, historical strata of the song tradition are described, and the category of lyric songs with modal tunes is examined in greater detail. A general description is provided of its grammar as well as the conceptualisation of the songs, followed by analysis of the distribution of two main versions of tunes (3H- or “major” and 3L- or “minor”) according to local and gender criteria. Preliminary conclusions are provided on the presence of two local traditions (Suranash, or Lebed’, and Kurmach-Baigol, or Baigol) and male and female performance styles.
Copyright (c) 2022 Galina Sychenko http://creativecommons.org/licenses/by/4.0
How Do We Go About Singing a New Song About Migration?
This article provides an overview of the questions that emerged from an action research project in the centre of the Padana Plain - Cremona Province and some surrounding provinces – in which the author, together with some students and former students, has been engaged since 2014. The aim of the still ongoing project is to understand the various levels of inclusion of migrants and asylum seekers in analysing their musical behaviours. The project is threefold: to document and analyse if and how the different migrant groups can perform their rites; to organise musical workshops in middle schools in order, at the same time, to collect data about the musical listening and practices of children and to introduce them to transculturality through world and folk music; to organise musical workshops in Reception Centres for asylum seekers to understand if and how music has a role in their suspended lives and to try to use it for resilience. Considering that it is a right for migrants to be able to express their own culture and with the conviction that music is a strong tool in processes of dialogue and diversity acceptation, the project also envisages cultural events to create occasions of dialogue between the cultures that animate the area.
Copyright (c) 2022 Fulvia Caruso http://creativecommons.org/licenses/by/4.0
Copyright (c) 2022 Marco Lutzu, Giovanni Giuriati, Ignazio Macchiarella https://creativecommons.org/licenses/by/4.0
Play and Pay: The Ill-Starred Project of the Municipal Tax on Musical Instruments in Prague, 1910–1913
Utilising archival documents and the press, this article scrutinises aspects of the connections between local government, taxation and domestic music in Prague, 1910–1913; of all the European tax initiatives on musical instruments, the Prague one was the most ambitious and comprehensive. The administration aimed at raising considerable revenues and lessening the disturbance from music by taxing pianos, harmoniums, gramophones and orchestrions in inns and private homes. The initiative included an inventory of musical instruments, after which the officials began drafting the tax law. The press published on the inventory and planned tax measures, and several interest groups from the music and restaurant business submitted appeals to the city’s representative bodies. Some interest groups cooperated and cleverly exploited public opinion, forcing the city fathers to remove the tax from the agenda of the public sitting of the City Assembly. The initiative was doomed in several respects, including its unrealistic schedule, excessive complexity and lack of clarity.
Copyright (c) 2023 Risto Pekka Pennanen https://creativecommons.org/licenses/by/4.0
“I go. I return. I am confused”: Reflections on Armenian Music Ideas in Multi-sited Research
Doing ethnomusicological research about diaspora and music means travelling. Travelling back and forth to Armenian groups in Italy and France and being in the Republic of Armenia to understand and interpret, using the dialogical approach, the musical knowledge of particular individuals of communities and their self-identification as Armenians through music. By sharing and pondering opinions and experiences in different situations, the article discusses ‘Armenianness’ in the music of the protagonists of Milan’s musical practices comparing their discourses with those of other Armenians in Paris and Yerevan. It analyses how perceptions formed in Milan were a conditioning factor at the beginning of the research. It discusses also how the researcher had to adjust her understanding after discovering other musical identities in Armenian groups in France and Armenia and how coming back to Milan with a renewed awareness was pivotal in reflecting the diverse and divergent ways of being Armenian in music. Music can accommodate and direct shifting senses of self. Discovering several Armenian musical identities has revealed a reality where music expresses a will to remember history and at the same time an increasingly multiethnic, globalised Armenian culture, rather than a monolithic musical culture.
Armenian diaspora, Armenian music, Identity, Dialogical approach, Multi-sited fieldwork, Komitas, Genocide, assimilation, re-Armenisation, indigenisation.
Copyright (c) 2022 Ortensia Giovannini http://creativecommons.org/licenses/by/4.0