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Cultural Mapping and Musical Diversity

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'Cultural mapping' has become a central keyword in the UNESCO strategy to protect natural and world cultural heritage, including music traditions. As a tool to increase the awareness of cultural diversity it transforms the concept of intangible cultural heritage to visible items by establishing multi-dimensional profiles of cultures and communities. Cultural mapping has been used as a resource for a variety of purposes as broad as the analysis of conflict points and peace building, adaptation to climate change, sustainability management, as well as heritage debates and management. Music has been playing a significant role in each of these aspects. As this theme has rarely been explored within ethnomusicology, this collection approaches the topic of cultural mapping from four different thematic perspectives: The book starts out with historical and methodological reflections on cultural mapping in ethnomusicology, followed by an exploration on possible relation between nature/ landscape (and definition of such) and music/ sound. How exactly is landscape interrelated with music – and identified (and vice versa)? The second half focuses more specifically on the UNESCO Intangible Cultural Heritage. The articles not only address the broader political framework, but also thematic and geographic case studies of Intangible Cultural Heritage and music, as well as the pro of UNESCO’s endeavours.

Published: Feb 15, 2020

Book Contributors

Series

Section Chapter Authors
Preliminaries
List of Figures Britta Sweers, Sarah M. Ross
Preface and Acknowledgements Britta Sweers, Sarah M. Ross
Introduction
Cultural Mapping and Musical Diversity Britta Sweers, Sarah Ross
Part I: The Method of Cultural Mapping
Introduction Britta Sweers
1. Kulturkreise, Culture Areas and Chronotopes: Old Concepts Reconsidered for the Mapping of Music Cultures Today Marcello Sorce Keller
2. Mancunian Irish: Identity, Cultural Intimacy and Musical Hybridization – Urban Ethnomusicology and Cultural Mapping Svend Kjeldsen
3. Dying Language, Multi-Identity and Music for the Young Pekka Suutari
4. Mapping 'Inconvenient' Music Heritage Ana Hofman
Part II: Cultural Landscape and Music
Introduction Britta Sweers
5. Landscapes and Flower Songs: Proposing the Hypothesis of Agriculturalist-Pastoralist Coalescence as the Origin of Hua’er Festivals Lukas Park
6. Climate and Environment in Idelsohn’s History of Hebrew Music Shai Burstyn
7.Dancing the Landscape: Music, Place, Collective Memory, and Identity in a Highland Bolivia Pilgrimage Tom Solomon
8. The Space of the Gong Culture in the Central Highlands of Vietnam: Old and New Directions in Ede Traditional Music Vincenzo della Ratta
Part III: The Politics of Intangible Cultural Heritage
Introduction Sarah Ross
9. Historical Voices Reloaded – Rethinking Archival Responsibilities Compared to Intangible Cultural Heritage Gerda Lechleitner
10. Intangible Cultural Heritage and Policy Making in Poland Marzanna Poplawska
11. Mapping and Representing Musical Diversity in Switzerland: The Role of Artists, Ethnomusicologists, and Officials Marc-Antoine Camp, Brigitte Bachmann-Geiser, David Vitali, Dieter Ringli, Patricia Jäggi
12. Tracing the Minhag Ashkenaz in Swiss Synagogue Music: Advocates of Intangible Cultural Heritage Meet Agents of Cultural Sustainability Sarah Ross
Part IV: Intangible Cultural Heritage - Case Studies
Introduction Sarah Ross
13. Flamenco for Andalusia, Flamenco for Humanity: Regionalisation and Intangible Cultural Heritage in Spain Matthew Machin-Autenrieth
14. Questioning Safeguarding: Heritage and Capabilities at Jemaa el Fnaa Square, Morocco Tom Beardslee
15. The Verbuňk under the Pressure of World Fame Zuzana Jurkova
End Matter
Index Britta Sweers, Sarah M. Ross

Reviews

The editors have done an honourable job of highlighting synergies and creating common contexts for the articles. However, it is the diversity of individual studies that is the great benefit of the anthology.
Puls