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Music and the New Global CultureFrom the Great Exhibitions to the Jazz Age$
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Harry Liebersohn

Print publication date: 2019

Print ISBN-13: 9780226621265

Published to Chicago Scholarship Online: May 2020

DOI: 10.7208/chicago/9780226649306.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 21 September 2021

Is It Noise, or Is It Music?

Is It Noise, or Is It Music?

Chapter:
(p.123) 5 Is It Noise, or Is It Music?
Source:
Music and the New Global Culture
Author(s):

Harry Liebersohn

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226649306.003.0006

Helmholtz and developed his own experimental London’s significance as a site for global musical resources and global comparison overlapped with the rise of Berlin as capital of a newly prosperous, enterprising German nation-state. Carl Stumpf was able to hear the Bella Coolas or Nuxalk Indians perform in 1885 because the global entertainment empire of Carl Hagenbeck had arranged for their European tour. Hiring Nuskilusta as his teacher, Stumpf made the breakthrough to hearing microtones, an achievement that depended on a network of knowledge, including collaboration with Franz Boas. Inspired in part by Ellis, Stumpf criticized psychology of listening. After listening to a Thai orchestra in the Berlin Zoological Garden, a troupe on world tour, he published “Tonsystem und Musik der Siamesen” (1901), a programmatic essay for the comparative study of music. It recognized heterophony as a distinctive form of music-making and not “noise,” an insight taken up by the musicologist Guido Adler, who compared its Asian uses to its incursions into contemporary European music.

Keywords:   Carl Stumpf, Bella Coolas, Carl Hagenbeck, Nuskilusta, Franz Boas, heterophony, Guido Adler

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