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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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Music’s Global Archive

Music’s Global Archive

(p.151) 6 Music’s Global Archive
Music and the New Global Culture

Harry Liebersohn

University of Chicago Press

The Phonogram Archive (Phonogramm Archiv) built the world’s first global archive of music. It did so by relying on three networks of knowledge: an older one of circulating texts; the mid-nineteenth century’s imperial movement of people, knowledge and commodities; and the twentieth century’s circulation of recordings. Stumpf, Erich von Hornbostel, and their collaborators turned their recording collection into a central archive for music; Felix von Luschan at the Berlin Ethnological Museum helped them get funding and phonographs. Correspondents from abroad sent in wax cylinders and forged personal ties to Hornbostel, including Boas and George Dorsey from America, Rudolf Pöch from Austria, and Bartók from Hungary. Most recordings, however, came from Germans involved in colonial projects or scientific expeditions, for example Theodor Koch and Richard Thurnwald. By 1908 Stumpf could point in writing to the Archive’s considerable achievements as a research institute for salvage anthropology. Stumpf used his familiarity with the Archive’s fieldwork methods and empirical data for his critique of faulty fieldwork accepted by Wilhelm Wundt. Building on the writings of Stumpf and his disciples, Max Weber analyzed the rationalization and commodification of music.

Keywords:   Phonogramm Archiv, Erich von Hornbostel, Berlin Ethnological Museum, Béla Bartók, Max Weber, Felix von Luschan, Wilhelm Wundt

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