MUSTECIO

Musical Transitions to European Colonialism in the eastern Indian Ocean

Coordinatore	KING'S COLLEGE LONDON    more Spiacenti, non ci sono informazioni su questo coordinatore. Contattare Fabio per maggiori infomrazioni, grazie.
Nazionalità Coordinatore	United Kingdom [UK]
Totale costo	1˙181˙555 €
EC contributo	1˙181˙555 €
Programma	FP7-IDEAS-ERC Specific programme: "Ideas" implementing the Seventh Framework Programme of the European Community for research, technological development and demonstration activities (2007 to 2013)
Code Call	ERC-2010-StG_20091209
Funding Scheme	ERC-SG
Anno di inizio	2011
Periodo (anno-mese-giorno)	2011-01-01   -   2015-12-31

 Partecipanti

#	participant	country	role	EC contrib. [€]
1	KING'S COLLEGE LONDON  Organization address address: Strand city: LONDON postcode: WC2R 2LS contact info Titolo: Dr. Nome: Katherine Ruth Cognome: Schofield Email: send email Telefono: 442078000000 Fax: 442078000000	UK (LONDON)	hostInstitution	1˙181˙555.00
2	KING'S COLLEGE LONDON  Organization address address: Strand city: LONDON postcode: WC2R 2LS contact info Titolo: Mr. Nome: Paul Cognome: Labbett Email: send email Telefono: 442078000000 Fax: 442078000000	UK (LONDON)	hostInstitution	1˙181˙555.00

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 Obiettivo del progetto (Objective)

'MUSTECIO's aim is to produce, for the first time, a history of transitions from pre-colonial to colonial musical fields in the eastern Indian Ocean. It will focus on India and the Malay peninsula, largely during the period of British expansion, c.1750-1900, and combine research methodologies from both history and ethnomusicology. Previous scholarship has argued that colonialism created a rupture with past systems of knowledge in colonised musical fields. We will seek to show that the story is more complex: although musical fields did undergo large-scale changes, the continuity of pre-colonial systems alongside these changes suggests gradual transformation, not radical disjuncture. Colonial infrastructures in the eastern Indian Ocean did not, in other words, wholly displace the long-standing networks that preceded them, and even facilitated new exchanges of indigenous cultural capital that were otherwise unmediated by the colonising powers. The process we will map entails overlapping but chronologically staggered layerings of pre-colonial, colonial and hybrid discourses, undertaken in several language-cultures and by different constituencies over time. We will also suggest that viewing India and the Malay peninsula as a single, multiply-connected region (and not as separate cultural arenas as is still paradigmatic in ethnomusicology) throws substantial and unexpected light on these patterns of transition. Finally, we will suggest that the best way to map these patterns of transition is to bring pre-colonial and colonial musical pasts, and multiple indigenous- and European-language archives, into sustained critical dialogue. By doing this on an unprecedented scale, MUSTECIO will seek to develop a new historical model for the interactions of music and colonialism: one that will persuasively account for both continuities and transformations in musical knowledge systems in the eastern Indian ocean.'