The outcome of the discussions were aimed to be a series of concrete recommendations, pointers or even models for those wishing to present music history from a world-wide perspective, and lay a basis for the yet to be written comprehensive history of the world.

The following initial questions were defined: 1. What is your perception of music history? 2. What is the core of music history in a world music context? 3. How do you engage with the ‘spirit’ or the ‘soul’ of world music in a university / conservatoire context? 4. What are the implications for learning, teaching and research?

With these questions, a panel of eight people went to work. The members of the working group were:  Joep Bor Director of research, Rotterdam Conservatory  Salwa Castelo-Branco Professor of ethnomusicology, Universidad Nova, Lisbon  Keith Howard Senior lecturer in music, SOAS, London  Wim van Zanten Lecturer in ethnomusicology in the anthropology department, University of Leiden  Jan Laurens Hartong Jazz, Pop and World Music department, Rotterdam Conservatory  Annelies Schrijnen Staff researcher, Rotterdam Dance Academy  Peter Renshaw Chair  Sacha van Tongeren Management Assistant classical music department, Rott. Conservatory

The following key issues were the formulated outcomes:

The concept of music history

There is a need to let go of the present predominantly western concept of music history. It has become clear that there are different perspectives on music history. The construction of history is happening all the time and done by people themselves. Therefore, all cultures have a history, but they are constructed in different ways. The sources from which history is taken may vary greatly. Aural traditions are very important and need to be seen as a genuine source of history.

Two types of history are defined. First there is the analysis of texts, objects, etc. This is seen as the western concept, based primarily on ‘verifiable facts’. The second approach is comparable with social sciences and anthropology, where more attention is paid to people’s perception of events and situations.

Performance

Performance should lie at the centre of thinking about music history. It is underpinned by historical understanding and reflective practice. Any research or description should focus on the processes of performance practice. One can engage with the ‘spirit’ or ‘soul’ of any kind of music through experiential learning. This is captured through experience and not through ‘learning about’. A strictly theoretical approach (‘learning from books’) is therefore not sufficient.

Labels

One should question the use of labels like ‘world music’, ‘jazz’, ‘classical’. Labels will not help in clarifying the questions of meaning and definition. However, they can be of political use, both within an institution and in terms of government policy.

Concepts and terminology

There is a danger in imposing western concepts and terminology when they have no meaning in the culture in question. This is why it is essential to look at how people from various cultures see their own history.

The following strategy was proposed:

It was proposed to produce a book, CD-rom or DVD with supporting written materials from a global perspective. There was some discussion about the format of this publication. An education method is preferred since it gives a direct application of the developed approach.

The music history should be presented around issues which cut across periods and regions. This means that there will not be chapters about 18th century music or the music of Indonesia, but rather about composition & creativity, modality, music & religion, or music as a transcultural process. It is essential to be clear about the paradigms that are used. Western musicology is the starting point, combined with alternate views, reconstructing performance in relation to cultural history. The approach cannot be limited to a western orientation. There is a need to recognise the commonality and similarities between different cultures.

Any publication must be accessible to students, musicians and lay people. The purpose is to open their eyes and ears to the music of the world, and to develop a broader understanding. The publication itself must engage with the context and life of different culture – it must really communicate with the audience.

Within the following framework:

Co-operation with different countries is necessary and even essential, as is help from other cultures. In order to co-ordinate the production of a publication of some sort, and to fine-tune content en approach, a small steering group will be established to guide the project. This group can also liaise with international organisations such as UNESCO.

The project will be positioned in a wider political context. It must be (and be seen) as an educational and cultural initiative and not just as an academic venture.