Escolar Documentos
Profissional Documentos
Cultura Documentos
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AND ETHNOMUSICOLOGY*
CARTOGRAPHY
Paul Collaer
67
turalists, nomadic or sedentary people, etc.) should furnish
evidence on which we can base probabilities or even certain-
ties rather than mere vague or hypothetical conclusions.
Let us take another example-- that of polyphony. Where
is it found (and the maps must be on a large enough scale to
permit detailed localization)? What is the geographic distri-
bution of each type of polyphony (simple, double, fixed, os-
cillating bourdon; parallel fourths, fifths, or other intervals;
contrary motion; of two, three or more voices, etc.)? Here
again, cartography would disclose the most archaic types,
those which are universal, those which are due to cultural
differences, etc. And it is also possible to see how a detailed
map of musical instruments or of specific melodic types, con-
sidered always against ethnographic and other maps, could
give valuable clues to fixing points of origin, as well as to
the presence or absence of various outside influences or pos-
sibly migrations.
The realization and publication of a work such as that en-
visaged here cannot be achieved by a single individual or even
by a single local or regional organization; if anything good is
to come of it, all interested musicologists must agree to the
project and give freely of their advice and suggestions. It is
in dealing with these various problems that we have proposed
the problem of cartography as the principle theme of the Third
Colloquium at Wegimont (Liege) of European ethnomusicolo-
gists in September 1958. All suggestions received from our
extra-European colleagues will not only be received with grat-
itude but will be conceived as the first step in the labor we
propose, as the first gesture in a great collaboration and as
the beginning of a common work which we feel to be indis-
pensable to the progress of ethnomusicology.
68