The cultural production of scalability : Music, colonialism and the Moravian missionary project
What role has music played in global colonial projects? And how has musical colonisation been implemented on a large scale? To address these questions, I analyse the work of the evangelical missionary administrators Christian Ignatius Latrobe (1756–1836) and Hans-Peter Hallbeck (1784–1840). Latrobe...
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2023
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ftulundlup:oai:lup.lub.lu.se:8e886933-9c9e-4af1-baa8-da6a6068d245 2023-09-05T13:19:54+02:00 The cultural production of scalability : Music, colonialism and the Moravian missionary project Dodds, Philip 2023-05-04 https://lup.lub.lu.se/record/8e886933-9c9e-4af1-baa8-da6a6068d245 eng eng https://lup.lub.lu.se/record/8e886933-9c9e-4af1-baa8-da6a6068d245 Musicology Music Cultural Studies Performing Arts History of Religions contributiontoconference/abstract info:eu-repo/semantics/conferenceObject text 2023 ftulundlup 2023-08-16T22:28:39Z What role has music played in global colonial projects? And how has musical colonisation been implemented on a large scale? To address these questions, I analyse the work of the evangelical missionary administrators Christian Ignatius Latrobe (1756–1836) and Hans-Peter Hallbeck (1784–1840). Latrobe was a London-based music historian, composer and editor who oversaw the missionary work of the Moravian Church, and his role involved sending personally approved hymn books, musical instruments and performance instructions to mission stations in Suriname, Jamaica, Labrador, Greenland, Siberia and especially the Cape Colony. Hallbeck was the man he appointed as superintendent of the Moravian missions in South Africa. Hallbeck was responsible for training indigenous African musicians and choirs according to Latrobe’s stipulations. Together, they sought to export standardised performance conventions, musical instruments and canons of tunes from Europe. Crucially, this uniform and standardised imposition of music required the remaking of the cultural landscapes on which they were imposed, including through the proscription and violent denigration of existing musical practices and styles. Following Anna Tsing (2012), I pay empirical attention to the ‘scale-building’ effort involved in imposing a standardised music across different colonial contexts, and I assess the contribution of this musical ‘scalability project’ to the expansion of British colonialism in the nineteenth century. Finally, I highlight some key processes of large-scale musical colonisation that might apply in other times and places, including in contemporary contexts. Conference Object Greenland Siberia Lund University Publications (LUP) Greenland |
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Open Polar |
collection |
Lund University Publications (LUP) |
op_collection_id |
ftulundlup |
language |
English |
topic |
Musicology Music Cultural Studies Performing Arts History of Religions |
spellingShingle |
Musicology Music Cultural Studies Performing Arts History of Religions Dodds, Philip The cultural production of scalability : Music, colonialism and the Moravian missionary project |
topic_facet |
Musicology Music Cultural Studies Performing Arts History of Religions |
description |
What role has music played in global colonial projects? And how has musical colonisation been implemented on a large scale? To address these questions, I analyse the work of the evangelical missionary administrators Christian Ignatius Latrobe (1756–1836) and Hans-Peter Hallbeck (1784–1840). Latrobe was a London-based music historian, composer and editor who oversaw the missionary work of the Moravian Church, and his role involved sending personally approved hymn books, musical instruments and performance instructions to mission stations in Suriname, Jamaica, Labrador, Greenland, Siberia and especially the Cape Colony. Hallbeck was the man he appointed as superintendent of the Moravian missions in South Africa. Hallbeck was responsible for training indigenous African musicians and choirs according to Latrobe’s stipulations. Together, they sought to export standardised performance conventions, musical instruments and canons of tunes from Europe. Crucially, this uniform and standardised imposition of music required the remaking of the cultural landscapes on which they were imposed, including through the proscription and violent denigration of existing musical practices and styles. Following Anna Tsing (2012), I pay empirical attention to the ‘scale-building’ effort involved in imposing a standardised music across different colonial contexts, and I assess the contribution of this musical ‘scalability project’ to the expansion of British colonialism in the nineteenth century. Finally, I highlight some key processes of large-scale musical colonisation that might apply in other times and places, including in contemporary contexts. |
format |
Conference Object |
author |
Dodds, Philip |
author_facet |
Dodds, Philip |
author_sort |
Dodds, Philip |
title |
The cultural production of scalability : Music, colonialism and the Moravian missionary project |
title_short |
The cultural production of scalability : Music, colonialism and the Moravian missionary project |
title_full |
The cultural production of scalability : Music, colonialism and the Moravian missionary project |
title_fullStr |
The cultural production of scalability : Music, colonialism and the Moravian missionary project |
title_full_unstemmed |
The cultural production of scalability : Music, colonialism and the Moravian missionary project |
title_sort |
cultural production of scalability : music, colonialism and the moravian missionary project |
publishDate |
2023 |
url |
https://lup.lub.lu.se/record/8e886933-9c9e-4af1-baa8-da6a6068d245 |
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Greenland |
geographic_facet |
Greenland |
genre |
Greenland Siberia |
genre_facet |
Greenland Siberia |
op_relation |
https://lup.lub.lu.se/record/8e886933-9c9e-4af1-baa8-da6a6068d245 |
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1776200689123328000 |