How do trans-cultural music archives respond to the increasingly complex, rapidly-changing realities of the music cultures they seek to document? Which principles of classification can they follow now that traditional ethno-musicological categories have been exposed as essentialist and Eurocentric? Which notion of tradition should they focus on? And how might they catch up with the quickly growing technical possibilities of the digital age?
This session introduces two archives that face these challenges: Ricarda Kopal (researcher and curator at the Media Department—Ethnomusicology, Visual Anthropology and Berlin Phonogram Archive at the Ethnological Museum Berlin) and Oliver Potratz (coordinator of the German-Afghan Safar music project, University of Music FRANZ LISZT Weimar) give short project presentations. Subsequently and together with Dahlia Borsche and the audience, they discuss questions and problems related to the up-to-date archiving of global music cultures.
Hosted by the Humboldt University's Chair of Trans-cultural Musicology.
Dr. Ricarda Kopal studied ethnomusicology, philosophy and German language and literature at the University of Cologne and obtained her PhD in ethnomusicology from the Hanover University of Music, Drama and Media.
Double bass player and composer Oliver Potratz was born in Hamburg, Germany. Since studying with John Hollenbeck and Greg Cohen at the Berlin Conservatory, he has played as a sideman and bandleader in over fifty countries and at various jazz festivals all over the globe and played classical solo concerts with several renowned German orchestras. He also plays contemporary classical music and composes works for central Asian orchestras in Uzbekistan and Afghanistan and was recently invited to the Buenos Aires tango festival. Since the beginning of 2016 he has directed the German-Afghan Safar music project at the Franz Liszt University of Music in Weimar.
Dahlia Borsche studied musicology, ethnomusicology and sociology at Freie Universität in Berlin, and completed her master’s degree with a thesis about the fragile border between artificial and popular music in the field of the contemporary avant-garde.
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