1. Intercultural music psychology Better late than never Intercultural music psychology Better late than never Richard Parncutt Centre for Systematic Musicology University of Graz, Austria Joint Meeting of the National Committees of Austria, Slovenia, Croatia and Slovakia of the International Council for Traditional Music Vienna, Austria, 27 May 2011 SysMus Graz

2. My right (not?) to speak… My qualification o music psychology: o perception of structure, origins of tonality/ music, performance o ethnomusicology: o no “exotic” fieldwork… o intercultural music psychology: o preliminary empirical study (1986!) o Conference on Applied Interculturality Research (2009) o My motivation: interest in o music including its cultural diversity o intercultural interaction – countries, disciplines, gender…

3. Social groups and discrimination Any social group with a clear identity with a clear identity any size, any hierarchical level any size, any hierarchical level Definition of group membership “being” “being” appearance: skin color…appearance: skin color… sound: language, dialect, accent…sound: language, dialect, accent… “doing” “doing” religions, academic disciplines…  communities of practice Tendency toward discrimination competition for the same resources competition for the same resources power differences power differences justification by theories of self-superiority justification by theories of self-superiority

4. Conference on Applied Interculturality Research Conference on Applied Interculturality Research Graz, April 2010 Short term aim  synergize practice and research  in all areas of interculturality Long term aim  promote intercultural communication  reduce racism

5. cAIR: Communities of practice Equal opportunity as a prerequisite for constructive collaboration Equal rights and obligations practitioners and researchers practitioners and researchers practitioners/researchers in different areas practitioners/researchers in different areas languages, religions, skin colors languages, religions, skin colors  Analysis, exposure and deconstruction of implicit theories of self-superiority

6. Skin color and poverty One billion people are hungry. They are mostly black. A child dies due to hunger or poverty every 5 s.

7. International Conference on Financing for Development Monterrey, Mexico, 2002 world’s 22 richest countries world’s 22 richest countries pledge: 0.7% of national income in ODA pledge: 0.7% of national income in ODA (official developmental assistance) ~$200 billion/year (cf. Iraq war: ~$100 bn/year) ~could eliminate extreme poverty (Sachs, 2005) Average current level of ODA ~0.33% USA~ 0.22% ~

8. Intercultural music psychology an interaction between two communities of practice Intercultural includes multi-, cross- and transcultural Music psychology psychol. research methods  musical questions Intercultural music psychology aka psychoethnomusicology Prerequisite for success equal, deep, detailed collaboration of ethnomusicologists and music psychologists

9. Communities of practice in intercultural music psychology Two independent potentials for othering and discrimination 1. Object of study Individual musical “cultures” 2. Disciplines Ethnomusicology (mainly humanities) Music psychology (mainly sciences

10. Quick quiz Have you ever thought that scientists* have no right to talk about non- Western cultures or intercultural comparison? Has a scientist* ever given you the impression that ethnomusicologists have no right to talk about sciences such as music psychology? “Science” in English refers to natural, social and formal sciences; excludes humanities

11. Two specific-general dichotomies 1. Cultural relativism versus universalism o ethnomusicology vs comparative musicology o uniqueness vs globalisation & universal rights 2. Humanities versus sciences o humanities: specific musics o sciences: general principles Aim in both cases: an appropriate balance

12. “Better late than never” -??? Disappearing cultures  museum approach? OR Take advantage of the unused potential of interdisciplinarity?

13. Recent research in intercultural music psychology Few studies Practical difficulty: become a psychologist, get a job, then go on ethnomusicological field trip?! Increasing awareness of issues being aware of and avoiding cultural bias

14. Fritz … Peretz … Koelsch, Current Biology, 2009 “Universal recognition of three basic emotions in music” Fritz … Peretz … Koelsch, Current Biology, 2009 Method o Mafa (Cameroun) rated emotion in Western recordings o facial expressions happy, sad, scary… Result o universal sensitivity for basic emotions in music Pros o good psychological method, good journal, attracted attention Cons o unsurprising (similar reports in other journals) o Western listeners did not rate Mafa music o no Mafa co-authorship o collaboration with ethnomusicologists?

15. “Lost in translation” Demorest et al., Music Perception, 2008 Method o US & Turkish participants hear unfamiliar US & Turkish music o All participants are uni students in large cities Result o Both groups better at remembering music of own culture  Empirical demo of effect of enculturation on music cognition o Turks better at remembering Western than Chinese music o No effect of musical expertise (  passive enculturation) Pros o Good psychological methodology o Symmetrical roles of 2 cultures (music, participants, researchers) Cons o trivial result? o no equal collaboration with a Turkish university

16. “It is clear from these results that any study of music cognition needs to consider the match between the culture of the listener and that of the stimulus material. Future work examining ‘universal’ properties of music processing must include participants and musics from several distinct cultures to account for possible effects of enculturation. Research in music cognition that includes diverse music and subject populations will provide an effective empirical complement to the qualitative work of anthropologists and ethnomusicologists and lead to a more unified view of the role of culture in shaping cognitive development in music.” (p. 221) “Lost in translation” Demorest et al., Music Perception, 2008

17. “Bimusicalism” Implicit dual enculturation of cognitive and affective systems Wong, Roy & Margulis, Music Perception, 2009 Method o Indian, Western and “bimusical” listeners o Recognition memory and tension judgments Results o Replication of Demorest et al. o Results for bimusical listeners lie between Indian & Western Pros o Good method; symmetrical roles of 2 cultures Cons o Trivial result? o Impoverished stimuli to increase experimental control (unaccompanied melodies on Sitar and piano) o meaningless to rate tension of a melody when finished?

18. Findings o Asante know this music is dissonant (to scare enemies) o Highly dissonant sounds can also fuse (contra Stumpf) But… o Dissonance can be due to roughness, independent of fusion Misleading statements… o “fusion is a neurophysiological phenomenon” o in fact experiential - an epiphenomenon of neural processing o “fusion is a cultural construct” o in any culture you can ask how many tones have been played o “If a dissonance does not require a resolution, it may be considered a consonance, within its context” (citing Kolinski) o The definition of dissonance refers initially only to an isolated sonority Solution: Collaboration with music psychology! “Fusion theory and Asante ivory trumpet music“ Joseph S. Kaminsky, Muzyka, 2009

19. (Western) consonance according to music psychology 3 psychological components, all universal? o roughness (Helmholtz)  peripheral o fusion (Stumpf, cf. Terhardt)  central, “hard-wired” o familiarity (Cazden)  central, “soft-wired”? Arguments for a cross-cultural approach o Infant sensitivity (motherese research) o caring adults have consonant voices o angry adults can be dangerous o General definition of “consonance” o Is this a good sound or pattern? o Do these two sounds or patterns go together? o No more culture-specific than “music”!

20. hompson & Balkwill, in Juslin & Sloboda 2010, Music and Emotion Cross-cultural similarities and differences Thompson & Balkwill, in Juslin & Sloboda 2010, Music and Emotion “Of critical importance in cross-cultural research is an awareness of one‘s own cultural perspectives and how they can bias every facet of the research, from the question being asked, to the methodology employed, to the analysis strategy employed, to the interpretation of observations. Consulting with members of the cultures under investigation is one important way of increasing an awareness of one‘s biases.” (p. 759)

21. hompson & Balkwill, in Juslin & Sloboda 2010, Music and Emotion Cross-cultural similarities and differences Thompson & Balkwill, in Juslin & Sloboda 2010, Music and Emotion “Cross-cultural emotional decoding”: In evolutionary psychology we separate o phylogenetic (“genetic”, “inborn”) o ontogenetic (“cultural”, “learned”) o universal (universals of environment and biology) o culture-specific  THREE categories! The difference is adaptation… …is music itself an adaptation?  relation between early musical predispositions & enculturation?

22. Infant musicality e.g. many studies by Trehub and collaborators Sensitivity to... melodic contour; relative pitch/duration melodic contour; relative pitch/duration specific musical intervals (e.g. fifths) specific musical intervals (e.g. fifths) changes in unequal scales/rhythms changes in unequal scales/rhythms + pulse (Winkler et al., 2009; Phillips-Silver & Trainor, 2005) These are “predispositions” “evident in infancy, before they have obvious utility” (Trehub, 2001)

23. Origins of infant musicality two possibilities  “Genetic” (Trehub) selection for music (mate attraction, training, social glue, motherese…)  Learned (Parncutt) prenatal exposure to changing maternal sound, movement and hormone levels  Both imply universal musical sensitivities!

24. Musical emotion Hot topic in music psychology e.g. Juslin & Sloboda (2010) Different from everyday emotoin e.g. more nostalgia and spirituality Paradox of simultaneous emotions e.g. in rock: joy and anger  Not even understood in West Let alone elsewhere!

25. Universals in (musical) emotion My tip for psychologists: To avoid reification, anchor emotions to functions (survival, reproduction) o Cold/heat and pain  discomfort o Hunger and thirst  satisfaction o Disease and health; healing songs o Fear and cosiness (dangerous situations) o Anger and acceptance (getting your own way); war songs o Sexual lust and frustration; „love“ songs o Love and loneliness (parent-child, friends, lovers) o Happiness and sadness associated with the above  Idea: it‘s ok to investigate musical emotion across cultures if the (evolutionary) function of the emotion is clear  Assumption: no change in „human nature“ in 100 000 years

26. Intercultural music psychology: Historical context Around 1900 o Stumpf and others o very successful, considering social and cultural context After World War Two o rise of ethnomusicology, fall of comparative musicology o separation of ethnomusicology from “systematic musicology” o broader context: “two cultures” of humanities & sciences (Snow)  separation at two levels: musical cultures, academic disciplines

27. Intercultural music psychology: Solutions Deep, detailed collaboration between o ethnomusicology and music psychology o humanities and sciences in musicology Interdisciplinary peer-review procedures o one reviewer from EM, one from MP, e.g.: o Music Perception submissions  ethnomusicologists o Ethnomusicology submissions  music psychologists

28. Conference on Interdisciplinary Musicology Journal of Interdisciplinary Music Studies Forums for constructive interaction among all subdisciplines or paradigms of musicology: analytical, applied, comparative, cultural, empirical, ethnological, historical, popular, scientific, systematic, theoretic...and all musically relevant disciplines: acoustics, aesthetics, anthropology, archeology, art history and theory, biology, composition, computing, cultural studies, economics, education, ethnology, gender studies, history, linguistics, literary studies, mathematics, medicine, music theory and analysis, neurosciences, perception, performance, philosophy, physiology, prehistory, psychoacoustics, psychology, religious studies, semiotics, sociology, statistics, therapy

29. promote interdisciplinary collaboration within musicology All contributions have at least two authors. They represent at least two of the following three groups: humanities, sciences, practically oriented disciplines. focus on quality rather than quantity Academic standards are promoted by anonymous peer review of submitted abstracts by independent international experts in relevant (sub-) disciplines. The review procedure is transparent, and the reviews are impersonal and constructive. promote musicology's unity in diversity CIM promotes all interdisciplinary music research and treats all musically relevant disciplines and musicological subdisciplines equally. Conference on Interdisciplinary Musicology Journal of Interdisciplinary Music Studies

30. Conference on Interdisciplinary Musicology previous conferences YearThemeCityHost 2004-GrazUniversity of Graz 2005timbreMontréal Observatoire internationale de la création musicale 2007singingTallinn Estonian Academy of Music and Theatre 2008structure Thessa- loniki Aristotle University of Thessaloniki 2009instrumentsFranceUniversité Pierre et Marie Curie 2010cultureSheffieldUniversity of Sheffield

31. Conference on Interdisciplinary Musicology in future, we need more ethnomusicology! 2017 Emotion and expression Belgrade, Serbia Faculty of Music, University of Arts 2015 Consciousness & imagination Shanghai, China Res Inst for Ritual Music in China, Shanghai Cons Mus 2014TechnologyBerlin, Germany National Institute for Music Research 2013Popular musicIzmir, TurkeyDokuz Eylül University 2012History Göttingen, Germany Musikwissenschaftliches Seminar, U Göttingen 2011PerformanceGlasgow, Scotland Centre for Music Technology, U Glasgow

32. Conference on Interdisciplinary Musicology Why?  Fragmentation of musicology  Starkly contrasting epistemologies  Institutional separation of subdisciplines  Counterproductive power structures

33. Fragmentation of musicology A “semiquantitative” history of music research: 1600 1700 1800 1900 2000 systematic ethnological historical

34. Institutional separation of musicological subdisciplines conflicts between “communities of practice” out-group (Others)  music acoustics  music psychology  music physiology  music computing intermediate ethnomusicology pop/jazz research music sociology music philosophy performance research in-group (“the” musicology) music history music theory/analysis cultural studies

35. Power games in musicology Ambiguous use of word “musicology”  broad definition (correct) = all study of all music  narrow = music history of western cultural elites Ambiguous use of “science”  broad definition includes humanities  narrow (correct) excludes) Status of humanities  in universities: too little power  in musicology: too much power

36. Solution: “Integration”  multidisciplinary balance promotion of minority disciplines promotion of minority disciplines democracy, balance of power democracy, balance of power  gender/culture balance women researchers women researchers non-western researchers non-western researchers  collaboration teamwork and collegiality teamwork and collegiality intra- and interdisciplinary quality control intra- and interdisciplinary quality control

37. Collegiality in interdisciplinary teams social consonance and dissonance common goals common goals research questionresearch question excellenceexcellence democracy democracy equal value and rights of team membersequal value and rights of team members mutual respectmutual respect transparency transparency clear statement of aimsclear statement of aims openness to evaluationopenness to evaluation quality control quality control evaluation within disciplinesevaluation within disciplines realistic appraisal of strengths, weaknessesrealistic appraisal of strengths, weaknesses mutual constructive criticismmutual constructive criticism

38. Role of internal quality control Europeans can’t evaluate Ghanaian music Psychologists can’t evaluate historical research Musical subculture: internal aesthetic norms internal aesthetic norms procedures to promote “good” music procedures to promote “good” music Academic subdiscipline: internal epistemological/methodological norms internal epistemological/methodological norms procedures to promote “good” research procedures to promote “good” research  Definitions of “music”, its “study”, “musicology”

39. The bottom line  Interaction between musical cultures Respect their uniqueness and autonomy Respect their uniqueness and autonomy Promote “integration” (Parncutt & Dorfer, 2009) Promote “integration” (Parncutt & Dorfer, 2009)  Interaction between musicological subdisciplines  Respect their uniqueness and autonomy  Promote “integration” of musicology