Class ranking of instruments, high to low, in a society’s estimation. The relative position of a type of instrument must be distinguished from the status accorded a singular example. An ordinary guitar once owned by Elvis Presley would be elevated among his fans for its provenance alone. Usually an instrument’s social status seems inseparable from the status of its players and music. For example, the 18th-century hurdy-gurdy was held in low repute by the elite as a clumsy device for grinding out folk tunes by itinerant beggars, but refined models created for Arcadian ladies were considered fashionable and engendered a charming repertory. Baroque bagpipes display the same dichotomy; brash-sounding folk types with naked bags were portrayed as vulgar, even phallic, while elegant musettes taken up by aristocrats were esteemed accordingly. On the other hand, Baroque trumpets and kettledrums used in the service of persons and institutions of high estate as sounding symbols of their eminence were played by subordinates who were often hardly more than servants. Similarly, the church organ, regarded by Mozart as the ‘king of all instruments’ and often a symbol of civic pride, was commonly played by a humble schoolmaster. Thus, an instrument type does not automatically confer its status on its player and vice versa....
(b Shkodër, Albania, 14 June 1920; d Tirana, 12 March 2008). Albanian ethnomusicologist, musician, composer, and writer. He began his musical studies as a boy in Shkodër. In the years between 1940 and 1944 he studied the flute and composition at the Conservatory of Florence, Italy. Back in Albania in the early years of the Hoxha regime, Sokoli was imprisoned, as were other scholars who had studied abroad, and he spent five years in incarceration.
In 1952 he moved to Tirana, where he taught the flute and folklore in the high school. Although he was not qualified to teach at the higher academic level, he played a key role in musical research in Albania. He collaborated on ethnomusicological expeditions carried out in 1957 with East German scholars and in 1958 with Romanian scholars.
He was the author of numerous pioneering books and articles on Albanian musical folklore, employing both descriptive and analytical approaches, as well as surveying important figures of the musical, and wider cultural, Albanian tradition. His writings and ideas shaped the discipline and educated two generations of Albanians ethnomusicologists, including scholars in Kosovo. His many publications include the books ...
(b Romania, 1930; d Copenhagen, 4 April 2015). Romanian-Danish ethnochoreologist. She worked as a researcher at the Institute of Ethnography and Folklore in Bucharest from 1953 to 1979. She contributed to the foundation and development of scientific research on traditional dance in Romania, where she conducted extensive fieldwork, filming dances and rituals in over 200 villages. Her main interests concerned the contextual study of dance, the analysis of dance structure, the processes of dance improvisation, and dance as an identity marker for the Roma minority group. She also investigated the way traditional symbols were manipulated in Romania for national and political power legitimation.
After 1980 she lived in Denmark, where she conducted research on topics such as continuity and change in the traditional culture of the Vlachs (a Romanian speaking ethnic minority of Serbia) living in Denmark, the Romanian healing ritual căluş, and on the theory and methods of field research in contemporary society. She was the Honorary Chairperson of the ICTM Study Group on Ethnochoreology and the leader of the Sub-Study Group on Fieldwork Theory and Methods, a Board member of Danish National Committee for ICTM, and Doctor Honoris Causa of Roehampton University, London. She had a great number of publications and a fruitful activity as a lecturer on an international level. In her last years, she worked with Margaret Beissinger and Speranța Rădulescu on the volume ...
E. Bradley Strauchen-Scherer
(b New York, NY, 17 March 1922; d London, England, 12 Sept 1990). American ethnomusicologist and curator. Although born and reared in the Bronx, Jenkins portrayed herself as having been brought up in rural Arkansas surrounded by Ozark folk music. As a teenager, she learnt an extensive repertoire of folksongs and became active in American folk music circles. Like many folksingers of the era, Jenkins espoused socialism. She studied anthropology and musicology in Missouri but her support of trade unions and civil rights attracted the scrutiny of the FBI.
Her move to London in 1950 placed Jenkins beyond the reach of McCarthyism. There she continued her studies and secured leave to remain in the UK by marrying Clive Jenkins, a prominent trade union leader. In 1960 she became the first Keeper of Musical Instruments of the Horniman Museum and commenced fieldwork. She traveled in the USSR, Africa, Asia, the Middle East, and southern Europe to record and to build up a comparative collection of instruments for the Horniman. Jenkins organized exhibitions and published as curatorial duties permitted, but recording was her enduring legacy to ethnomusicology. She considered her banjo to be her most important piece of fieldwork equipment and she played to other musicians to encourage them to participate in recordings. Keen to capture music she perceived to be vanishing, she recorded more than 700 field tapes. Her frequent BBC broadcasts and commercially issued recordings introduced music from Asia and Africa to UK audiences and paved the way for the explosion of interest in ‘world music’. Jenkins’s original recordings and an archive of fieldwork photographs are held by the National Museums of Scotland....