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Barry S. Brook and Malena Kuss Collection: The Universe of Music: A History, 1979-2007 | Music Library

By UNT Music Library and Malena Kuss

Collection Overview

Title: Barry S. Brook and Malena Kuss Collection: The Universe of Music: A History, 1979-2007Add to your cart.
ID: 06/113
Primary Creator: Barry S. Brook and Malena Kuss
Extent: 10.0 Boxes
Date Acquired: 10/28/2016
Subjects: Music--Historiography--Africa, Sub-Saharan., Music--Historiography--Asia., Music--Historiography--Caribbean., Music--Historiography--Europe., Music--Historiography--Latin America., Music--Historiography--Middle East., Music--Historiography--North America., Music--Historiography--Oceania., Music--Historiography—Africa, North.
Languages: English, French, German, Spanish;Castilian, Portuguese, Russian

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Scope and Contents of the Materials

The collection consists of 10 boxes of correspondence and works in progress documenting the creation and development of The Universe of Music: A History project (1979–2007).

Collection Historical Note

THE UNIVERSE OF MUSIC: A HISTORY (UMH)

Malena Kuss Executive Director (1997–) Barry S. Brook, Executive Director (1979–1997)

The Universe of Music: A History (or UMH) owes its existence to the imagination of Barry S. Brook (1918–1997), which knew no limits. A distinguished 18th-century scholar, he was a futurist who rekindled the spirit of French encyclopedism in vast international projects whose boundaries were set only by the size of the planet. Driven by an insatiable curiosity that defied confinement to “areas of specialization” (in one membership directory he appeared under “interests unlimited”), he wrote as much about his beloved classic period as he did about computer applications to musicology.  If he saw the need for bibliographic control of literature about music, he envisioned a tool that could serve the needs of scholars worldwide in RILM, which he created in 1965; and if recovering 18th-century French symphonies in a 3-volume dissertation (1962) was only a start, he set out to capture The Symphony 1720–1840 in a 60-volume set published between 1979 and 1986. After these and other projects were well under way, the challenge had to be upgraded.

The idea of creating a world history of musics, which the Polish musicologist Zofia Lissa had advanced in the 1970s, found fertile soil in Barry Brook’s imagination, and he proposed it to the International Music Council (IMC) of UNESCO during his term as president (1982–1983). We had worked on preliminary steps since a conference in São Paulo, at which I presented a paper on Africa’s legacy in Latin America, organized by the Brazilian National Committee of the IMC in 1980, with J.H. Kwabena Nketia in attendance. The project, then known as MUSIC IN THE LIFE OF MAN, however, was formally established in 1983.

This was a humancentric cultural adventure, as Chilean Samuel Claro used to call it. When in 1988, at a meeting at the Smithsonian Institution, Carol Robertson objected vociferously to the use of “man” in the title, the project lost its luster and became THE UNIVERSE OF MUSIC: A HISTORY. Since then, I have had to explain that, unlike other monumental projects undertaken in the past decades to record knowledge about music worldwide (including The New Grove and MGG/2), UMH is not an encyclopedia but a HISTORY, the most ambitious collaborative history of musics ever conceived. Only the volumes on Latin America and the Caribbean involved 136 scholars from over 40 countries. Multiply by 8, the number of major regions that were covered, and you get more authors than the total of 800 IMS members.

The roster of contributors was a slice of state-of-the-art historical musicology and ethnomusicology in the 1980s and 1990s. The team of coordinators included J.H. Kwabena Nketia (Africa), Tsuge Gen’ichi (Asia), Trân Van Khê (Southeast Asia), Habib Touma (the Arab world), Ingmar Bengtsson (Europe), Charles Hamm (North America, to include the U.S. and Canada), Malena Kuss (Latin America and the Caribbean, to include Mexico), and Mervyn McLean (Oceania). Russia and China were assigned their own sub-coordinators and the archive at the Music Library, University of North Texas, includes all the contributions by Russian scholars.

As in Reinhard Strohm’s Balzan Project, Towards a Global History of Music, The Universe of Music centered on relationships. LINKS, ALWAYS LINKS, was Barry’s motto. In UMH coalesced fluid concepts, dynamic processes, resignifications, and “relationships within networks of relationships,” as in Eric Wolf’s definition of history in Europe and the People Without History (1982).

To understand what UMH was about we must step back, as did the German musicologist Walter Wiora more than a half century ago, in a visionary little book called The Four Ages of Music (1961/1964), He sees the great millennium of Western predominance and influence NOT as eurocentric or ethnocentric (an attitude that always betrays a residue of colonial mentality), BUT as one of four ages: prehistory, high cultures of antiquity, the age of Western predominance, and the 20th century: an age of technology and global interactive culture. Ours is the age of “micromusics” (Mark Slobin), transnational musics (the tango in Tokyo and Helsinki), and constant resignifications (like huayno and cumbia in chicha), all dynamic, not static concepts. This is the time when “nobody” is driving the car (James Clifford, The Predicament of Culture, 1988), when the center and periphery model is a thing of the past, while the canonized, great tradition of Western art music endures as remains of the day, in parallel fashion to globalized composition and performance and institutionalized in academia, concert life, and festivals.

Wiora, in his small visionary book, could only suggest these relationships and complex cultural transactions. The huge canvas of UMH would have materialized what Wiora could barely intimate in 1961, had circumstances not derailed completion. (We ran out of money.)

Much, however, was accomplished. In 2004 and 2007 I published 2 of  5 completed  volumes on Latin America and the Caribbean. If in volume 1, Performing Beliefs: Indigenous Peoples of South America, Central America, and Mexico (2004), “Most fascinating of all was being invited into worlds where myth is real, time is cyclical and music and sound are altering, metamorphic powers” (Mary Helen Klare for La Frontera, Autumn 2005), the commitment to perspectives of cultural insiders had a considerable impact on the Caribbean, according to Simon Lee’s review of Performing the Caribbean Experience, edited by Malena Kuss, in The Caribbean Review of Books (18 November 2008):

"Before getting inside those covers, however, it might be helpful to locate Performing the Caribbean Experience in the creole canon, to which it is a classic addition. In terms of documenting, conceptualising, and analysing Caribbean music, this is probably the most important text published since Alejo Carpentier’s Music in Cuba …. Performing the Caribbean Experience belongs on the same shelf as José Martí’s Nuestra América; Jean Price-Mars’s Ainsi parla l’oncle; C.L.R. James’s Black Jacobins and Beyond a Boundary; Fernando Ortiz’s Cuban Counterpoint: Tobacco and Sugar; Alejo Carpentier’s Los pasos perdidos / The Lost Steps; Césaire’s Cahier; all of Fanon; Glissant’s Caribbean Discourse; Chamoiseau, Bernabé, and Confiant’s Éloge de la créolité; Kamau Brathwaite’s Development of Creole Society in Jamaica; Benítez-Rojo’s Repeating Island …. there are other texts on this shelf, but these are some of the most significant in establishing the conceptual framework for engaging with the creole aesthetic. Performing the Caribbean Experience takes its rightful place in the Mundo Nuevo canon and even carves out its own niche, as the most comprehensive creole investigation of cultural forms to date."

Performing the Caribbean Experience (2007) essentially tells the story of how Caribbeans transcended slavery through music, as told by actors who are or were a part of that historical experience. After many prolific years of producing “work in progress” that saw the publication of hefty bibliographies of each major region, published in-house by the IMC/UNESCO in 1984; tables of contents for each of the regional volumes; an entire collaborative volume on Africa produced by Nketia in 1992 from a Bellagio seminar; the entire coverage of Australia and New Zealand, with a few essays on Pacific islands; a classic chapter by José Maceda on gongs in Asia; and much more, what was most significant for me was a notice in the Bajan Reporter of December 20, 2008 reporting an interview with Archivist Victoria Borg O’Flaherty, who had been so helpful to me in covering St. Kitts/Nevis, who proudly announces that “Music Anthology acknowledges St. Kitts’ Cultural Heritage.” “Music in Latin America and the Caribbean is important because the authentic rhythm, sound and lyrics of the Federation are now documented and recognized as part of the Caribbean culture.” The slogan used by curators at the new Smithsonian National Museum of African American History and Culture, “A people’s journey, a nation’s story,” is easily applicable to the volumes on Latin America and the Caribbean created for The Universe of Music: A History.

In the words of J.H. Kwabena Nketia, who recently celebrated his 95th birthday, writing in 1980 about the need for a world history of music at our first conference in São Paulo, as cited in Jacqueline Cogdell DjeDje in “The Present State of African Music Historiography and Sources of Historical Data” (1992),

"What is needed at this time then is a panoramic view of music history which does not obscure historical processes in different musical cultures in order to create the impression that music history everywhere follows one unchanging course. We need a world history of music that brings out not only the development of forms and structures but also the role that music has played in different musical cultures in different epochs [the role of music in human life, or, MUSIC IN THE LIFE OF MAN], a world history of music that demonstrates how musical cultures expend and reintegrate themselves in response to both internal and external factors, a history that identifies and evaluates the specializations that lead to the development of distinctive traditions shared by members of families of musical languages or clusters of musical cultures cultivated over a large geographical area of social and cultural interaction. We need a world history of music that stimulates general awareness and deeper understanding and appreciation of historical processes in music as an artistic and socio-cultural phenomenon." (In International Conference on African Music and Dance, The Universe of Music: A History, convened by J.K. Kwabena Nketia, Bellagio Study and Conference Center, October 12-16, 1992, p. 73.)

Malena Kuss Cold Spring, New York, February 2017

Biographical Note

Barry Shelley Brook (November 1, 1918 – December 7, 1997) received a B.S.S. from the City College of New York (1939) and an M.A. from Columbia University (1942), where he studied with Paul Henry Lang, Erich Hertzmann, Hugh Ross, and Roger Sessions. He continued his studies at the Université de Paris, and, in 1959, he was promoted there to the Docteur de l’Université after defending his dissertation on “La Symphonie française dans la seconde moitié du XVIIIe siècle.” In 1974, he received a honorary doctorate ad eundum gradum from the University of Adelaide. He was decorated for his service as a U.S. Air Force captain in the European theater of operations during World War II. His lifelong affiliation with the City University of New York began as a fellow at City College (1940-42) and continued at Queens College (1945-89). In 1967 he founded CUNY’s graduate program in music and was its Executive Officer until his retirement in 1989. In 1986 he became a Distinguished Professor at CUNY.

Brook was also on the faculty of the Juilliard School and the head of its DMA program (1977-87). In 1984, on the initiative of the Centre National de la Recherche Scientifique, he designed and established a doctoral program in musicology at the École Normale Supérieure in Paris. As a visiting professor Brook taught at nine other universities in the U.S., Australia, and France. He received many awards, including the Dent Medal of the Royal Musical Association (1965), the French government named him a Chevalier of the Order of Arts and Letters (1972), the Royal Swedish Academy of Music elected him to be among its fellows (1988), and the American Musicological Society recognized his contribution to musicology with an Honorary Membership (1997). He served as the vice-president (1974-77) and president (1977-80) of the International Association of Music Libraries (IAML), and the vice-president (1980-82) and president (1982-84) of the International Music Council (IMC).

Brook’s interests were immense and in many areas pioneering, ranging from music iconography, the history of thematic catalogues, the sociology and aesthetics of music, and the application of computers in musicology, to the 18th-century French symphony and the music of Haydn and Pergolesi. His dissertation is a groundbreaking study on the 18th-century French symphony, which provides extensive documentation, a thematic catalogue of over 1200 works, and an edition of eight works. He initiated fundamental research on the history of the thematic catalogue, publishing a facsimile of the Breitkopf thematic catalogue and two editions of the annotated inventory of thematic catalogues (with Richard J. Viano). In source studies Brook developed a technique of analyzing composers’ handwriting, demonstrating this by identifying Pergolesi’s authentic opus and the body of Haydn’s string trios. While initiating the publication of Pergolesi’s collected works, of which he was the general editor, he also founded the Pergolesi Research Center at the CUNY Graduate School, which owns an extensive microfilm collection of Pergolesi sources. Under his editorship a sixty-volume series of symphonies 1720-1840 and a dozen volumes in the series of French opera in the 17th and 18th centuries were published. In 1979 Brook initiated, under the auspices of the International Music Council of UNESCO, a global project called The Universe of Music: A History intended to provide a comprehensive history of music cultures throughout the world. After his death in 1997, Malena Kuss assumed the Executive Directorship of the Universe of Music project and published two volumes on Latin America (Performing Beliefs: Indigenous Peoples of South America, Central America, and Mexico [2004] and Performing the Caribbean Experience [2007]).

It is to Brook’s credit that he understood the enormous possibilities of computer applications in musicology, and in the early 1960s he had already advocated their use in the control of music sources. In 1964 he made a proposal for the Plaine and Easie Code, a system of notating music using ordinary typewriter or keypunch characters. The following year he founded Répertoire International de Littérature Musicale (RILM), the international annotated bibliography of music scholarship, and in 1967 the first volume of RILM Abstracts was issued under his editorship. At the 1971 St. Gall meeting of IAML, he initiated the Répertoire International d’Iconographie Musicale (RIdIM), an international project aiming to develop the methods, means, classification, cataloguing, and research of iconographic sources relevant to music, and, in 1972, he organized the Research Center for Music Iconography at the CUNY Graduate School, where he developed a vast archive and designed a computer-operated information retrieval system. He was also a member of the RISM Commission Internationale Mixte (1986-97).

Brook’s interests and projects are embodied in the extensive documentation and archival sources housed at the Center for Research and Music Documentation which he founded in 1989 at CUNY. The Center has since been renamed in his honor. The Barry S. Brook and Malena Kuss Special Collection at the University of North Texas Music Library holds correspondence and works in progress documenting the creation and development of The Universe of Music: A History project (1979–2007).

Malena Kuss (b. 1940) is Professor Emeritus of Musicology, University of North Texas, Denton (1976–1999), and former Vice President of the International Musicological Society (2009–2017). She holds a Ph.D. in Historical Musicology from UCLA (1976) and a M.M. in Piano Performance from SMU (1964). Internationally recognized for her research on the music of Alberto Ginastera (1916–1983), with whom she studied composition for six years in Buenos Aires, Kuss has published extensively on opera in Latin America, oral and written musical traditions in comparative cultural contexts, and music historiography from a global perspective.

Her deep commitment to disseminating the perspectives of Latin Americans in the Anglophone sphere of influence resulted in the publication of an unprecedented history of musical traditions which gathers contributions by over a hundred scholars from 36 countries and places particular emphasis on music in social contexts and instruments as living cultural artifacts (Performing Beliefs: Indigenous Peoples of South America, Central America, and Mexico [2004] and Performing the Caribbean Experience [2007], with 4 CDs). An expert in 20th-century music, her work on Ginastera has centered on intratextual relationships, pitch organization, and postmodernism in an American cultural setting (“Symbol und Phantasie in Ginasteras Bomarzo [1967],” 1984; “The structural role of folk elements in 20th-century art music,” IMS/Bologna 1987/1990; Alberto Ginastera Musikmanuskripte, Paul Sacher Stiftung, 1990; “The many meanings of Bearbeitung,” 2012; “The progress of a method,” 2013; “Ginastera y sus laberintos,” 2016). Research into the musical dramaturgy of a vast repertoire of operas from Argentina, Brazil, Cuba, Mexico, and Peru served to explore cultural tropes, feeding historiographical reflections and coverage of the repertoire in reference works (“The ‘Invention’ of America: Encounter settings on the Latin American lyric stage,” IMS/Madrid 1992/1993; “Nacionalismo, identificación y Latinoamérica,” 1998); “Prologue” to Music in Latin America and the Caribbean: An encyclopedic history,” volume 1, 2004; “Western thought from a transcultural perspective: Decolonizing Latin America,” 2005; “On shifts and rifts, or musicology without borders,” 2014; entries in Pipers Enzyklopädie des Musiktheaters and New Grove Opera). Between 2008 and 2010, Kuss was invited to serve as Consulting Curator at the Musical Instrument Museum (MIM) in Phoenix, Arizona, where she designed 43 exhibits and built a collection of over 1,500 instruments.

In 2009, Malena Kuss received the prestigious Platinum Konex Award, which honors the most influential personalities of the last decade in the arts, theater, and literature in Argentina. Other recognitions and research awards include Fulbright-Hays, NEH, ACLS, Mellon, and Paul Sacher Stiftung grants. In 1997, she held the “Jesús C. Romero” Chair in Musicology sponsored by Mexico’s Instituto Nacional de Bellas Artes; and, in 1999, she was honored by the International Music Council with an Individual Membership for her work on The Universe of Music project, a world history of music under her executive directorship since 1997. She was also the recipient of an Honors’ Professorship from the University of North Texas Student Association for excellence in teaching. In 2017, Kuss was elected to Honorary Membership in the American Musicological Society, which, according to its By-laws, honors “long-standing members of the Society who have made outstanding contributions to furthering its stated object.”

An affinity with musicology as broadly defined (Charles Seeger) coalesced in collaborations with the International Music Council associated with UNESCO (The Universe of Music: A History, 1983–1997) and service to the International Musicological Society, the International Association of Music Libraries, Archives, and Documentation Centres (Secretary, Bibliography Commission, 1984–1990), and the American Musicological Society (member and chair, Stevenson Award Committee, 2008–2009; 2018–2021; member and juror, AMS 50, 1996–1999). Elected to the Directorium of the International Musicological Society for two terms and Vice President between 2009 and 2017, Kuss represented IMS on the Grove Music Online Advisory Panel and founded the IMS Regional Association for Latin America and the Caribbean in 2012 (IMS/Rome), serving as Coordinator until 2016 and organizing its first conference on “Latin America and the Canon” (Havana, 2014). In 2015 Kuss was chair of the IMS Program Committee for the inter-congressional symposium on “Music Research in the Digital Age,” which was held jointly with IAML at New York’s Juilliard School.

Barry S. Brook headed the MLM/UMH project from its inception in 1979 until his death in 1997. Following his expressed wishes, Malena Kuss was elected President of the UMH Board of Directors at a meeting in Paris in 1996, established the project as a not-for-profit corporation no longer associated with the IMC of UNESCO in 1997, and assumed the Executive Directorship in 1997, publishing two volumes in a series of four on Latin America and the Caribbean in 2004 and 2007.

Subject/Index Terms

Administrative Information

Repository: Music Library
Access Restrictions: Access to this collection is provided only by special arrangement. Please contact the Music Library for more information.
Use Restrictions: Reproduction and publication of materials in this collection are subject to the policies of the UNT Music Library. Copyright restrictions may apply.
Physical Access Note: Collection is housed in the UNT Music Library. Advance notice for use is required. Please contact the Music Library for further information.
Acquisition Source: Malena Kuss
Acquisition Method: Gift.
Other Note: "MLM" refers to Music in the Life of Man, the project’s original name, which was changed in 1988 to The Universe of Music: A History (UMH). At a planning meeting of the project which took place at The Smithsonian Institution in Washington, D.C., in conjunction with preparations for the Smithsonian conference on “Musical Repercussions of 1492: Encounters in Text and Performance,” chaired by Carol E. Robertson in 1988, Robertson objected to the use of the word “man” in the title and it was decided to change the project’s name to The Universe of Music: A History. Proceedings of the conference, edited by Robertson, were published by The Smithsonian Institution Press in 1992.

Box and Folder Listing

Browse by Box:


Box 1Add to your cart.
Barcode 692553.
Item 1: Parcel from Dr. Richard Moyle, University of Auckland. "Papers", 1999 March 20Add to your cart.
Cover sheet: "New Zealand, completed." The Universe of Music: A History: articles covering New Zealand for the volume on Oceania. Printed copies of articles with some correspondence and copies of contracts. The completed volume on Oceania includes over 100 articles covering Australia, New Zealand, and some of the Pacific Islands (see Table of Contents). Mervyn McLean (b. 1930), University of Auckland, served as original Coordinator for Oceania; when his health declined, Richard Moyle assumed the coordinatorship of this volume.
Item 2: Parcel from Dr. Richard Moyle, University of Auckland. "Papers", 1999 March 20Add to your cart.
Cover sheet: "Island Oceania." See note on previous item.
Folder 1: Music in the Life of Man African Authors, 1 of 2 correspondence, NketiaAdd to your cart.
"1988-present." J. H. Kwabena Nketia was Coordinator of the UMH volume on Africa from the beginning of the project (1980) and one of its staunchest supporters. He was a member of the UMH Board of Directors (1983-2007), and, in addition of producing tables of contents and a number of feasibility studies, organized the "International Conference on African Music and Dance: Problems and Prospects" at the Bellagio Study and Conference Center, October 12-16, 1992. The conference yielded 19 “Working Documents” by top Africanists such as Steven Knopoff, Eddie Meadows, Jacqueline C. DjeDje, Kazadi wa Mukuna, Veit Erlmann, Lester P. Monts, Ruth M. Stone, and Kofi Agawu, among others. Copy of Working Documents, in the possession of Malena Kuss, will become a part of the UNT Barry S. Brook/Malena Kuss Collection in the near future.
Folder 2: Africa - Nketia - proposal to Rockefeller Center Music/Dance, 1991Add to your cart.
See note on previous item.
Folder 3: Nketia Volume V Africa - report for Madrid, 1992 AprilAdd to your cart.
International Musicological Society, XVth Congress, Madrid/1992, session on The Universe of Music: A History (UMH) chaired by Barry S. Brook, with participation of coordinators and reports by a number of contributing scholars.
Folder 4: Music in the Life of Man African Authors, 1 of 2 correspondence, NketiaAdd to your cart.
"1987-previous."
Folder 5: Nketia: The Performing Musician in a Changing SocietyAdd to your cart.
 
Folder 6: Africa in the World of Music and suggested contributors to the volume on African music (Nketia)Add to your cart.
 
Folder 7: Nketia: Sources of historical data - AfricaAdd to your cart.
 
Folder 8: Africa: Geocultural study (Nketia)Add to your cart.
All coordinators were commissioned geocultural studies of the specific regions under their charge. This UMH Collection includes all the geocultural studies and bibliographies of sources that preceded coverage of each region. The bibliographies were published in-house by the International Music Council (IMC) of UNESCO in 1984. Garland subsequently published Japanese Music: An Annotated Bibliography (Garland Bibliographies in Ethnomusicology, vol. 2, 1986) by Tsuge Gen'ichi, Coordinator of the UMH volumes on Asia in collaboration with Trân Van Khê.
Folder 9: Music in the Life of Man - Africa - clarified, includes "Musical survey of northern Kenya"Add to your cart.
 
Folder 10: Africa - Author (Madagascar) - Domenichini-Ramiaramanana, BakolyAdd to your cart.
 
Folder 11: Ashenafi Kebede, Music in Afro-Asiatic Cultures: The Role of Music in Jewish and Christian Communities of the Near East and the Nile River CivilizationsAdd to your cart.
Ashenafi Kebede (1938-1998) was an Ethiopian composer, ethnomusicologist, conductor, and poet. See also: next two items.
Folder 12: African author: Kebede - correspondenceAdd to your cart.
 
Folder 13: Kebede: Music in Afro-Asiatic CulturesAdd to your cart.
 
Folder 14: The Universe of Music: A History: Africa author Emmanuel Gyimah Labi (University of Ghana)Add to your cart.
 
Folder 15: Music in the Life of Man: Africa authors: I. Mwesa MapomaAdd to your cart.
 
Folder 16: Africa: Authors / Lupwishi Mbuyamba correspondenceAdd to your cart.
Lupwishi Mbuyamba, from Zaire/Democratic Republic of Congo, was President of the International Music Council (1988-1991). See also: next three items.
Folder 17: The Universe of Music: A History: Africa: author L. MbuyambaAdd to your cart.
See also: folders 16, 18, and 19 for Mbuyamba.
Folder 18: Mbuyamba: Les principaux instruments de musique ... Peuples de l'Afrique CentraleAdd to your cart.
See also: previous two items.
Folder 19: Photocopy: Lupwishi Mbuyamba, "Les très riches heures de la musique en Afrique", 1991Add to your cart.
Stockholm: Publications de L'Académie Royale Suedoise de Musique No. 70. Under Hans Åstrand, Secrétaire Perpétuel of The Royal Swedish Academy of Music in Stockholm, this institution provided unswerving support for the UMH project. After the death of the Swedish scholar Ingmar Bengtsson (1920-1989), Coordinator of the volumes on Europe, Hans Åstrand and the Royal Swedish Academy of Music assumed the coordinatorship of the volumes on Europe. Åstrand also organized planning meetings of the project at the Academy in Stockholm in 1984 and 1991.
Folder 20: Music in the Life of Man Africa: E. T. Mensah correspondenceAdd to your cart.
E. T. Mensah, Ghanaian musician (1919-1996).
Folder 21: The Universe of Music: A History: Africa / authors Mensah chapterAdd to your cart.
 
Folder 22: The Universe of Music: A History:  Africa author Kazadi wa MukunaAdd to your cart.
 
Folder 23: Music in the Life of Man: Africa authors: Washington Ambrose Omondi / correspondenceAdd to your cart.
Omondi was a professor at Kenyatta University.
Folder 24: Africa: authors - Adepo Yapo (Ivory Coast)Add to your cart.
 
Folder 25: Preliminary reports from meetings in 1979, 1980, 1981 (Bayreuth, including unofficial report), 1982 (Strasbourg), 1979-1982Add to your cart.
 
Folder 26: World History of Music - Meetings, Paris, 1979 October 29-30Add to your cart.
World History of Music, still untitled, perhaps first meeting on the UMH project.
Folder 27: World History of Music - Meetings, UNESCO Paris, 1980 September 1-4Add to your cart.
World History of Music, meetings. The International Music Council (IMC) was a part of the United Nations Educational, Scientific and Cultural Organization (UNESCO) at the time.
Folder 28: World History of Music - Meetings, Berlin, 1980 September 2-3Add to your cart.
World History of Music, meetings in Berlin, at the International Institute for Traditional Music whose journal, The World of Music, published the earliest article on the UMH project (Vol. 22, "Towards a World History of Music," 1980/3). The history of the journal began in 1959, when it was founded as The World of Music. Bulletin of the International Music Council. In 1967, it turned into The World of Music, Quarterly Journal of the International Music Council (UNESCO) in association with the International Institute for Comparative Music Studies and Documentation (Berlin), founded in 1963 and later renamed International Institute for Traditional Music (IITM). From 1975 until 1987, the journal was edited by Ivan Vandor; and, from 1988 until 2007, by Max Peter Baumann (contributor on Bolivia in the published volume 1, Performing Beliefs: Indigenous Peoples of South America, Central America, and Mexico, edited by Malena Kuss in the series Music in Latin America and the Caribbean: An encyclopedic history, which represents coverage of the region in the Universe of Music project [University of Texas Press, 2004]). Also active at the Berlin Institute was Habib Hassan Touma (1934–1998), Palestinian composer and ethnomusicologist who specialized in the study of Arabic music and was Coordinator of the UMH “Arab” volume until his untimely death in 1998.
Folder 29: World History of Music - Meetings, São Paulo, 1980 November 27-28Add to your cart.
World History of Music, meeting in São Paulo, Brazil. Organized by Brazilian composer Marlos Nobre as President of Brazil’s National Music Council. At this meeting and symposium on African Influences on Latin American and Caribbean Music chaired by J. H. Kwabena Nketia and sponsored by the Brazilian National Committee of the International Music Council (IMC/UNESCO), in cooperation with Brazil’s Ministry of Education and Culture, São Paulo, Brazil, November 21-26, 1980, Malena Kuss presented a paper on “Neo-African retentions in 20th-century operas by Brazilian composers.” At the meeting on the incipient world history of music, Nketia proposed Malena Kuss as Coordinator for Latin America and the Caribbean. Kuss, instead, proposed the Chilean Samuel Claro Valdés, who, at the time, was president of Chile’s National Music Council of the International Music Council (IMC/UNESCO). In turn, Claro Valdés, in 1983, asked Malena Kuss to Co-Coordinate the regional volume with him; in 1993 Samuel Claro Valdés resigned due to illness and Malena Kuss became the sole coordinator of the volume on Latin America and the Caribbean. Barry Brook endured metastatic cancer for several months and had surgery for a brain tumor in April of 1994. From 1994 until 2007, Malena Kuss actively coordinated the entire UMH project, which in 1997 became an independent legal entity (no longer associated with the International Music Council/UNESCO) under her executive directorship. In May of 1997, Barry S. Brook  transferred to Malena Kuss all legal rights and responsibilities related to the UMH project. After Barry Brook’s death on December 7, 1997, Kuss published two volumes on Latin America and the Caribbean (Performing Beliefs: Indigenous Peoples of South America, Central America, and Mexico; and Performing the Caribbean Experience, published by University of Texas Press in 2004 and 2007, respectively). Volumes 3 and 4 were completed and typeset, but lack of funds did not permit publication. Kuss funded the preparation and typesetting of volumes 1 through 4 from her personal resources; she is still planning to publish some iconic contributions to volumes 3 and 4 written by a group of prestigious scholars.
Folder 30: World History of Music - Meetings, Paris, 1981 June 24Add to your cart.
"Berlin" written in pencil on label. World History of Music, preliminary meetings.
Folder 31: Music in the Life of Man - early correspondence, up to Bayreuth meeting, 1979-1982Add to your cart.
 
Folder 32: World History of Music - Meetings, Bayreuth, 1981 September 20-24Add to your cart.
Initial meeting of the board of directors.
Folder 33: World History of Music: Réunion du Bureau les 4 et 5 Janvier 1983: Réunion de la Commission Internationale pour une Histoire Scientifique et Culturelle de l'humanité du 6 au 8 Janvier 1983., 1983 January 4-5, 6-8Add to your cart.
World history of music, meeting of the International Commission for a Scientific and Cultural History of Humanity, a UNESCO project in six volumes (1952-1968) whose revision was undertaken by UNESCO by a resolution approved in 1979-1980, at the time Barry S. Brook proposed Music in the Life of Man / The Universe of Music: A History, to the International Music Council, of which he was President between 1981 and 1983.

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