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"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.
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  and Performing the Caribbean Experience ).
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).
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 (
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.
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 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,
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
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,
"Before getting inside those covers, however, it might be helpful to locate
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
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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).
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.
Cover sheet: "Island Oceania." See note on previous item.
"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. J. H. Kwabena Nketia passed away at age 97 on March 13.
See note on previous item.
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.
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.
Ashenafi Kebede (1938-1998) was an Ethiopian composer, ethnomusicologist, conductor, and poet. See also: next two items.
Lupwishi Mbuyamba, from Zaire/Democratic Republic of Congo, was President of the International Music Council (1988-1991). See also: next three items.
See also: folders 16, 18, and 19 for Mbuyamba.
See also: previous two items.
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.
E. T. Mensah, Ghanaian musician (1919-1996).
Omondi was a professor at Kenyatta University.
World History of Music, still untitled, perhaps first meeting on the UMH project.
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.
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.
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.
"Berlin" written in pencil on label. World History of Music, preliminary meetings.
Initial meeting of the board of directors.
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.
Additional, completed articles on New Zealand; correspondence with Barbara Smith. Part of unedited complete coverage of Australia and New Zealand, plus other chapters for the UMH volume on Oceania. Mervyn McLean (b. 1930) served as original coordinator for Oceania; when his health declined, Richard Moyle assumed the coordinatorship. These papers represent documents in the possession of the Coordinator for Oceania in 1999, which he returned to Malena Kuss, UMH Executive Director. See also: next three items.
Coverage of Australia, in process, first of two parcels. See also: previous item and next two items.
Australia, in process, second of two parcels. See also: previous two items and next item.
Coverage of Australia, completed. See also: previous three items
Japanese ethnomusicologist Tsuge Gen'ichi was Coordinator of the volumes on Asia, in collaboration with Vietnamese ethnomusicologist Trân Van Khê (1921–2015). Tsuge’s Japanese Music: An Annotated Bibliography was published by Garland in 1986 and based on bibliographic work done for the UMH project.
The overall plan included individual country profiles at the end of each regional volume or set of volumes. Trân Van Khê wrote one of the models, on Vietnam, and Hans Åstrand, a scholar of Swedish music whose expertise extended to composers from Spain and Latin America, provided a model for the country profile of Argentina.
Trân Van Khê’s model for country profiles, in French. See also: previous item.
Chinese musicologist Zhao Feng served as sub-regional coordinator for China during the 1990s. In April 1992, Zhao Feng contributed to the panel on UMH chaired by Barry S. Brook at the XVth Congress of the International Musicological Society held in Madrid.
Ethnomusicologist Fredric Lieberman (1940-2013) collaborated as consultant on Asia.
Hindustani musician Arvind Parikh contributed to the volumes on Asia as sub-coordinator for India.
Toda Kunio, Japan. "National Committee" refers to the Japanese National Committee of the International Music Council.
Ranganayaki Ayyangar (1927-2017), scholar and performer of Carnatic music.
Toda Kunio, Japan. "National Committee" refers to the Japanese National Committee of the International Music Council.
Ranganayaki Ayyangar (1927-2017): scholar and performer of Carnatic music.
Song Bang-Song, Korean musicologist.
Jarernchai Chonpairot, Mahasarakham University, Thailand.
José Maceda (1917-2004): Filipino composer and ethnomusicologist who completed a chapter on “Gongs and gong ensembles in Asia” (typescript, 181 pages) for the UMH volumes on that region. Maceda’s chapter is part of the Brook/Kuss Special Collection at the UNT Music Library. See Box 2, Folder 37, Item 6. José Maceda also authored “The present state of music research in the Philippines: Music in the Life of Man, Asia and Oceania,” for the Proceedings of the Asian Music Symposium held in Tokyo July 5-8, 1985, pages 164-169.
Japanese composer and musicologist Fukushima Kazuo (born 1930).
Kamisango Yuko: Japanese musician, expert in shakuhachi.
Margaret Kartomi, Australian ethnomusicologist, served as consultant.
Filipino composer and musicologist José Maceda contributed a chapter on gongs and gong ensembles throughout Asia for the UMH volumes on that region (typescript, 181 pages, available in typescript and scanned formats).
Fredric Lieberman (1940-2013): consultant on China.
Robert E. Brown (1927–2005) was an ethnomusicologist who specialized in Indonesia, associated with UCLA, Wesleyan, and San Diego State University. He served as a consultant to the project.
After 1988, Tsuge Gen’ichi resigned as Coordinator of the volumes on Asia, a responsibility he shared with Trân Van Khê. Margaret Kartomi was subsequently invited to replace him.
PP refers to UNESCO's Participation Programme, the system Barry Brook used to channel requests for funding and involves partnerships among supporting member states and UNESCO.
Asia was assigned 3 volumes in a series of 12 for the entire project.
The Swedish musicologist Ingmar Bengtsson (1920-1989) was the first Coordinator of the volumes on Europe; after his death, Hans Åstrand, a member of the MLM/UMH Board of Directors since the project’s inception and Secrétaire Perpétuel of the Royal Swedish Academy of Music, assumed the coordinatorship of these volumes.
Malena Kuss, Coordinator, Latin America and the Caribbean, to which the project initially assigned one volume (IX). Annotated bibliographies of existing research were a part of the "feasibility studies" required by UNESCO for each region. Kuss’ Latin American Music: An Annotated Bibliography of Reference Sources and Research Materials, was published in-house by the International Music Council of UNESCO in 1984 (133 pages). An abbreviated version of this bibliography was published as “Current state of bibliographic research in Latin American music” in Fontes artis musicae, 34/4 (Oktober-Dezember 1984) 20–39. Annotated in Duckles and Keller, Music Reference and Research Materials, 4th edition (1988), 197; and 4th edition revised (1994), 207.
Chinese musicologist Zhao Feng contributed to the project as sub-regional coordinator for China in the 1990s.
Tsuge Gen’ichi: Japanese scholar who served as Coordinator of the volumes on Asia in collaboration with Trân Van Khê from the inception of the project until 1988.
Tsao Penyeh: ethnomusicologist, formerly at the Chinese University of Hong Kong.
Tokita: Kyoto City University of the Arts.
In addition to comprehensive bibliographies of existing research, UNESCO required geocultural studies of each region prior to commissioning actual chapters. The Vietnamese scholar Trân Van Khê (1921–2015), who lived in Paris for most of his life and was active in projects of the International Music Council/UNESCO, served as Co-Coordinator of the volumes on Asia from the inception of the project. He was also a member of the MLM/UMH Board of Directors.
See also: previous item, geocultural study.
Eero Tarasti: University of Helsinki.
Swedish musicologist Jan Ling: author of A History of European Folk Music, 1997.
Culture-specific themes for the core volume on Europe (VI) requested by Barry S. Brook from Malena Kuss and sent to him in advance of a meeting on the structure of that volume. Original and scanned copy available.
Danish musicologist Jens Brincker.
German musicologist Detlef Gojowy (1934-2008).
Italian musicologist Alberto Basso (born 1931).
The Union of Soviet Socialist Republics was dissolved in 1991. Coverage of the USSR in the 1980s was entrusted to sub-regional coordinator Vsevolov Zaderatsky. The Barry S. Brook and Malena Kuss Collection includes all the articles gathered by Zaderatsky and written in Russian for UMH volume VIII on the then-USSR.
The International Music Council required progress reports. Volumes II and III were to cover Asia.
Minutes: meeting of the Universe of Music: A History (UMH) project at the Royal Swedish Academy of Music in Stockholm, hosted by Hans Åstrand.
Sub-folder: The Universe of Music: A History: Europe Åstrand agendas VI, VII PP. After the death of the Swedish scholar Ingmar Bengtsson (1920-1989), Coordinator of the regional volumes on Europe (VI, VII), Hans Åstrand, Secrétaire Perpétuel of the Royal Swedish Academy of Music and member of the UMH Board of Directors, took over the region’s coordinatorship. PP stands for Participation Program, the channel through which the project requested funds from UNESCO.
Meeting in conjunction with the 15th Congress of the International Musicological Society, Madrid, 3-10 April 1992.
UMH Europe volume 1 (VI in the series), coordinated by Ingmar Bengtsson, for 1988 meeting in Stockholm held one year before Bengtsson’s death in 1989. The folder consists of: 1. A table of contents for Music in the Life of Man (MLM) Europe. 2. Five copies of a letter from Ingmar Bengtsson to all members of the MLM Europe planning team, each with a copy of the table of contents in the previous item. 3. Table of contents for The Universe of Music – A History (UMH), Volume VI, Europe I.
Prepared by J. H. Kwabena Nketia, Coordinator of volume V on Africa and member of the UMH Board of Directors.
Label in folder.
Several subfolders with articles by Kwabena Nketia and K.A. Gourlay
Pierre Sallée, Gabon specialist (died 1987).
Stephen A. Wild: Australian ethnomusicologist, Secretary General of the International Council for Traditional Music (2006-2011).
Yamaguti Osamu: Japanese musicologist born in South Korea in 1939.
Richard Letts: former President of the International Music Council (2005-2009).
Richard M. Moyle (born 1944), Honorary Professor of Pacific Studies at The University of Auckland, New Zealand, served as Coordinator of the UMH volume on Oceania after Mervyn McLean, Professor Emeritus and Founder of the Archive of Māori and Pacific Music at The University of Auckland, resigned due to health issues.
Roger Covell: Professor Emeritus, School of English Media and Performing Arts, University of New South Wales, Sydney; author of Australia's Music: Themes of a New Society (1967).
Mervyn McLean, first Coordinator, volume on Oceania. See also: next item.
See also: previous item.
PP stands for Participation Programme, the channel through which Barry S. Brook, as head of the UMH project, which was sponsored by the International Music Council associated with UNESCO until 1997, requested funds from UNESCO for regional volumes.
Richard M. Moyle was Coordinator of the volume on Oceania, after the resignation of Mervyn McLean due to health issues.
Two 3.5-inch floppy disks. Richard M. Moyle was Coordinator of the volume on Oceania, after the resignation of Mervyn McLean due to health issues.
Barry S. Brook, Tsuge Gen’ichi, Coordinator of volumes on Asia with Trân Van Khê.
Australia completed, second of three parcels. See also Box 10, Folder 1.
Australia completed, third of three parcels. See also Box 10, Folder 1.
The UMH volume X (North America) was to cover the United States and Canada. Mexico, a part of continental North America, is covered under Latin America. Charles Hamm (1925-2011) was the volume’s first coordinator. He resigned in the early 1990s after requesting payment equivalent to a year’s salary at Dartmouth College in order to take a sabbatical and edit the volume. With deep regret, however, the UMH project could not consider his request, as it suffered from a chronic lack of appropriate funding. All the coordinators, including Barry Brook and Malena Kuss, worked ad honorem.
John Shepherd, Chancellor’s Professor of Music and Sociology, Carleton University, Ottawa.
Alan Gillmor and John Shepherd, Carleton University, Ottawa, took over the coordinatorship of the volume on North America after Charles Hamm's resignation.
Session on the Music in the Life of Man/Universe of Music project chaired by Barry S. Brook at the joint meeting of the American Musicological Society, College Music Society, Society for Music Theory, and Society for Ethnomusicology, hosted by the University of British Columbia in Vancouver, Canada, November 9, 1985, with the participation of volume coordinators and invited scholars. At the invitation of Bruno Nettl, who chaired a panel on Ethnomusicological Approaches to Western Art Music for the annual meeting of the Society for Ethnomusicology, Malena Kuss presented a paper on "Traditional elements in 19th- and 20th-century operas from Latin America and the Caribbean," November 9, 1985.
Volume I was to be dedicated to core issues in historiography of world's musics.
Wolfgang Laade (1925-2013), “Musikwissenschaft zwischen gestern und morgen” in International Review of the Aesthetics and Sociology of Music (Zagreb), 6/2 (1975).
Nils L. Wallin, Swedish musicologist who coined the term biomusicology, was appointed Secretary General of the International Music Council in the 1980s, preceding Guy Huot (1990-2002).
Hungarian scholar János Kárpáti, a Bartók specialist and former Head Librarian and Professor of Musicology, Budapest Academy of Music, served as sub-regional coordinator of Eastern Europe for the MLM/UMH project.
Hans Åstrand: Coordinator of the volumes on Europe.
Coverage of the USSR in the 1980s was entrusted to sub-regional coordinator Vsevolov Zaderatsky. The Barry S. Brook and Malena Kuss Collection includes all the articles gathered by Zaderatsky and written in Russian for UMH volume VIII on the then USSR.
Ingmar Bengtsson (1920–1989) was Coordinator of the volumes on Europe; after his death, Hans Åstrand assumed this responsibility, with the Royal Swedish Academy of Music.
Habib Hassan Touma (1934-1998): Palestinian-born Coordinator of the UMH volume on Arabic music.
Lois Lamya al-Faruqi (Lois Ibsen, 1926-1986).
Volume. IX, Latin America, Malena Kuss, Coordinator; Volume X, North America, Charles Hamm (1925–2011), first Coordinator, replaced by Marcia Herndon (1941–1997) after his resignation in the early 1990s.
Habib Hassan Touma (1934-1998): Palestinian-born ethnomusicologist and composer, Coordinator of the UMH volume on Arabic music.
Israel Adler (1925-2009) was a member of the UMH Board of Directors.
Habib Hassan Touma (1934-1998), Coordinator of the UMH volume on the Arab region, was associated with the International Institute for Traditional Music, Berlin, established in 1963 as International Institute for Comparative Music Studies and Documentation.
After Charles Hamm’s resignation as Coordinator of the volume on North America, Alan Gillmor accepted the coordinatorship of Canada and Marcia Herndon (1941-1997) the coordinatorship of the United States. White folder.
Marcia Herndon (1941-1997) assumed the coordinatorship of the US, Alan Gillmor accepted the coordinatorship of Canada, and Malena Kuss assumed the de facto executive directorship of the UMH project due to Barry S. Brook’s illness. Manila folder.
Janice Yalden was dean of the Faculty of Arts at Carleton University in Ottawa, Ontario. Orange folder.
Janice Yalden was dean of the Faculty of Arts at Carleton University in Ottawa, Ontario. Robert A. Wright was on the faculty of the Cultural Studies Program at Trent University in Peterborough, Ontario. White folder.
Comments most likely by Stephen Blum, whose responsibilities at The Graduate Center, CUNY, initially included the review of articles/chapters commissioned by the UMH project addressed to the UMH Board of Directors. Pink folder.
Correspondence most likely addressed to Michael Sahl and Beth Anderson. Manila folder.
Charles Hamm (1925-2011) was Coordinator of the UMH volume on North America until the early 1990s; the volume covered the United States and Canada. Mexico, geographically a part of North America, was to be covered in volume IX, on Latin America.
Two folders of correspondence. Folder 1: 1991-1995, correspondence primarily between Barry Brook and Richard Moyle regarding the Oceania volume of UMH. Subject matter includes recruiting authors, funding, and organization support. Folder 2: 1991-1997, correspondence with Richard Moyle; subject matter includes recruiting authors, funding, and artwork.
Australia completed, first of three parcels. See also Box 1, Items 1, 2; Box 2, Items 1, 2, 3, 4; Box 5, Folders 71 and 72.
All "Island Oceania" for the UMH volume on Oceania. Parcel 1 of 3 (see Box 5, Folders 71 and 72 for parcels 2 of 3 and 3 of 3). See also: Box 1, Items 1, 2; Box 2, Items 1, 2, 3, 4; Box 9, Item 8.
Nils Wallin's essay on biomusiciology was to be included in the UMH volume 1, on core issues in historical and systematic musicology, inclusive of ethnomusicology.
Copy of letter from Barry Brook.
Givani Mikhailov (1938-1995), author for volume VIII on the USSR.