| Abstrakt: |
This article examines how the Tonnetz, widely considered the emblematic diagram of "Western" music theory, emerged in its modern form from a global network of scholars spanning Japan, Germany, and India. Part one consists of four microhistories of transnational connection. The first two focus on Tanaka Shōhei's 1890 presentation of the Tonnetz as representative of a "mutually civilizing" discourse between Germany and Japan, and Hugo Riemann's adaptations of Tanaka's diagram in re-centering Germany's musicological status. The second two focus on G. S. Khare's use of the Tonnetz in 1918 to bolster claims of Indian "priority" in the development of tonality, and the influence of Khare's associates on Tanaka's later efforts to bolster a Pan-Asianist narrative that cast Japan as the last bastion of an uncolonized Asian spirit. Part two applies a macrohistorical lens in analyzing how these Tonnetze played a constitutive role in the development of musical modernity, which I interpret as an emergent phenomenon of global processes of integration by building on the work of Sebastian Conrad and Sanjay Subhramanyam. Each of these Tonnetze is thus a "global Tonnetz," stemming from the drive of each nation to participate in the construction of musical modernity on a global stage. I conclude by acknowledging tensions between my histories of connection and integration, as the former traces threads of causality while the latter embraces emergence. I nevertheless argue in favor of a framework of historical duality that can hold both approaches simultaenously when dealing with global phenomena. [ABSTRACT FROM AUTHOR] |
