Albrecht Riethmüller


Several decades ago, anthropologists and ethnomusicologists began to complain about the effects of ‘Eurocentrism’ on classical and avant-garde music, as well as rock and pop. The slogan ‘world music’ subsequently came into being as a conceptual antidote positioned in opposition to European music. Taken to its extreme, this anti-European movement encompassed the tendency to even annihilate the domain of history, seen as the starting point of all things Eurocentric. In the North American discourse on Eurocentrism in music in the 1980s (see Appendices 1 and 2), their focal shift from Europe to Asia, from the Atlantic to the Pacific, served to fuel a heightening of criticism toward European dominance. The Eurocentristic ...

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