European Music Council advocates for musical and cultural rights on a
European level and hence plays a key role in supporting the European
communities that want to celebrate their music. It is currently running the
EU funded project ExTra! Exchange Traditions which is aiming at enhancing
Authors of the Publication
exchange and dialogue of musical traditions of migrant and minority
cultures in Europe. This publication is part of the project.
Eva Fock works at VMK – Academy of Music and MusicCommunication
as a freelance ethnomusicologist
Folge. Vol. V 1964-1967. Ed. Hans Mayer. Frankfurt am Main: Suhrkamp,
1976. 374-76. Print.
“Grenzgänger und Frank Baier: 1920. Lieder der Märzrevolution.” Chanson.
Liedermacher- Magazin. 2006. Web. 6 July 2018. <www.chanson.de/down
Heimatlieder aus Deutschland. Galileo MusicCommunication, 2013. CD.
Heimatlieder aus Deutschland Berlin/Augsburg. Galileo MusicCommunication,
“Heimatlieder aus Deutschland.” 2016. Web. 6 July 2018. <www.heimatlieder
Hennion, Antoine. “Baroque and Rock: Music
of music to its cultural aspects, either in the form of a complete passing
over the topic of the musical qualities of music, or by explicitly subordi-
nating musical experience to the social domain. An example of the latter
from Scandinavian musicology/ethnomusicology is found in an article by
Even Ruud and Tellef Kvifte from 1987, entitled „Musikk, identitet,
musikkformidling [Music, identity, musiccommunication]“. In this arti-
cle, they emphasize the importance of taking cultural perspectives on
music into account (Kvifte/Ruud 1987). However
. Niklas Luhmann’s systems theory is then
applied to a description of what happens when conflicts or contradictions occur
on a verbal level, and whether they influence the process of improvised music.
COMMUNICATION AND IMPROVISED MUSIC
Many different levels of communication exist in improvised music, including
musical, physical and verbal strata. In “Hear and Now”, Peter Wilson claims that
the musical level, as a communicative concept, encompasses everything that oc-
curs within the interaction of sounds during a group improvisation: from the
straightforward echo to