Issue 2024, 3: Nation, gender, and music history
History is not fixed and unchanging, and the way we think about the concept of nation can affect the way we talk about the past. This also applies to the history of music. Let me give you an example. In volume 2 of his seminal book on music history, The Oxford History of Western Music, the late Richard Taruskin talks about the circle of fifths, a diagram that helps you visually organize Western music theory’s 12 chromatic pitches for learning purposes. He mentions that the circle of fifths first appeared in a Russian music theory book published in Moscow in 1679, decades before Western music theorists began to talk about it. However, the book itself was not originally Russian, but was translated from Polish. Moreover, the author was a Ukrainian clergyman and singing teacher who was born in Kyiv, at that time part of the Polish–Lithuanian Commonwealth with Krakow as its capital. When Taruskin published his book in 2004, the background for the first appearance of the circle of fifths was just an interesting anecdote referring to the ethnic and linguistic diversity of Eastern Europe in the 17th century. But how can — or should — one speak of it after February 24, 2022, Russia’s full-scale invasion of Ukraine? How do you even pronounce the name of the Ukrainian cleric? Nikolai Diletsky, following the Russian form as published in the first edition, or Mykola Diletsky, in the Ukrainian form, as he was born in Kyiv and is considered part of Ukrainian music history?
Baltic Worlds covers; the Baltic Sea Region, Eastern Europe, Russia, CentralAsia, Caucasus and the Balkan area.