Remarks Concerning the Use of the Melograph in Ethnomusicological Studies

The Melograph, by now, has become part and parcel of ethnomusicological research and no longer needs an introduction.  Rather than concentrate again on its novelty and its promises, the time has come to discuss the Melograph in operation, the problems raised by the new musical material it provides, and the new methods of research it suggests. However, the scope of this article does not permit a summary of all the points which have crystallized in our minds over the years. We shall limit ourselves to some general remarks, and then dwell more specifically on an example that illustrates some unanticipated ways in which music can be examined with the aid of the Melograph. The Melograph has not only answered questions for which it was originally intended, but, as we shall discuss, the data obtained suggest new modes of analysis and concept. In Jerusalem, we have used the Melograph for the analyses of non-Western music since 1958. As is well known, Israel has become a laboratory for comparative anthropological studies of all kinds. Its inhabitants comprise Jews from many different cultural backgrounds, as well as Arab communities whose culture has remained intact. Our work hitherto has centered on an investigation of the maqamat, a study of the liturgical music of Christian Arabs in Israel, and an examination of the changes occurring in the traditional singing of Aleppo Jews as a result of 'culture contact'. We are presently engaged in a study of the music of Israeli Arabs, examining the music as a living tradition and in its historical perspective.