서양음악사의 주체와 타자: 그라우트의 『서양음악사』에서 나타나는 스페인 음악의 타자화를 중심으로

Abstract

This article started with the question of what is the criteria for determining actors as historical subjects in the description of music history. The purpose of this article is to explore how the term ‘Western’-as a historical subject in the so-called ‘Western’ music history-was defined and selected. In this article, I've analyzed Grout's A History of Western Music, which is a representative example of Western music history textbook, focusing on Spain, which appeared in historical narratives from the Middle Ages, the beginning of the history of Western music, but is constantly represented as an Other. In A History of Western Music, Spanish music was included as a topic from the earliest days when the history of Western music was formed, but it was immediately marginalized and otherized. In particular, Spanish music of the 10th and 11th centuries are not mentioned at all in the A History of Western Music. These periods coincide with the time when Spain was influenced by Arab culture, and thus, from the perspective of ‘Europe,’ Spain was recognized as the closest Other within. It is in the 13th century when Spain reappeared in A History of Western Music, as the Aragonese dynasty reconquered the Iberian Peninsula. In addition, Spain is represented as a full-fledged member of ‘Europe’ in the 16th century, when Spain expelled the Moors and Jews from the Iberian Peninsula and emerged as Europe’s greatest economic power and colonial empire. However, in the description of A History of Western Music, Spanish music is portrayed only as a being who spread the music of ‘Europe’ to the ‘New World,’ rather than as a member of Europe. After the 16th century, Spanish music is no longer described as ‘European music’ in A History of Western Music. From the 17th century, Spanish music is firmly established as the Other of ‘Europe.’ This was reinforced by the discourse of exoticism and Orientalism, which reached its peak in the 19th century. In this discursive strategy, Spainish music is no longer portrayed as an historical subject of Western music history. ‘Europe,’ which had been the Other from the view of the ancient Greece and Roman Empires, created the Other from the nearest place in order to establish itself as the subject of the narrative of music history. Although Spain belonged to the same Christiandom, it was always perceived as being related to the Arabs, and therefore ‘Europe’ considered Spain as the closest and easiest object to otherize. In this article, I've tried to reveal that ‘Europe’ established itself as the subject of Western music history through this discursive strategy of otherization.