ABSTRACT
But this view is difficult to square with more recent scholarship, which would replace music with musics, holding that musics are musics only in their cultural contexts. Musics only make sense as musics if we can resonate with the histories, values, conventions, institutions, and technologies that enfold them; musics can only be approached through culturally situated acts of interpretation. Such interpretive acts, as Bohlman (1999) makes clear, unveil a multiplicity of musical ontologies, some or most of which may be mutually irreconcilable: hence a multiplicity of musics.
