ABSTRACT
General Music Histories, a product of European imperialism, manifest the curiosity of scientists and intellectuals of the Enlightenment, which fitted in well with the imperialists’ desire to learn about the lands and peoples on which they set their sights. This ‘modern music’ of the Greeks to which the two writers referred as Byzantine music, that is to say, the music of the Greek Orthodox Church during the Byzantine and the Ottoman Empires. Greek musicology has been well prepared for National Music historiography that Western musicology is conscious of its end. Music historiography that aspired to include the entire Greek diaspora will greatly profit from Western trends in globalism. Contact with people around the entire globe has brought about a reality that perhaps looks incompatible with the idea of ‘globalism’ that people have so far envisaged. It remains to be seen how music historiography will follow and react to the new forms of nationalism and globalism.
