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Was Curt Sachs, for example, justified in his view of Greek music as belonging wholly to the oriental sphere?
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Hornbostel–Sachs or Sachs–Hornbostel is a system of musical instrument classification devised by Erich Moritz von Hornbostel and Curt Sachs, and first published in the Zeitschrift für Ethnologie in 1914.
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In his book World History of the Dance, Curt Sachs expresses the belief that “hip and belly dances” of such places as the South Seas have “only the purpose of sexual stimulation.
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An informed source on the history of music, Curt Sachs, states: “The deep-rooted prejudice that harmony and polyphony [two or more musical parts or voices combined] have been a prerogative of the medieval and modern West does not hold water.”
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(1 Chronicles 15:21; 25:7, 8; Nehemiah 12:46) Commenting on their advanced musical skills, historian Curt Sachs wrote: “The choruses and orchestras connected with the Temple in Jerusalem suggest a high standard of musical education, skill, and knowledge. . . .
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Additionally, Curt Sachs proposed the existence of two quite distinct kinds of folk music in Europe: continental and Mediterranean, and others have placed the transition zone from the former to the latter roughly in north-central Italy, approximately between Pesaro and La Spezia.
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And again, why everyone (but really everyone) the musical instruments of a modern symphony orchestra have Middle Eastern origin, as stated by the German scientist Curt Sachs?
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Curt Sachs himself maintains that “the dance heritage of non-classic Middle Ages corresponds on the whole with that of primitive people of our time” (History of Dance, 2006, p.
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A good many studies, beginning with work of Curt Sachs (1937 -- and earlier) and continuing in the cantometrics work of Alan Lomax (1968), and going on into the recent studies in the anthropology of music, suggest that there is at least something to this theory.
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