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Journal articles on the topic '“new” musicology'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Potter, Pamela M. "Musicology under Hitler: New Sources in Context." Journal of the American Musicological Society 49, no. 1 (1996): 70–113. http://dx.doi.org/10.2307/831954.

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Recognizing musicology's demonstrated potential to contribute to its ideological aims, the Nazi government took immediate steps to centralize music scholarship and, along with the SS, to subsidize relevant research projects. Alfred Rosenberg's ideological watchdog organization recruited musicologists for a variety of tasks, including the plundering of musical treasures in occupied territories and the assessment of the receptivity of occupied populations to Germany's eventual takeover of cultural life. Meanwhile, many scholars contributed to the press with music historical justifications for all of Germany's current military and diplomatic actions. Born in an era preoccupied with the creation of the German nation-state, musicology had embraced a Germanocentric focus, dating back to Forkel, that the Nazi propaganda machine fully exploited. This nationalism also infiltrated American musicology with the arrival of German émigré scholars.

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Nikolić, Sanela. "Orientalism and New musicology." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 581–93. http://dx.doi.org/10.31724/rihjj.44.2.17.

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The aim of this paper is to outline the history of the concept of Orientalism in the field of New musicology and to point out that musicological discussions of Orientalism significantly changed disciplinary profile of musicology in the direction of interdisciplinary or contextual musicology. The area of Postcolonial studies has been recognized by New musicology as a possible starting point for theorizing the new issues related to the questions of music, race, ethnic and national otherness, and European colonialism. In 1991, with the publication of Ralph P. Locke’s text “Constructing the Oriental ‘Other’: Saint-Saëns’s Samson et Dalila” in Cambridge Opera Journal, the musicological research of the European professional music tradition from the aspects of postcolonial theories has been institutionalized and the concept of Orientalism has been introduced into the field of research objects of musicology. What is present as the common aspects of all musicological studies that address the issue of musical representations of the Orient are interdisciplinarity and contextuality. Contrary to the reduction of the complex Western European music practices to the idea of an autonomous work of music devoted to an aesthetic enjoyment, postcolonial musicology proposed poststructuralist analytical models of text and discourse and affirm the interest in the context of work of music. In that manner, musicology has been updated as a discipline that autocritically approaches Western European professional music practice by seeing it/ self as only one of the possible historical formations of culture/knowledge in which there are visible clusters, conflicts, and aspirations to present (Western) European capitalist patriarchal politics as a universal economic, political and cultural power.

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Middleton, Richard. "Popular music analysis and musicology: bridging the gap." Popular Music 12, no. 2 (May 1993): 177–90. http://dx.doi.org/10.1017/s0261143000005547.

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Since their beginnings, popular music studies have conducted an implicit (sometimes explicit) dialogue with musicology. To be sure, the musicological side of this conversation has more often than not been marked by insult, incomprehension or silence; and popular music scholars for their part have tended to concentrate on musicology's deficiencies. But musicology is changing (more about this later); at the same time, recent work on popular music suggests a new confidence, manifesting itself in part in a willingness to engage with and adapt mainstream methods. I believe each needs the other.

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Chua, Daniel. "Global musicology." New Sound, no. 50-2 (2017): 12–16. http://dx.doi.org/10.5937/newso1750012c.

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How do we think globally as musicologists? Recent attempts to write global histories of music raise various issues about how we should relate as scholars in a global community, and question whether as scholars we truly understand the nature of music given the new global perspective. Thinking globally is a key challenge. There is a strong possibility that we may fail, but taking up the challenge is like to spur our discipline forward in unexpected ways.

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Tucker, Mark. "Musicology and the New Jazz Studies." Journal of the American Musicological Society 51, no. 1 (1998): 131–48. http://dx.doi.org/10.2307/831899.

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6

Kapusta, John. "Pauline Oliveros, Somatics, and the New Musicology." Journal of Musicology 38, no. 1 (January 1, 2021): 1–31. http://dx.doi.org/10.1525/jm.2021.38.1.1.

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This article examines the connections between experimental composer Pauline Oliveros, the US somatics movement, and the new musicology. While scholars tend to position Oliveros’s work within the familiar framework of women’s liberation and queer activism, we should instead understand Oliveros as a somatic feminist for whom somatic practice was synonymous with women’s liberation. Oliveros helped instigate an influential movement to integrate somatic discourse and practice into US musical culture—including music scholarship. Scholars of the so-called new musicology concerned with issues of embodiment also applied somatic concepts in their work. Oliveros and the new musicology share a history rooted in US popular culture of the 1970s. Across this period and beyond, US composers, performers, and scholars alike worked within and alongside the somatics movement to legitimize the performing body as a source of musical knowledge.

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Stefanija, Leon. "Musicology: The Key Concepts." Musicological Annual 53, no. 1 (June 23, 2017): 249–53. http://dx.doi.org/10.4312/mz.53.1.249-253.

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8

Van Elferen, Isabella. "Ludomusicology and the New Drastic." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 103–12. http://dx.doi.org/10.1525/jsmg.2020.1.1.103.

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In a rereading of Carolyn Abbate's seminal article “Music—Drastic or Gnostic?” this article proposes that the study of game music not only presents us with new research themes but, moreover, has the potential to inspire a major disciplinary reform. Game music studies and ludomusicology can lead to a New Drastic Musicology: an intellectual engagement with video game music that is just as rooted in immediacy, interactivity, and playfulness as the object with which it concerns itself. The New Drastic, I shall argue, can engender significant critical, epistemological, thematic, and analytical innovations in the discipline of musicology. Fundamentally, my argument is that playing with music invites “playing” with critical music theory.

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9

Potter, Pamela M. "Musicology under Hitler: New Sources in Context." Journal of the American Musicological Society 49, no. 1 (April 1996): 70–113. http://dx.doi.org/10.1525/jams.1996.49.1.03a00030.

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10

Griffiths, Christian. "New Jerusalem: Musicology and the Marxist Aesthetics." Transcultural Studies 8, no. 1 (2012): 117–28. http://dx.doi.org/10.1163/23751606-00801008.

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11

Ansdell, Gary. "Musical Elaborations." British Journal of Music Therapy 11, no. 2 (December 1997): 36–44. http://dx.doi.org/10.1177/135945759701100202.

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In this article I review some of the latest books in what has been called the ‘New Musicology’. I also ask why music therapists and musicologists seem until now to have taken so little notice of each other's work, but suggest that this situation is changing. Developments in critical thinking about music represented by the ‘New Musicology’ may be of particular relevance to music therapists searching for theoretical perspectives on their work. But equally the theorists of the ‘New Musicology’ could learn much from music therapy – which can be seen in many ways as a ‘laboratory’ for new thinking about the nature of music and its place in society.

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12

McClatchie, Stephen. "Theory's Children; or, The New Relevance of Musicology." Canadian University Music Review 21, no. 1 (March 4, 2013): 14–27. http://dx.doi.org/10.7202/1014475ar.

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The recent theoretical turn in musicology has made the discipline more relevant, both within the university itself, and in the larger society within which it is situated. I consider what this development may mean for younger scholars, both as graduate students and as new faculty members, and explore the paradox that critical theory is often attacked for its impenetrability, yet has allowed us to communicate more easily with our colleagues in other disciplines. Finally, I argue that the primary aim for music study in the twenty-first century should be an ethical one: the creation of whole, musical human beings, literate in, and accustomed to thinking about, musics, plural, rather than Music.

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Seifert, Uwe. "Cognitive science: A new research program for musicology." Interface 21, no. 3-4 (January 1992): 219–38. http://dx.doi.org/10.1080/09298219208570609.

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Born, Georgina. "For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn." Journal of the Royal Musical Association 135, no. 2 (2010): 205–43. http://dx.doi.org/10.1080/02690403.2010.506265.

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What would contemporary music scholarship look like if it was no longer imprinted with the disciplinary assumptions, boundaries and divisions inherited from the last century? This article proposes that a generative model for future music studies would take the form of a relational musicology. The model is drawn from the author's work; but signs of an incipient relational musicology are found scattered across recent research in musicology, ethnomusicology, and jazz and popular music studies. In support of such a development, the article calls for a reconfiguration of the boundaries between the subdisciplines of music study – notably musicology, ethnomusicology, music sociology and popular music studies – so as to render problematic the music/social opposition and achieve a new interdisciplinary settlement, one that launches the study of music onto new epistemological and ontological terrain. In proposing this direction, the article points to the limits of the vision of interdisciplinarity in music research that is more often articulated, one that – in the guise of a turn to practice or performance – sutures together the historically inclined, humanities model of musicology with the micro-social, musicologically inclined aspects of ethnomusicology. The article suggests, moreover, that this vision obscures other sources of renewal in music scholarship: those deriving from anthropology, social theory and history, and how they infuse the recent work gathered under the rubric of a relational musicology. As an alternative to the practice turn, a future direction is proposed that entails an expanded analytics of the social, cultural, material and temporal in music. The last part of the article takes the comparativist dimension of a relational musicology to four topics: questions of the social, technology, temporality and ontology.

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Haines, John. "Friedrich Ludwig's ‘Musicology of the Future’: a commentary and translation." Plainsong and Medieval Music 12, no. 2 (October 2003): 129–64. http://dx.doi.org/10.1017/s0961137103003073.

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Friedrich Ludwig's appointment in medieval music at the University of Straßburg came at a crucial time for German musicology, then a new discipline in a flourishing academic environment. Upon entering his post at Straßburg in the autumn of 1905, Ludwig delivered a formal lecture, here translated, in which he outlined the goals for twentieth-century medieval musicology. While many of these goals, in particular the editing of certain theorists and late medieval repertories, have been achieved, other directions implied in Ludwig's synthetic approach have received less attention. Ludwig's own musicology was a creative combination of forces: on the one hand, a reaction to earlier French scholarship in archaeology and philology; on the other, a borrowing of recent German trends in historiography, philosophy and music. Most notable is the influence of Ranke and Hegel on Ludwig's then new concept of latent rhythm (i.e., ‘modal rhythm’) in medieval music. A century of scholarship later, Ludwig's vision for musicology as an innovative interdisciplinary conjunction has much to teach us.

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Reitsma, Kimberly. "A New Approach: The Feminist Musicology Studies of Susan McClary and Marcia J. Citron." Musical Offerings 5, no. 1 (2014): 37–63. http://dx.doi.org/10.15385/jmo.2014.5.1.3.

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17

Lütteken, Laurenz. "Das „Foltersystem historischer Kritik“." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 100, no. 1 (November 25, 2020): 515–26. http://dx.doi.org/10.1515/qufiab-2020-0023.

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AbstractThe disciplinary tradition of musicology has been divided, from the outset, between historical and systematic aspects, prolonging the ancient conflict between the physical and sensorial aspects of music. In an ongoing process of diversification (synonymous with destabilisation in a minor discipline like musicology), history lost the central position claimed for it in the founding era. Yet this tradition is itself inconsistent given the permanent conflict between aspects connected to history and those connected to the fine arts. Ultimately, this article considers the productive impulse that might be provided by a new and fundamental rapprochement between musicology and history. This productivity and potential is discussed using several potential examples.

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18

Nilova, Vera I. "Deconstruction and Demythologization in the “New” Musicology of Finland." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2017): 59–67. http://dx.doi.org/10.17674/1997-0854.2017.3.059-067.

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19

Miller, Edward David, Philip Brett, Elizabeth Wood, and Gary C. Thomas. "Queering the Pitch: The New Gay and Lesbian Musicology." TDR (1988-) 38, no. 4 (1994): 191. http://dx.doi.org/10.2307/1146432.

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Smart, Mary Ann, Philip Brett, Elizabeth Wood, and Gary C. Thomas. "Queering the Pitch: The New Gay and Lesbian Musicology." Notes 51, no. 4 (June 1995): 1280. http://dx.doi.org/10.2307/899102.

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21

Champagne, Mario J. S. G. "Queering the pitch: The new gay and lesbian musicology." Musicology Australia 17, no. 1 (January 1994): 78–82. http://dx.doi.org/10.1080/08145857.1994.10415253.

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22

Feng, Lina. "Literature Review of the Application of Audio Testing Software to Chinese Musicology." Applied Mechanics and Materials 347-350 (August 2013): 1074–78. http://dx.doi.org/10.4028/www.scientific.net/amm.347-350.1074.

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In this paper, the extensive application of audio testing software to Chinese musicology was reviewed. New audio testing software developed by Chinese musicologists include DEAM and GMAS , which along with imported audio testing software such as Solo Explore 1.0, Speech Analyzer3.0.1 have been widely applied by Chinese musicologists to ethnomusicology, archeology of music, folk music as well as musical entertainment. With the support of audio testing software, Chinese musicology has made much progress.

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23

Bielefeldt, Christian. "Beyond Postmodernism? Prince and Some New Aesthetic Strategies." Musicological Annual 42, no. 1 (December 1, 2006): 89–101. http://dx.doi.org/10.4312/mz.42.1.89-101.

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Former postmodernist Prince’s album Musicology (2004) re-occupies authorship and history, evoking a »real«, non-technological kind of music in the line of funk and hip-hop. The article is reading that as a strategy of »reflexive modernism«, an aesthetic challenging the postmodern denial of ontology with interim ontologies marked as such.

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24

Radoman, Valentina. "New critical thinking in musicology: What ideologies do contemporary musicologists speak from and for whom do they speak." New Sound, no. 52-2 (2018): 35–56. http://dx.doi.org/10.5937/newso1852035r.

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New critical thinking in musicology has been new for at least thirty years and yet it is still opposed by many musicologists or composers or performers who Adorno-like (Theodor W. Adorno) remain devoted to the idea that the function of art in society is to be without a function. The fact is, however, that even today such an attitude is legitimate, just as much as interdisciplinary, critically oriented musicological research, which points out that music, like other arts, often hides some inappropriate reverse behind its sensuous seductiveness. Today musicologists can, based on their intellectual, educational, sensuous, class, ethical and other potentials choose the position from which to talk about music. Unlike traditional musicology which, according to some musicians, mostly addresses musicologists themselves, and only in ideal cases performers and listeners, today's interdisciplinary critical musicology, in its good examples, is indispensable to everybody: art financiers (patrons or taxpayers), composers who are often victims of the market or serve as masks behind which oligarchs hide today, performers who choose what musical works to play and affirm and how to do it, and all listeners who are not professional musicians, but they need to be informed about various aspects of music art.

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Šuvaković, Miško. "Critical Questiones About Deconstrution or About De-Centring Of The Relation Between Philosophy And Music." Musicological Annual 41, no. 2 (December 1, 2005): 71–80. http://dx.doi.org/10.4312/mz.41.2.71-80.

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Entirely dissimilar endeavours of problematizing a canonic positioning of music, musicology, aesthetics and philosophy through self-comprehensiveness of a piece-as-a-source hoe et tunc, have led to criticism ar deconstruction of 'self-comprehensiveness' and 'objective autonomy' of music as an art, and of a music piece as a carrier or a centred source of music as an art. Those scarce approaches can be specified from Adorno's contextualization in critical theory, Jacques Attali's developing the theory of exchange, to the New Musicology critiques oriented towards studies of culture, such as those of Richard Leppert, Susan McClary or Rose Rosengard Subotnik, which emphasize autonomy of music, or can be recognized in the psychoanalytical theorization of materialistic functions/effects of music and opera, such as of Mladen Dolar and Slavoj Žižek. From the teachings on deconstruction of the philosopher Jacques Derrida, directly ar indirectly entirely different approaches and applications are drawn, concerning hybrid and plural acts of interpretation of the canonic positioning of music, musicology, aesthetics and philosophy. In the further text I shall dwell on identifying and interpreting of a problem-oriented approach to the canonic relation of music, musicology, aesthetics and philosophy.

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HyunKyungChae. "Searching for New Ways: Implementing Musicology as an Independent Program." 音.樂.學 ll, no. 16 (December 2008): 11–32. http://dx.doi.org/10.34303/mscol.2008..16.001.

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Gancarczyk, Paweł. "Polyphonic Music in Fragments: A New Perspective for Polish Musicology?" Musicology Today 10, no. 1 (December 31, 2013): 12–18. http://dx.doi.org/10.2478/muso-2014-0002.

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Wlodarski, Amy Lynn. "Of Moses and Musicology: New Takes on Jewish Musical Modernism." Journal of the Royal Musical Association 137, no. 1 (2012): 171–85. http://dx.doi.org/10.1080/02690403.2012.669954.

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Gvion, Liora. "Book Review: Masculinity in Opera: Gender, History and New Musicology." Men and Masculinities 17, no. 4 (September 13, 2014): 444–49. http://dx.doi.org/10.1177/1097184x14539513.

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30

Duchesneau, Michel. "French Music Criticism and Musicology at the Turn of the Twentieth Century: New Journals, New Networks." Nineteenth-Century Music Review 14, no. 1 (February 7, 2017): 9–32. http://dx.doi.org/10.1017/s1479409816000264.

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This article examines the efforts of French musicologists to create a specialized journal at the turn of the twentieth century that would clearly associate music criticism and musicology. Using as case study a set of music journals, from La Revue d’histoire et de critique musicales to the Mercure musical and the Revue S.I.M. that followed, I establish the connections that brought together the nascent musicological milieu, the musical press and the artistic affinities among the principal actors in their attempt to create a new network of music critics guided by musicological exigencies. Jules Combarieu, Romain Rolland, Louis Laloy, Jean Marnold, Émile Vuillermoz and Jules Écorcheville are some of the musicologists engaged in this project between 1900 and 1914. But historical contingencies make this project a relative utopia, and requirements of the young musicology hardly meet that of a music criticism divided between disciplinary tradition and the necessity to support contemporary music. After the war, with the founding of a new Revue musicale, René Prunières, prudently, would not hire musicologists to develop a music criticism. Instead, he took up the characteristically Republican project of promoting musical culture, and thus responding to the interests of both the cultivated bourgeoisie and the musical, literary and artistic milieus through diffusion of music knowledge.

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Grabócz, Márta. "The Influence of Scientific Theories on Musical Form in Contemporary Instrumental and Electroacoustic Works." Studia Musicologica 60, no. 1-4 (October 21, 2020): 129–46. http://dx.doi.org/10.1556/6.2019.00007.

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This article highlights the contradiction between theories of form in musicology (originating in the mechanistic and organicist definitions of the eighteenth and nineteenth centuries), and new forms created by contemporary composers since circa 1970. The initial discussion introduces various “traditional” definitions of form in aesthetics, semiotics and musicology. Following this, a critique of the mechanistic approach, drawing on the work of André Souris, is presented. The third part discusses some recent scientific theories which composers have drawn from. The remainder of the article provides examples of the manifestation of new musical forms based on scientific theories such as the spiral, morphogenesis, fractal geometry, psychological-literary analysis, and L-systems.

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Street, Alan. "Mémoire: on Music and Deconstruction." Musicological Annual 41, no. 2 (December 1, 2005): 105–16. http://dx.doi.org/10.4312/mz.41.2.105-116.

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The exploration of poststructuralism's likely implications for musical interpretation has formed a distinctive contribution to the expanding ensemble of discourses admitted toAnglo-American musicology over the course of the past twenty years. A trend manifest since the later 1980s, its potential was sensed most strongly by a younger generation of music analysts concerned to trace the reflexive consequences of postmodern critical thought for the established canons of systematic theory. As acknowledged in a series of overview surveys by Monelle (1992), Krims (1998), Ayrey (1998) and Norris (2000), its most productive outcomes may be codified in relation to a generalised critique of aesthetic ideology. However, the political consequences embodied in such modes of enquiry were largely displaced within a loosely defined 'New Musicology' throughout the 1990s as the effects of alterity became realigned with a critical programme based on individualised identity politics. The ramifications of difference continue to inform critical debate regarding the nature of musical unity (for instance, in the work of Agawu, Chua, Dubiel, Korsyn, Kramer, Morgan and others). However, this paper argues that the mediating role of artistic form ought not to be permitted to obscure the emancipatory capacity of deconstruction as affirmed by Derrida. In this respect, the message of resistance inscribed within poststructuralism should be seen as emblematic for the defence of musicology's academic status at a time when the discipline remains under threat of institutional closure.

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Lamb, Roberta. "The Possibilities of/for Feminist Music Criticism in Music Education." British Journal of Music Education 10, no. 3 (November 1993): 169–80. http://dx.doi.org/10.1017/s0265051700001728.

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The essay sets the context and identifies some possibilities this music educator/feminist theorist currently finds in music, whilst applying the framework of sociologist Dorothy Smith's standpoint feminism to music as constituted within the ideology of particular institutions and practices. Contributions of feminist musicology, in terms of documentation of women's experience in and with music, women's status, and perspectives of feminist music criticism, are summarized. Considering these contributions and framework as a basis to this contextualized critical stance leads to further questions. For example, just as feminist musicology provides music education with the possibilities of new content, is it not likely that feminist criticism in music education could assist musicology in coming to terms with making musical sense, collectively, through cultural institutions? In beginning to work with such a question of criticism, it is suggested that institutional issues of power, as played out through who teaches and sexual harassment of student, are evident and require attention.

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Duby, Marc. "‘Sounds of a cowhide drum’: challenges facing a new African musicology." Journal of the Musical Arts in Africa 12, no. 1-2 (July 3, 2015): 73–87. http://dx.doi.org/10.2989/18121004.2015.1129151.

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Norris, Christopher. "In Defence of 'Structural Listening': Some Problems With the New Musicology." Musicological Annual 41, no. 2 (December 1, 2005): 19–45. http://dx.doi.org/10.4312/mz.41.2.19-45.

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This essay raises a number of issues with regard to recent developments in music theory. Among them is the turn against 'analysis' or 'structural listening' on account of their (supposed) investment in a discourse of mainstream musicology whose aim is to perpetuate the canon of acknowledged 'great works' and the kinds of elitist value-judgement that are conventionally applied to such works. Along with this goes the idea – derived from Paul de Man and exponents of literary deconstruction – that notions such as those of 'organic form', structural unity, thematic integration, long-range tonal or harmonic development, etc., are products of a certain 'aesthetic ideology' with dubious, even sinister, implications when transposed to the wider realm of cultural politics. I maintain that this is a false, or at any rate a highly tendentious line of thought which itself involves the illicit transposition from one domain (that of literary criticism) where such arguments have a certain force to another (that of music theory) where they simply don't apply unless by a great and implausible stretch of analogy. Thus de Man's case against naively organicist readings of poetic metaphor which assume a direct continuity (even identity) between mind and nature, subject and object, or language and phenomenal intuition must appear distinctly off-the-point when applied to our sensuous but also conceptually-informed experience of music. My essay pursues these questions via a reading of various theorists on both sides of the debate, including Adorno, whose emphasis on the virtues of 'structural listening' as a means of resistance to routine, habitual, or ideologically conditioned modes of response offers perhaps the most powerful rejoinder to this current revolt against analysis in all its forms. I go on to remark that those forms have been far more diverse – and often less committed to a hard-line organicist creed – than their detractors like to make out, tending as they do to equate 'analysis' with Heinrich Schenker's deeply conservative, dogmatic, and ideologically-loaded approach. In support of my counter-argument I draw on various developments in cognitive science and the psychology of perception, along with a recent debate between the philosophers Peter Kivy and Jerrold Levinson concerning the latter's highly controversial claim that musical understanding is limited to very short stretches of temporal (retentive and anticipatory) grasp. I conclude that our appreciation of music can be greatly deepened and enriched by the kinds of sustained or long-range structural comprehension that analysis seeks to provide, and that any theory which rules this out – or puts it down to mere 'aesthetic ideology' – is ipso facto on the wrong track.

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Gligo, Nikša. "Musicology: Doubts about its Subject(s) and its Pedagogical Function(s)." Musicological Annual 39, no. 1 (December 1, 2003): 25–29. http://dx.doi.org/10.4312/mz.39.1.25-29.

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The author's experience with musicological research of contemporary music developed his critical attitude towards musicology in general, especially towards the one that considers music only as text and limits the approaches to musical works on philological methodology. Both Schering's Experimentelle Musikgeschichte (1913) and Kerman's requests for musicology as fusion of scholarly musicological work and sense for music as art (1985) attempt to get rid of this »philological burden«. A further problem, however, is the equality of all kinds of music, requested by the New musicology and the impossibility to develop appropriate analytical tools for each of them. Harrison's suggestion of ethnomusicological (i.e. sociological) approach is not sufficiently convincing, because – as proven by the quotation from Treitler – the contextual (i.e. social) meaning of any musical work is not so easily to decipher. The author pleads for consciously critical approach to musicological research which permits even contrary readings of the same text, and points out that this is the way in which he persuades his students to cope with the lacunae of their subjects of interest.

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Goh, Talisha. "FROM THE OTHER SIDE: FEMINIST AESTHETICS IN AUSTRALIAN MUSICOLOGY." Tempo 74, no. 292 (March 6, 2020): 21–29. http://dx.doi.org/10.1017/s0040298219001141.

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AbstractThe rise of new musicology and feminist music criticism in the 1980s prompted a rethinking of gender in Australian art music spheres and resulted in over a decade of advocacy on behalf of women music makers. Local musicological publications began to cover feminist concerns from the late 1980s, with a focus on composing women. Catalysed by the proliferation of feminist musicology internationally in the 1990s, a series of women's music festivals were held around Australia from 1991–2001 and accompanied by conferences, symposia and special-issue publications. Aesthetic concerns were at the forefront of this debate as women musicologists and practitioners were divided on the existence of a gendered aesthetic and the implications this might have. This article examines the major feminist aesthetic contributions and debates at the time and how these considerations have impacted music-making practices, with particular reference to women composers of new music.

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Hsieh, Amanda. "Masculinity in Opera: Gender, History, and New Musicology. Edited by Philip Purvis." Music and Letters 97, no. 3 (August 2016): 519–21. http://dx.doi.org/10.1093/ml/gcw062.

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Butler, Mark J. "Rhythm, Affordance, Recording, and the Ontology of Performance: New Frontiers for Musicology." Volume !, no. 15 : 2 (June 17, 2019): 123–38. http://dx.doi.org/10.4000/volume.6564.

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Isaac, Joel. "Susanne K. Langer, Philosophy in a New Key (1942)." Public Culture 32, no. 2 (May 1, 2020): 355–61. http://dx.doi.org/10.1215/08992363-8090117.

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Susanne Langer’s Philosophy in a New Key (1942) is the most famous book you’ve never heard of. It has had a remarkable career: a big seller on the mass paperback market of the post–World War II decades; a key text in musicology, aesthetics, religious studies, and anthropology; a founding work of Langer’s decades-long attempt to reinvent philosophy. And yet, precisely because the book possessed such remarkable crossover appeal for generations of nonspecialist readers, it has become a neglected Undead text. This article recovers its purpose and reception.

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BERGER, KAROL. "Musicology According to Don Giovanni, or: Should We Get Drastic?" Journal of Musicology 22, no. 3 (2005): 490–501. http://dx.doi.org/10.1525/jm.2005.22.3.490.

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ABSTRACT In a recent essay, Carolyn Abbate argues for a ““drastic”” rather than ““gnostic”” conception of music and would want to see musicology's efforts redirected accordingly. In the wake of the 1985 call by Joseph Kerman urging musicologists to shift their attention from ““positivism”” and ““formalism”” to ““criticism”” or ““hermeneutics””——that is, to musicology centered on interpretation——Abbate issues a call for a new disciplinary revolution, one that would shift our attention from works to performances and thus undo what she perceives as the fatal weakness in Kerman's position. When we ignore the actually made and experienced sounding event in favor of the disembodied abstraction that is the work, we bypass the sensuous, audible, immediate experience (the ““drastic””) and put in its place the intellectual, supra-audible, mediated (that is, interpreted) meaning (the ““gnostic””) and thus avoid what is of real value in music——the experience, the powerful physical and spiritual impact it may have on us. While I am in fundamental sympathy with Abbate's arguments and aims, I believe that the opposition between the real performance and the imaginary work——the former the object of immediate, sensuous experience, the latter the vehicle of mediated (that is, interpreted, ““hermeneutic””) intellectual meaning——on which her argument rests is overdrawn: The hermeneutic element cannot be wholly banished from the arena of performance; there is no such thing as pure experience, uncontaminated by interpretation.

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Kewu, Zhang. "LEGACY OF XIAO YOUMEI: PATHS TO EUROPEAN MUSIC." Arts education and science 1, no. 2 (2020): 124–32. http://dx.doi.org/10.36871/hon.202002015.

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The relevance of this topic is linked to the need to understand the way in which Asian countries develop theoretical musicology in active cross-cultural communication. This work examines Xiao Youmei (1884–1940), one of the most outstanding representatives of Chinese music culture in the first half of the XXth century. His contribution to Chinese music education and science include the organization of the Shanghai Conservatory of Music (1927), the upgrading of national musicology and the development of the first textbooks on music theory and history for training specialists. Of particular importance is Xiao Youmei's educational activities, related to the study of European music and the definition of the main directions in its research. The article mainly discusses the methods used by the Chinese musicologist in introducing European music to the students of the first music educational institutions in China. Theoretical and historical problems of European music are taught in Xiao Youmei’s textbooks: "Essays on the History of Western Music" (1920–1923), "General Musicology" (1928), "Harmony" (1932). They were distinguished by the following features: an overview principle of the presentation of the material, an expansion of the range of languages used by the term authors, several musical examples and a lack of scientific resources, which is explained by the stage of origin of the music educational system and scientific platform in China in the first decades of the XXth century. One of the main features of the content expressed in Xiao Youmei's textbooks is the correlation between various parameters of Chinese and European music. The paper provides examples illustrating the method of using the notions of one thinking system to explain the other (in the field of harmony, instrumental science). It is explained by the transitional stage in the formation of Chinese musicology — from the old system of notation to the new one.

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Morent, Stefan. "Zu einigen Aktivitäten der Digital Musicology auf dem Gebiet der Älteren Musik." Die Musikforschung 71, no. 4 (September 22, 2021): 358–65. http://dx.doi.org/10.52412/mf.2018.h4.294.

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This paper discusses some of the increasing activities in the field of digital musicology. The focus being on early music prior to 1600 doesn't mean that the questions and methods presented here can't be applied to other periods or to musicology in general. However, particularly early music seems to profit in a special way by the use of digital methods, especially in the fields of notation history, transmission of manuscripts and performance practice. The paper presents an overview over various projects, approaches and techniques that were developed in recent years or that are still under development. It covers the fields of music encoding and visualization, digital editing, reconstruction of manuscripts and libraries, of melodies and parts, of virtual sound spaces and historical tuning and how this will open up new horizons for research in early music history.

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Orlov, Vladimir S. "Feminism and Music. A Discourse on the Feminine Nature in the “New Musicology”." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2017): 46–51. http://dx.doi.org/10.17674/1997-0854.2017.1.046-051.

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Collinge, Ian. "Developments in Musicology in Tibet: The Emergence of a New Tibetan Musical Lexicon." Asian Music 28, no. 1 (1996): 87. http://dx.doi.org/10.2307/834507.

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Collins, Nick. "Corposing a History of Electronic Music." Leonardo Music Journal 27 (December 2017): 47–48. http://dx.doi.org/10.1162/lmj_a_01010.

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A current research project led by the author has collated nearly 2,000 historic electronic music works for the purposes of musicology; nonetheless, this collection is highly amenable to composition. New pieces can be realized by rendering a selected chronology of electronic music history. The context is a wider field of compositional endeavor in “corposition” over large audio databases especially opened up by new research in music information retrieval.

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Gradowski, Mariusz, and Przemysław Piłaciński. "Research on Popular Music conducted at the Institute of Musicology of the University of Warsaw in 1953–2015." Musicology Today 13, no. 1 (December 1, 2016): 88–105. http://dx.doi.org/10.1515/muso-2016-0001.

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Abstract The article presents a survey of research on popular music carried out at the Institute of Musicology, University of Warsaw. It discusses the contents of valuable studies undertaken at the Institute but still unpublished and kept at the Library of the Institute of Musicology. The authors’ aim has been to facilitate the exchange of ideas with other musicological centres conducting research on popular music, as well as providing other musicologists and scholars working in the field with an overview the research undertaken to date. Popular music will be defined here as music composed in the 20th and 21st centuries, circulating in mass distribution in the form of various types of recordings, as well as performed in music clubs and at outdoor events; music that has its roots in jazz on the one hand and the youth revolution of the 1950s (the rise of rock and roll) on the other. We present a survey of B.A. and M.A. theses discussed under a number of key headings (jazz, folk, rock/pop, and electronic music, as well as works dealing with popular music in the context of research into musical culture at large). We also describe the University’s study framework, which was the original context for those texts. Our survey of the library holdings reveals an unexpectedly large body of writings on popular music submitted for a degree at the Institute of Musicology, University of Warsaw. The research has already opened many doors, defined and more than outlined many fields of study, describing them in quite a detailed manner. This is obviously good news: the existing works pose new questions, highlight areas of controversy, and suggest new research methods. In due course, the research has also begun to yield PhD dissertations written on this subject at the Institute.

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Rapatskaya, Lyudmila A. "From Musicology to the Cultural Direction of Music Education Pedagogy: Research Introspection." Musical Art and Education 8, no. 3 (2020): 103–17. http://dx.doi.org/10.31862//2309-1428-2020-8-3-103-117.

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The article describes the role of the scientific school by E. B. Abdullin in the formation and gradual development of the author’s research positions in the field of pedagogy of higher school music education. The first stage is characterized by considering problem of forming the artistic culture of future music teachers in a pedagogical University.The research embodied in his doctoral thesis, developed under the influence of the vectors of musicological and pedagogical thought. In includes analyses of the interaction of music with other art forms as manifestations of the General laws of artistic activity of man, revealed in the phenomenon of artistic culture. Pedagogical interpretation of artistic culture allowed us to consider this category: a) as an integral component of the content of music and pedagogical education; b) as a professionally significant quality of the music teacher’s personality. The concept changed the status of historical and theoretical training of future teachers-musicians, which received the working title “pedagogical musicology”. The content of pedagogical musicology was determined by a culturological approach to the learning process, designed to solve practical problems of mastering music in synchronic and diachronic interaction with other types of arts.The second stage is to expand the cultural component of professional training of music teacher, becoming a cultural orientation that integrates musicology, cultural studies and the pedagogy of music education on the basis of higher spiritual principles of music as an art form. The cultural direction allows developing new scientific approaches in the content of master’s educational programs in line with the methodological concept by E. B. Abdullin.

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Hawkins, Stan. "Perspectives in popular musicology: music, Lennox, and meaning in 1990s pop." Popular Music 15, no. 1 (January 1996): 17–36. http://dx.doi.org/10.1017/s0261143000007947.

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Scholars of popular music in the 1990s are increasingly aware that traditional musicology has failed to recognise commercial pop music as a legitimate academic area of study. Intransigence on the part of many Western music institutions towards recognising the field of popular music study is attributable to issues that have been heatedly debated and discussed in most disciplines of popular music study. Even withstanding the expansion of critical approaches in the 1970s, which paved the way forward to the emergence of new musicological discourses by the late 1980s, musicologists engaged in popular music research have continued to feel some sense of isolation from the mainstream for obvious reasons. The implications of consumerism, commercialism, trend and hype, with the vigorous endorsement of modernist ideologies, have repeatedly curtailed any serious opportunity for studying popular music in Western music institutions. To start accommodating this area of music within any musicological discourse, scholars active within the field of popular music have had to branch out into new interdisciplinary directions to locate and interpret the ideological strands of meaning that bind pop music to its political, cultural and social context. Musical codes and idiolects are in the first instance culturally derived, with communication processes constructing the cultural norms that determine our cognition and emotional responses to musical sound (Ruud 1986). Any proposal of popular music analysis therefore needs to seek the junctures at which a range of texts interlock with musicology. Similarly, the point at which consumer demand and musical authenticity fuse requires careful consideration; it is the commodification of pop music that continues to problematise the process of its aesthetic evaluation within our Western culture.

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Harris, Rachel. "Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. By Andrew F. Jones. [Durham, NC and London: Duke University Press, 2001. ix+213 pp. ISBN 0-8223-2694-9.]." China Quarterly 175 (September 2003): 849–51. http://dx.doi.org/10.1017/s0305741003360473.

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Yellow Music is one of the rare publications in the field of ethnomusicology whose cross-over appeal is immediately apparent. This book will provide new perspectives for students of modern Chinese history, placing music centre stage in the cultural and political debates of the interwar period. It is less a study in musicology than a study of the cultural and political debates surrounding the musical recordings of the time.

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