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Journal articles on the topic 'Musicologie (discipline)'
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1
Huvet, Chloé. "La Musicologie du cinéma : enjeux disciplinaires et problèmes méthodologiques." Articles 36, no. 1 (March 16, 2018): 53–84. http://dx.doi.org/10.7202/1043868ar.
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Si la musique de cinéma a longtemps été délaissée sur le plan scientifique, en particulier dans la francophonie, la floraison d’analyses musicologiques spécialisées dans ce domaine depuis quelques décennies commence toutefois à combler cette lacune. Par un regard réflexif porté sur ce jeune champ disciplinaire qu’est la « musicologie du cinéma », il s’agira d’interroger la place de l’étude de la musique de film au sein des travaux en musicologie, afin de comprendre le désaveu dont elle a pu faire l’objet. Bien que des disparités perdurent entre les musicologies nord-américaine et française, nous montrerons que l’institutionnalisation progressive de l’étude de la musique de film et son rattachement assumé à la musicologie semblent en bon chemin. L’exposé des problématiques propres à l’étude de la musique de cinéma permettra de dégager non seulement les défis méthodologiques posé par un tel objet de recherche, mais aussi d’éclairer la manière dont elles rejoignent et réengagent nombre de réflexions animant la discipline musicologique elle-même.
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Duchesneau, Michel. "La Revue musicale ou le phoenix musical." Revue musicale OICRM 4, no. 2 (February 8, 2018): 19–34. http://dx.doi.org/10.7202/1043218ar.
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Lorsque le directeur de La Revue musicale sim, Jules Écorcheville, part pour le front en 1914, il écrit à son ami Émile Vuillermoz : Malgré le souhait d’Écorcheville, La Revue sim disparaîtra, mais pas pour longtemps puisqu’elle donnera naissance à deux nouveaux organismes en 1917 et 1920. Pendant la guerre, les anciens de La Revue sim dont Lionel de La Laurencie, vont créer la Société française de musicologie (sfm) sur les ruines de la Société internationale de musique et publieront un Bulletin qui deviendra la Revue de musicologie. Loin de l’actualité, s’écartant délibérément du contexte sociopolitique et culturel, la sfm et son Bulletin favoriseront une approche très « scientifique » et relativement nouvelle en France, de la musicologie, bien qu’encore teintée par les tendances historicisantes à la manière de la Schola Cantorum et écartant pour un temps toute la musicologie germanique. En parallèle, sous les auspices du musicologue Henry Prunières qui s’écarte résolument de la sfm, est créée La Revue musicale. C’est à partir d’un réseau international qui place la musicologie française au coeur de l’action musicale contemporaine que Prunières établit de nouvelles alliances avec le milieu des arts et de la littérature pour fonder l’une des plus célèbres revues musicales de la première moitié du xxe siècle. À partir de documents inédits, nous étudierons les circonstances qui mènent à la refondation de La Revue musicale sur les cendres de la Revue sim entre 1915 et 1919. Nous verrons ainsi comment les hasards de la guerre mènent Prunières à entreprendre la carrière d’éditeur et comment le musicologue conçoit le projet international de la revue dans un contexte de guerre qui contribue à une redéfinition des cultures nationales. Il est difficile d’extrapoler sur ce qu’aurait pu être l’avenir de La Revue musicale sim si la guerre n’avait pas eu lieu. Il est par contre possible de documenter et de comprendre le rôle que la Grande Guerre jouera dans l’essor d’une nouvelle dynamique pour la musicologie française dont la division d’abord justifiée par le conflit aura des conséquences à long terme sur l’échiquier international de la discipline.
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Couprie, Pierre. "Quelques propos sur les outils et les méthodes audionumériques en musicologie. L’interdisciplinarité comme rupture épistémologique." Revue musicale OICRM 6, no. 2 (March 24, 2020): 25–44. http://dx.doi.org/10.7202/1068384ar.
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Des premières utilisations de base de données dans les années 1970 aux travaux récents portant sur l’analyse de fichiers audio, les musicologues ont progressivement intégré l’usage des technologies numériques dans leurs méthodes de travail. Toutefois, si quelques logiciels comme iAnalyse proposent des interfaces adaptées aux sciences humaines, force est de constater que ces technologies restent encore difficiles à manipuler sans de solides bases en informatique ou en acoustique. Dans cet article, l’auteur présente une pratique interdisciplinaire de la recherche à la base de la musicologie numérique qui couvre un champ d’activités très vaste allant de l’usage de logiciels pour améliorer les méthodes existantes au développement de nouvelles méthodes indispensables à l’étude de certains corpus. Dans ce dernier cas, la modification profonde de la nature même de la pratique musicologique, le décentrement vers une discipline hybride et le changement de perspective sur un objet musical complexe mettent en évidence une véritable rupture épistémologique.
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Blum, Mickael. "Introduction à la ludomusicologie : le cas de Shovel Knight." Musurgia Volume XXIX, no. 3 (September 11, 2023): 75–96. http://dx.doi.org/10.3917/musur.223.0075.
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L’étude de la musique de jeu vidéo dans les milieux académiques est une discipline récente qui remonte à la charnière des années 1990 et 2000. Elle a ouvert un champ musicologique spécifique nommé « ludomusicologie », approche pluridisciplinaire dans laquelle l’histoire de la technologie et la pratique du jeu vidéo côtoient une musicologie plus classique, faite d’analyses formelles, motiviques et harmoniques. Le présent article se donne pour mission de fournir les bases nécessaires à la compréhension de cette discipline au travers de l’étude d’un cas, celui d’un jeu de plateformes en deux dimensions nommé Shovel Knight (Yacht Club Games, 2014). Ces quelques pages doivent être vues comme une entrée en matière d’un champ d’étude quasiment absent des milieux musicologiques francophones en Europe. Au départ de généralités sur la musique de jeu vidéo, les premiers morceaux de la bande originale de Shovel Knight sont abordés au moyen des outils habituels à l’analyse de la musique savante occidentale. Couplée à une approche plus spécifique de la composition musicale au moyen du programme FamiTracker, cette analyse plurielle de l’objet audiovisuel permet alors de replacer les morceaux dans leur contexte d’écoute en jeu et de comprendre comment la musique de Shovel Knight concorde avec l’esthétique du jeu, ainsi qu’avec sa narration.
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Odoj, Wojciech. "Podróż do źródeł muzyki? Afrykańsko-niemieckie związki muzyczne w I poł. XX wieku." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 172–77. http://dx.doi.org/10.14746/rfn.2021.22.14.
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The article is a review of Anna Maria Busse Berger’s book The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries. This volume discusses the role of youth movements (Jugendbewegung, Wandervogel, Singbewegung) responsible for creating the cultural life of Germany, and the interdependencies between musicologist-medievalists, ethnomusicologists and missionaries. It also deals with the fascinating, difficult beginnings of comparative musicology, including the story of musicology as a scholarly discipline that was slowly finding its place among other branches of learning that had already been long established at universities.
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Kizińska, Karolina. "Rola płci kulturowej w badaniach muzykologicznych – zarys pola badawczego muzykologii feministycznej." Kultura i Edukacja 94, no. 1 (2013): 22–41. http://dx.doi.org/10.15804/kie.2013.01.02.
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This article’s aim is to follow new directions in musicology research, that aspire to be interdisciplinary in character and to focus on cultural, analitical and critical approach to music. Almost entirely unknown to Polish readers, this research, defined as “new” musicology, refers to ethnomusicology and sociology of music’s outputs, and tries to apply some of the methods used in those disciplines to analyze classical Western music. Feminist musicology, on which I focus the most, is a still evolving, very popular in the US and at the same time very wide field of study. It’s analyses, although they are sometimes ideological, are one of the most interesting examples of widening the frames of traditional musicology, that are worth knowing. Not assuming to exhaust the topic, I find it crucial to outline the fields of research for this discipline.
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Traube, Caroline. "Quelle place pour la science au sein de la musicologie aujourd’hui ?" Circuit 24, no. 2 (August 13, 2014): 41–49. http://dx.doi.org/10.7202/1026183ar.
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De Pythagore à aujourd’hui, le rôle de la science dans l’étude de la musique a connu de nombreux positionnements et repositionnements. Avant la spécialisation des savoirs et le cloisonnement des disciplines qui se sont produits au xixe siècle, la musique pouvait être étudiée suivant différentes perspectives disciplinaires par un même savant, penseur ou philosophe. En 1885, Guido Adler formalise un modèle tripartite comprenant, d’une part, la musicologie historique et, d’autre part, la musicologie comparative, qui elle-même se scindera en l’ethnomusicologie et la musicologie systématique. Cette musicologie dite systématique, maintenant aussi appelée musicologie expérimentale ou musicologie computationnelle suivant les méthodes de recherche privilégiées, tire profit du développement de disciplines connexes, comme la neurocognition et les technologies du numérique. Aujourd’hui, elle se retrouve soutenue par la mobilisation récente des digital humanities, concept qui a émergé il y a quelques années et qui désigne l’application du savoir-faire des technologies de l’information et de l’informatique à des problématiques relevant du domaine des sciences humaines et sociales.
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Cohen, Judah M. "‘Fate Leads the Willing, and Drags the Unwilling’." European Judaism 54, no. 1 (March 1, 2021): 64–87. http://dx.doi.org/10.3167/ej.2021.540106.
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In this article, I explore the role that Austrian-born musicologist/composer Eric Werner (1901–1988) cultivated as a representative of musical Wissenschaft des Judenthums in postwar America. I focus here on the diary that Werner kept between 1955 and 1957 – a heretofore untapped resource – which chronicles his efforts to build intellectual refugee networks while simultaneously helping to restart an international network of Jewish music discourse spanning America, Europe and Israel. Music, in Werner’s view, required a scientific basis for study from which authentic practices could be rebuilt. Thus, while Werner relied on revitalising cantors as vessels of Jewish music, he viewed musicology as the core discipline from which Jewish music ‘tradition’ could arise.
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Englin, Stanislav E. "History and Theory of Musical Writing as an Academic Discipline." Musical Art and Education 7, no. 1 (2019): 95–106. http://dx.doi.org/10.31862/2309-1428-2019-7-1-95-106.
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The article outlines the reasons why the modern musicologist must be competent in matters of history and theory of a notation. Results of research of the systems of graphical writing of music are proposed to be used in educational purposes. This is due to the fact that the notation is reflected some of the most important features of the musical thinking of the era of its formation. Therefore, knowledge of specific types of music semiography is a tool of obtaining objective data on the deep principles of music of the specific historical period (time of creation and at least, the initial existence of this notation). The interconnected subjects analyze the study of the notation and the basic tasks of musicology. Introduction of training course of music semiography be seen in the light of the multidimensional problem of music education and science. It is concluded that the implementation of educational subject “History and theory of musical writing” provided the coordination of efforts of scientists aimed at creating a modern concept of semiography, contributes to the attainment the essence of musical writing on the basis of generalization of the results of semiography studies. In turn, this will be a significant step on the path of knowledge absolutely patterns, reflected in the variety notations.
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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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Spencer, Jon Michael. "Musicology as a Theologically Informed Discipline." Black Sacred Music 8, no. 1 (March 1, 1994): 36–63. http://dx.doi.org/10.1215/10439455-8.1.36.
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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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Gerhard, Anselm. "Musicology in the "Third Reich": A Preliminary Report." Journal of Musicology 18, no. 4 (2001): 517–43. http://dx.doi.org/10.1525/jm.2001.18.4.517.
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Recent studies of musicology under the Nazi regime make it plausible to reach some conclusions, drawing particularly on four case studies: Heinrich Besseler, Friedrich Blume, Hans Joachim Moser, and (as a counterexample) Alfred Einstein. First, musicology is a small discipline and in 1933 was even smaller, making it particularly open to intrigue. Personal loyalties were more important than political and ideological ones; patriarchal teacher-student relations had more weight than factions born of clashes between rival groups within the National Socialist regime. Second, musicology is a decidedly German discipline: Into the 1930s, it existed as a university subject largely in the three German-speaking countries. A tradition of musicological scholarship that was firmly convinced of the preeminence of its own national heritage did not need to accommodate itself in the first place to the German jingoism of the National Socialists. On the contrary, scholars had perhaps more freedom because their national orientation could never seriously be doubted. Third, music as a conceptless art was not easily subsumed under "racial" and "vöölkisch" constructs. Many during the "third Reich" tried to explain European music history by drawing on the spirit of contemporary studies of race, but they often had to admit the difficulty if not the utter failure of the enterprise. In comparison with other disciplines it is noticeable that only those outside the university formulated overwhelmingly racist accounts of music history, and they could not pass muster with their nationalist or National Socialist colleagues. Finally, university musicologists, no less than their colleagues active in the Amt Rosenberg or in the Propagandaministerium, shared responsibility for a discourse of exclusion and vöölkisch terror both inside and outside the country. Culpability must be investigated individually, but a look at the field as a whole makes it possible to understand how after 1945, musicologists in the two Germanys and Austria could without difficulty resume work broken off before the final collapse of the National Socialist regime.
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Boon, Tim. "Sounding the field: recent works in sound studies." British Journal for the History of Science 48, no. 3 (August 10, 2015): 493–502. http://dx.doi.org/10.1017/s0007087415000291.
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For sound studies, the publication of a 593-page handbook, not to mention the establishment of at least one society – the European Sound Studies Association – might seem to signify the emergence of a new academic discipline. Certainly, the books under consideration here, alongside many others, testify to an intensification of concern with the aural dimensions of culture. Some of this work comes from HPS and STS, some from musicology and cultural studies. But all of it should concern members of our disciplines, as it represents a long-overdue foregrounding of the aural in how we think about the intersections of science, technology and culture.
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Medic, Ivana. "Applied musicology: A “manifesto”, and a case study of a lost cultural hub." Muzikologija, no. 33 (2022): 87–102. http://dx.doi.org/10.2298/muz2233087m.
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In this article I present a ?manifesto? of the new discipline of applied musicology, which is closely related to the project Applied Musicology and Ethnomusicology in Serbia: Making a Difference in Contemporary Society (APPMES), supported by the Serbian Science Fund. Here I wish to outline some of the main aims and goals of this project and offer a broader insight into what applied musicology should strive to become. In the second part of the article, I present a case study of the Belgrade neighbourhood of Savamala where I conducted fieldwork before formulating the concept of applied musicology; nevertheless, this research is completely aligned with the aims and purposes of the new discipline, and it has helped me to turn my intuitive insights into a comprehensive theoretical concept.
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Bastos, Rafael José de Menezes. "ESBOÇO DE UMA TEORIA DA MÚSICA: PARA ALÉM DE UMA ANTROPOLOGIA SEM MÚSICA E DE UMA MUSICOLOGIA SEM HOMEM." ACENO - Revista de Antropologia do Centro-Oeste 1, no. 1 (July 31, 2014): 49–101. http://dx.doi.org/10.48074/aceno.v1i1.1800.
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O primeiro contexto da presente discussão é o das teorias elaboradas nos últimos cerca de cem anos pela Etnomusicologia sobre: 1. a definição de seu próprio campo; e, 2. a da música como categoria objeto de seu conhecimento. Ele aqui comparecerá, entretanto, apenas como pano de fundo. Minha intenção é concentrar-me nas décadas de 50 e 60 deste século. Aí ocorreram fatos fundamentais na direção da conformação da disciplina, tipicamente nos Estados Unidos. A redução cronológica e nacional em consideração não redundará em prejuízo de uma visão global da área. Pelo contrário, as referidas décadas norte-americanas representam o projeto etnomusicológico como um todo: reafirmam seus germes originais de pensamento, assumem por completo seu dilema e apontam para deslocamentos na disciplina, previsíveis em suas origens. Incluído neste contexto, o exame localiza-se também no contexto geral - atinente às questões 1 e 2 acima - das diversas outras musicologias, isto é, Musicologia Histórica, Sociologia e Psicologia da Música, Estética e Folclore Musicais. Isto será ensaiado - de maneira modesta, entretanto - através da análise de alguns autores das referidas áreas, sobretudo europeus. Aqui também as décadas de 50 e 60 merecerão enfoque central, opção que fiz por razões semelhantes às expostas para o caso da Etnomusicologia. Finalmente, a presente discussão também trabalha os nexos da Antropologia com a música e a Etnomusicologia
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APPLEGATE, CELIA. "EDITORIAL." Eighteenth Century Music 12, no. 1 (February 17, 2015): 3–7. http://dx.doi.org/10.1017/s1478570614000323.
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As a historian engaged with musicology, it seems to me that the discipline is in its golden age. The royal road from the musical past to the musical present built in the first century or so of its academic existence no longer contains all the traffic. But thanks to the earlier efforts at disciplinary definition, musicologists share an enormous amount of knowledge, understand what colleagues are doing and are able to face the challenge of understanding music-making outside of the Western cultures from which the field of musicology – and ethnomusicology – emerged. Rarely has a discipline been so well equipped for the task of deconstructing itself. But deconstruction (of canons, grand narratives and the like) accompanies construction: musicology has built and expanded, adding on more sources and more methods rather than abandoning the old ones. Given this happy state, it seems worthwhile to reconsider some of the cultural work that writing about music did before the discipline cohered in the nineteenth century, so that we can consider from a longer perspective why people tried to ‘discipline’ musical knowledge in the first place.
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Chimènes, Myriam, and Myriam Chimenes. "Musicologie et histoire: Frontière ou "no man's land" entre deux disciplines?" Revue de musicologie 84, no. 1 (1998): 67. http://dx.doi.org/10.2307/947331.
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McClary, Susan. "Reshaping a Discipline: Musicology and Feminism in the 1990s." Feminist Studies 19, no. 2 (1993): 399. http://dx.doi.org/10.2307/3178376.
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Sans, Juan Francisco. "¿Musicología o investigación musical?" Revista académica estesis 3, no. 3 (December 18, 2018): 22–31. http://dx.doi.org/10.37127/25393995.17.
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El presente trabajo reflexiona sobre las bases epistemológicas en las que se sustenta la diferenciación entre “musicología” e “investigación musical” establecida en algunos documentos del Ministerio de Cultura de Colombia, y la conveniencia de utilizar uno u otro término en la definición de sus políticas oficiales. Además, analiza las ventajas y desventajas teóricas y prácticas de ambos términos, así como la carga ideológica implícita en ellos, y trata de dilucidar cuál sería el más apropiado para un adecuado desarrollo de la disciplina en el país.
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Barbo, Matjaž. "Contemporary Musicology and the Study of Musical Practices in Slovenia." Musicological Annual 56, no. 2 (December 30, 2020): 35–50. http://dx.doi.org/10.4312/mz.56.2.35-50.
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Musicology in Slovenia is gradually evolving from a historiographical discipline into a system of intersecting research in the fields of reception history, institutional history, structural and genre analysis, acoustics, critical reflection, semiological analysis, hermeneutical reflection and epistemology. The discontinuities and inhomogeneities we perceive today can even be understood as one of the modes of contemporary musicology.
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Ben, Lide. "Breaking the Gap between Musicology and Music Performance An Analysis of the Study of Chinese Music Performance Practice." Communications in Humanities Research 3, no. 1 (May 17, 2023): 1042–46. http://dx.doi.org/10.54254/2753-7064/3/2022807.
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In 2011, Cambridge University held an international academic conference-- performance studies network international conference, and proposed to establish the discipline of performance musicology in 2014, which made it possible to solve the old contradiction between musicology and music performance. This paper explains the possibility and inevitability of the common maturity of musicology and music performance, and seeks more breakthrough points to break the barrier. Through literature analysis, this paper constructs the core value of the practicality of music performance research from the perspective of interdisciplinary integration. This paper finds that the development of the two academic fields of music performance research and musicology is a mutual achievement and common growth. With the help of musicology, music performance research will make performance more speculative and logical, and musicology will have more practical value with the entry of music performance.
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Fitch, W. Tecumseh. "Four principles of bio-musicology." Philosophical Transactions of the Royal Society B: Biological Sciences 370, no. 1664 (March 19, 2015): 20140091. http://dx.doi.org/10.1098/rstb.2014.0091.
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As a species-typical trait of Homo sapiens , musicality represents a cognitively complex and biologically grounded capacity worthy of intensive empirical investigation. Four principles are suggested here as prerequisites for a successful future discipline of bio-musicology. These involve adopting: (i) a multicomponent approach which recognizes that musicality is built upon a suite of interconnected capacities, of which none is primary; (ii) a pluralistic Tinbergian perspective that addresses and places equal weight on questions of mechanism, ontogeny, phylogeny and function; (iii) a comparative approach, which seeks and investigates animal homologues or analogues of specific components of musicality, wherever they can be found; and (iv) an ecologically motivated perspective, which recognizes the need to study widespread musical behaviours across a range of human cultures (and not focus solely on Western art music or skilled musicians). Given their pervasiveness, dance and music created for dancing should be considered central subcomponents of music, as should folk tunes, work songs, lullabies and children's songs. Although the precise breakdown of capacities required by the multicomponent approach remains open to debate, and different breakdowns may be appropriate to different purposes, I highlight four core components of human musicality—song, drumming, social synchronization and dance—as widespread and pervasive human abilities spanning across cultures, ages and levels of expertise. Each of these has interesting parallels in the animal kingdom (often analogies but in some cases apparent homologies also). Finally, I suggest that the search for universal capacities underlying human musicality, neglected for many years, should be renewed. The broad framework presented here illustrates the potential for a future discipline of bio-musicology as a rich field for interdisciplinary and comparative research.
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Bäcker, Rolf. "Relaciones internacionales del Instituto Español de Musicología durante los primeros años del trabajo de Miguel Querol: el ejemplo de Heinrich Besseler." Anuario Musical, no. 61 (December 31, 2006): 273. http://dx.doi.org/10.3989/anuariomusical.2006.61.13.
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El presente artículo centra su interés en el musicólogo alemán Heinrich Besseler, y su relación con el Instituto Español de Musicología a través de Miquel Querol y Higini Anglès, relación de algún modo paradigmática para la participación de la musicología española de la época en la red internacional de instituciones y personas dedicadas a la disciplina. Basándose en la documentación guardada en el Departamento de Musicología de la Institució Milà i Fontanals, la presente contribución pretende arrojar alguna luz sobre Besseler y el IEM, cuya colaboración se concretó en un estudio presentado a escala internacional en el IV Congreso de la Sociedad International de Musicología.
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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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Chimènes, Myriam. "Musicologia e história: Fronteira ou "terra de ninguém" entre duas disciplinas?" Revista de História, no. 157 (December 30, 2007): 15. http://dx.doi.org/10.11606/issn.2316-9141.v0i157p15-29.
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Bertran. "Escuchando a la musicología urbana: balance y futuro de la disciplina." Revista de Musicología 39, no. 1 (2016): 399. http://dx.doi.org/10.2307/24878561.
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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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Demchenko, Alexander I. "The Structure of Russian Music Scholarship: Historical Musicology." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 7–21. http://dx.doi.org/10.33779/2782-3598.2022.1.007-021.
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Music scholarship is a discipline which studies the art of music, its regular laws and particularities, as well as its relationship with other types of culture and with reality in general. Music scholarship (musicology) is the one of the most important elements of art studies, along with literature studies (philology), art criticism as the discipline about the plastic arts (architecture, painting, graphics, sculpture), theater studies and cinema studies. It plays an indispensable role in the system of functioning of music – here its creation, performance and perception, music instruction and organization of musical life, the realization of the aims of the art of music and the understanding of the paths of their actualization. In Russian music scholarship the division into historical and theoretical music studies has been firmly established. This differentiation is conditional, since the methods of historical and theoretical music scholarship are seldom applied in pure form, and during the course of study of various different phenomena their interaction is a natural occurrence. Close interaction between them becomes absolutely inevitable in such cases as, for instance, examination any particular style or separate genres and their combination (in genre systems). Moreover, there exist such areas in music scholarship which cannot be relayed either to historical or theoretical musicology, since they are situated at the confluence of contiguous fields of knowledge and contemporary interdisciplinary research. The article examines various areas of historical music scholarship and their connection with educational activities.
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Weber, Édith. "Le rôle de Jacques Chailley dans l'évolution de la discipline musicologique à l'Université." Musurgia XIX, no. 1 (2012): 17. http://dx.doi.org/10.3917/musur.121.0017.
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HOOPER, GILES. "A Sign of the Times: Semiotics in Anglo-American Musicology." Twentieth-Century Music 9, no. 1-2 (March 2012): 161–76. http://dx.doi.org/10.1017/s1478572212000242.
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AbstractThis article provides a critical account of the appropriation of semiotics in Anglo-American musicology, its theoretical and discursive foundations, and its impact on the discipline in the period from the mid-1970s to the present. Starting out from the work of Jean-Jacques Nattiez and Philip Tagg in the 1970s, it traces two principal approaches in music semiotics, here termed the ‘structural–analytical’ and the ‘semantic–interpretative’, which draw in significant measure on, respectively, the Saussurean and Peircean legacies. Both differences of musicological tradition and the wider state of the discipline have a part to play in explaining why semiotics never established itself as a discrete and distinctive subfield in the English-speaking world in the way that it did in continental Europe. But with the increasing currency of, among other concerns, topic theory, theories of emotion and affect, and studies of musical gesture and metaphor, it might be argued that semiotics – or, rather, an interdisciplinary aggregation of approaches that might be termed ‘post-semiotic’ – has never had a stronger presence in anglophone musicology than at the present time.
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Rubio Ferrera, Ailin Melisa. "Caminos para la descolonización de la musicología en América Latina." Antropología Experimental, no. 22 (April 1, 2022): 1–13. http://dx.doi.org/10.17561/rae.v22.6354.
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En este trabajo se describen las distintas propuestas que han surgido en Latinoamérica para descolonizar la música y se analiza en qué medida pueden abordarse estos planteamientos para la descolonización de la propia musicología. Para ello, tras ver los límites de la disciplina y el lugar que ocupa la etnomusicología dentro de ella, se presentan distintas propuestas para una descolonización de la música en Latinoamérica, a través de la educación, de la historia de la música y el canon. Finalmente, se expone la situación de la musicología en América Latina.
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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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Marx, Wolfgang. "Critiquing Oneself Back into Business?" European Journal of Musicology 21, no. 1 (February 2, 2024): 64–77. http://dx.doi.org/10.5450/ejm21.1.2022.64.
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This essay investigates what I regard as the two main challenges for historical musicology today: where it might be heading in the age of post-critical musicology and how it should react to the age of post-truth whose perceptual and moral relativism paired with its a priori rejection of expertise represents a fundamental challenge to all academic pursuits – a challenge so serious that it needs to be addressed by musicology as much as by all other disciplines in the humanities, social sciences and sciences. Juxtaposing critical musicology and what many call “the music itself” I will undertake this discussion following the structure of the most dialectical of all musical forms, the sonata form – albeit with the proviso that the resulting synthesis cannot consist of the tonic asserting its primacy at the expense of the dominant; there will have to be a more equitable outcome.
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Arraño Astete, Constanza. "Mujeres y musicología en América Latina." Revista Actos 3, no. 5 (July 29, 2021): 3–17. http://dx.doi.org/10.25074/actos.v3i5.1926.
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Si bien la musicología latinoamericana ha incluido dentro de sus tópicos de investigación la perspectiva de género, esta visión no ha permeado en los estudios sobre la musicología misma y sobre quienes ejercen la disciplina. En este artículo, discuto acerca de la existencia de un canon musicológico latinoamericano que ha invisibilizado el trabajo de las mujeres musicólogas, para lo cual me baso en trabajos de Juan Pablo González, Leonardo Waisman, Marcia Citron y Pilar Ramos. Para reflejar esta situación, exploro tres indicadores que exponen la participación actual de las mujeres musicólogas de América Latina en instancias profesionales: membresías en sociedades, publicaciones en revistas y docencia en postgrado. Finalmente, a la luz de los resultados, manifiesto tres medidas compensatorias que pueden colaborar en la visibilización de las musicólogas latinoamericanas a partir de la incorporación de mujeres en distintas actividades académicas.
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Hochradner, Thomas. "Still on the Map?" Musicological Annual 56, no. 2 (December 30, 2020): 21–33. http://dx.doi.org/10.4312/mz.56.2.21-33.
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The paper aims to re-evaluate regionality as a key concept in musicology. After a short introduction to the topic, a case study on Salzburg is presented, followed by critical remarks on relevant literature and a summary that attempts to redefine the significance of regional and local developments within the discipline.
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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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Garaz, Oleg. "THE DISCIPLINE OF HISTORY OF MUSIC: POSTMODERN CONSEQUENCES AND DEFORMATIONS." Review of Artistic Education 27 (April 1, 2024): 47–60. http://dx.doi.org/10.35218/rae-2024-0007.
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Today, the discipline of music history does not seem to be, and indeed is no longer, what Guido Adler and Hugo Riemann formulated in their writings. The difference lies both in the structure and in the understanding of what is, in fact, and history, and music, then and now. If the intention of both inventors of modern musicology was a founding-recuperative one, then both the structure and the postmodern understanding rely exclusively on the recycling procedure with the meaning of rewriting. Hence the set of conflicts between, on the one hand, the new understandings and contents of more and more histories, and, on the other hand, the resistance to preserve the scholastic methodology, which generally refuses to evolve, forming new generations of students in terms of already anachronistic didactic contents.
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Johnson-Williams, Erin. "Valuing Whiteness: The Presumed Innocence of Musical Truth." Current Musicology, no. 109/110 (September 6, 2023): 43–73. http://dx.doi.org/10.52214/cm.v109i.8729.
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The end of 2020 presents a crucial time to reflect on the challenges that lie ahead for decolonizing and disrupting musicology. While many have flocked to what I call here the “presumed innocence of musical truth” during the time of Covid-19, any move to disaggregate music from political realities—both the contexts within which it was first created, and those that have upheld the musical traditions that are now in place—carries the risk of perpetuating the destructive possibility that loving the canon can also be our alibi for (or, as I propose here, our “claim to innocence” about) why the discipline of musicology has been so slow to engage with antiracist and decolonial debates in a sustained way. Thinking critically about systemic racism at the end of a particularly challenging year, the time is ripe for interrogating how the institutional structures that uphold western art music are still tied to values about aesthetic truths that have yet to be decolonized. In this article I respond to critical race and Indigenous studies theorists Eve Tuck and K. Wayne Yang in their renowned 2012 article “Decolonization is not a Metaphor,” by outlining three “moves to innocence” that are prevalent in music academia, followed by a proposed “move to disruption” about musical value that contributes to an actively “decolonizing” musicology. Focusing on the themes of truth and value, I argue that the next decade holds an opportunity to engage with the ideas that might productively disrupt our discipline the most.
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Garaz, Oleg. "The Tools of Musicology (A Tale in 12 Polemic Hypotheses)." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 75–86. http://dx.doi.org/10.24193/subbmusica.2021.1.06.
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"Though undeclared, the issue dealt with in this text is accessibility. Arranging the words into sentences and building a coherent discourse requires a mandatory clarity of the purposes and, implicitly, of the methods that enable the transmission and acquisition of information. Thus, the most effective genre of the discourse is the tale, also joined by the non-invasive quality of hypothesis: a tale in several hypotheses. At the heart of this tale is musicology, the most non-musical way to approach music, but also the most powerful epistemological tool to know its meanings, structures and images. The non-musicality of this scientific discipline lies in its notionality, standing in a radical opposition to the intuitiveness of composition as an art. But by positioning the art of performance between the two seemingly “irreconcilable” poles, it becomes clear that all three practices are in reality three inseparable functions of a whole that is musical thinking. And musicology acquires the chance to overcome the “stigma” of literariness through the “synesthetic” relationship with myth and poetry. Keywords: Tale, Musicology, mousike techné, logos, myth, poetry, Univers and Brain "
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Schüßler, Lotte. "Curating Exhibitions, Ordering Disciplines: Theater Studies and Musicology in the Vienna Rotunda, 1892." History of Humanities 4, no. 2 (September 2019): 423–50. http://dx.doi.org/10.1086/704858.
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Полозова, И. В. "Saratov Historical and Theoretical Musicology: History in 110 Years." Журнал Общества теории музыки, no. 3(39) (January 16, 2023): 36–44. http://dx.doi.org/10.26176/otmroo.2022.39.3.004.
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Статья посвящена обобщенной характеристике саратовской музыковедческой школы, охватывающей весь период ее развития. Рассматриваются основные направления саратовского музыковедения: теоретические проблемы музыкального искусства, историческое музыкознание, этномузыкология, а также освещаются ведущие научные коллаборации консерватории, конференции и форумы, направленные на изучение фундаментальных проблем музыкознания. В статье выявляются важные признаки саратовской музыковедческой школы: синтез разных региональных исследовательских традиций (возникающий как результат миграции ученых) и интеграция теории и практики в преподавании музыкально-теоретических дисциплин (внедрение в теоретические курсы практики выполнения стилевых задач). The article is devoted to a generalized characteristic of the Saratov musicological school, covering the entire period of its development. The main directions of Saratov musicology are considered: theoretical problems of musical art, historical musicology, ethnomusicology, as well as the leading scientific collaborations of the conservatory, conferences and forums aimed at studying fundamental problems of musicology. The article reveals important features of the Saratov musicology school: the synthesis of various regional research traditions (arising as a result of the migration of scientists) and the integration of theory and practice in the teaching of musical and theoretical disciplines (the introduction of the practice of performing stylistic tasks in theoretical courses).
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Sharif, Malik. "Zur Bezeichnung „Musikologie“ bei Guido Adler." Die Musikforschung 77, no. 1 (March 18, 2024): 37–55. http://dx.doi.org/10.52412/mf.2024.h1.3124.
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Guido Adler’s choice of the term “Musikologie” (“musicology”) as the preferred synonym of “Vergleichende Musikwissenschaft” (literally “comparative science of music”), a sub-section of the overall discipline of “Musikwissenschaft” (“science of music”), in his 1885 article “Umfang, Methode und Ziel der Musikwissenschaft” (“The scope, method and aim of musicology”) is puzzling and confusing. Situating Adler’s usage in terminological history of “Musikologie” in several European languages, this article discusses four hypotheses that seek to explain his choice of “Musikologie”: (1.) as a terminological lapse, (2.) as signifying the subdiscipline’s scientific nature, (3.) as caused by outside influence, and (4.) as inspired by hearsay and half-knowledge of Franjo Kuhač’s simultaneous terminological choice. The hypotheses have different degrees of plausibility and consistency, but no explanation emerges clearly as the single most obvious one.
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Cáceres-Piñuel, María. "José Subirá y la recuperación de la tonadilla escénica (1928-1932)." Artigrama, no. 26 (December 9, 2022): 837–56. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2011267886.
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Entre los años 1928 y 1932 José Subirá (1882-1980) publicó los cuatro volúmenes de su obra monumental La Tonadilla Escénica. Esta monografía le consagró en el ámbito de la musicología internacional aunque no consiguió ser un profesional remunerado hasta años más tarde. La polémica que mantuvieron Adolfo Salazar y Subirá en relación a esta obra representó la plasmación de dos perspectivas, con sus respectivos referentes internacionales, en torno a la interpretación histórica y las funciones contemporáneas de la musicología. A través de su investigación sobre géneros populares, Subirá pretendió dignificar la música perteneciente a los bajos estratos sociales tanto en el pasado como en la actualidad, así como, defender la inclusión de todos los tipos de música en el relato histórico de una época. Consideraba que las funciones de la musicología eran tanto académicas como divulgativas y que esta disciplina tenía un importante papel en la construcción nacional. En este artículo se estudia las connotaciones ideológicas de la recuperación e interpretación de música popular del siglo XVIII en el caldeado ambiente político de los años treinta en España.
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Blake, David. "Musicological Omnivory in the Neoliberal University." Journal of Musicology 34, no. 3 (2017): 319–53. http://dx.doi.org/10.1525/jm.2017.34.3.319.
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This essay attributes the rise of inclusive values in recent musicological work to multicultural and neoliberal reforms in American universities. Musicological inclusivity is characterized through omnivore theory, a sociological theory of taste correlating educational attainment with a disposition for multicultural appreciation and a rejection of highbrow modes of exclusion. Analyzing discursive values using a corpus of 120 books published between 2010 and 2013, this essay elucidates three foundational values to musicology’s inclusiveness: an interest in studying diverse music; a predilection for inter- or transdisciplinary methodologies; and the rejection of musicology itself as outdated and hegemonic. The first two of these, derived from the multicultural turn in the humanities, offer fruitful ways for musicologists to interact with the diverse cultural and technological environs of contemporary academia. The third, however, reaffirms the neoliberal devaluation of organizations and specializations, casting musicology as a straw man that bears scant resemblance to the intellectual work currently undertaken within the discipline. In order to contest the neoliberal values that threaten the discipline’s institutional foundations, this essay contends that scholars should reframe musicology as an inclusive, democratic, and specialized intellectual community, a characterization that reflects recent scholarship more accurately than highbrow stereotypes.
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Lesure, François. "Abertura." Revista Música 1, no. 1 (May 1, 1990): 7. http://dx.doi.org/10.11606/rm.v1i1.55009.
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Uma nova revista, ao nascer, suscita sempre a curiosidade: abre uma senda, afirma aspirações e testemunha uma lacuna. Logo abrigará discussões e se tornará um desafio. Houve muitos periódicos musicais no Brasil (o Grove's recenseou 29), mas há profunda carência no que se refere a revistas especialmente consagradas à musicologia. Se eu me sinto muito feliz ao saudar a aparição de uma revista especializada, é pelo fato de que esta disciplina tem necessidade de renovação, de sangue novo, e que o Brasil me parece muito bem colocado para submetê-la a questionamentos.
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Podlipniak, Piotr. "Naturalistyczna muzykologia systematyczna wobec poglądów Meyera na emocje i znaczenie w muzyce." Res Facta Nova. Teksty o muzyce współczesnej, no. 21 (30) (December 15, 2020): 91–107. http://dx.doi.org/10.14746/rfn.2020.21.7.
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Leonard B. Meyer’s book Emotion and Meaning in Music was published more than half a century ago. It still provides inspiration for musicologists with various specialisms to undertake research aimed at understanding the intriguing link between music and emotions and the relationship between musical structure and meaning. Since the publication of this outstanding volume we have seen extraordinarily dynamic development of the musicological disciplines constituting that part of systematic musicology which is based on the premises of naturalism. The article focuses on those selected research areas of thisbranch of musicology where the influence of the ideas first presented in the above volume is particularly significant. The most important of Meyer’s postulates in naturalistically oriented systematic musicology that continue to be discussed include: the key role of expectation in shaping our emotional reactions to the musical passages we hear and the inner musical character of the affective meanings created in this way. The main challenges faced by Meyer’s postulates during the recent decades are examined, and the solutions to them proposed within the framework of naturalistically oriented thinking about music.
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Mendívil, Julio. "“Tantas veces me mataron…”. Sobre las muchas muertes de la etnomusicología y el constante sentimiento de crisis en la disciplina." Revista Sarance, no. 50 (June 12, 2023): 9–29. http://dx.doi.org/10.51306/ioasarance.050.02.
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En este artículo retomo la discusión sobre la pertinencia o no de la etnomusicología en el espectro académico de la musicología en general. Remitiéndome al concepto de crisis de la teoría de las revoluciones científicas de Thomas Kuhn (2006), sostengo que una situación de incertidumbre en una disciplina académica puede ser de provecho para la búsqueda de nuevas estrategias de investigación que nos lleven a una práctica disciplinar decolonial e inclusiva.
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Tomasevic, Katarina. "Dragutin Gostuski and the semiotics of music." Muzikologija, no. 22 (2017): 177–97. http://dx.doi.org/10.2298/muz1722177t.
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The main goals of this article, devoted to the contribution of the prominent Serbian musicologist, composer and aesthetician Dragutin Gostuski (1923-1998) to the semiotics of music, are the following: 1) to show the evolution of semiotic ideas in Gostuski?s work; 2) to reconstruct the circumstances under which preparations for the First International Colloquium on the Semiotics of Music took place; and 3) to encourage new research that would re-examine Gostuski?s major theoretical opus in the historical context of the discipline.
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Aramayo, Stella. "Un diseño musicológico reversible para analizar canciones escritas en notación occidental tradicional." Epistemus. Revista de Estudios en Música, Cognición y Cultura 9, no. 2 (December 17, 2021): 035. http://dx.doi.org/10.24215/18530494e035.
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El aprendizaje de canciones es una de las actividades más frecuentes en el campo de la música formal, no formal, académica o popular. A partir de mi trabajo en diferentes Institutos Superiores de Formación Docente, he diseñado un modelo analítico en el que teoría y práctica musical resultan reversibles, durante el proceso de enseñanza-aprendizaje de canciones. He usado como marco teórico, los siete principios del Aprendizaje pleno de David Perkins (2009). Mis objetivos fueron: (1) Analizar en partituras y en interpretaciones musicales cantadas de esas partituras, ocho elementos de morfología musical: pulso, acento, ritmo, tipo de compás, tipo de comienzo, tipo de final, movimiento y frases musicales; y (2) Demostrar la reversibilidad entre teoría y práctica musical que poseen los ocho aspectos morfológicos analizados en canciones y su utilidad pedagógica para el campo de la educación musical. La metodología fue un estudio de caso de cognición y teoría musical de performances, sustentado en la musicología como disciplina unificada y en la música como disciplina teórico-práctica, según ocho aspectos morfológicos musicales específicos. He analizado ocho elementos musicales desde la teoría y desde la práctica musical, en una postura constructivista reversible entre teoría y práctica musical. He podido comprobar la eficacia de la aplicación de este diseño reversible entre teoría y práctica musical para la educación musical. Además, demostré la importancia de considerar la musicología como un campo disciplinar unificado y la música como una disciplina teórico-práctica, para seguir avanzando en el campo de la percepción y cognición musical.