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New musicology is a wide body of musicology since the 1980s with a focus upon the cultural study, aesthetics, criticism, and hermeneutics of music. It began in part a reaction against the traditional positivist musicology—focused on primary research —of the early 20th century and postwar era.
Apr 7, 2024 · Musicology, the scholarly and scientific study of music. It covers a wide and heterogeneous area of research and is concerned with the study not only of European and other art music but also of all folk and non-Western music. Learn about the history and scope of musicology.
- The Editors of Encyclopaedia Britannica
What is musicology? The word musicology literally means "the study of music," encompassing all aspects of music in all cultures and all historical periods. In practice, musicology includes a wide variety of methods of studying music as a scholarly endeavor; although the study of music performance is an important facet of musicology, music ...
May 20, 2024 · new musicology. A term that became something of a slogan in the late 1980s, especially in the USA. It arose out of the perception that musicology as a discipline had become too strongly based on sources, documentation, and newly discovered facts; that it lacked broader consideration of critical, aesthetic, psychological, perceptual, and ...
New musicology. New musicology is a term applied since the late 1980s to a wide body of work emphasizing cultural study, analysis and criticism of music. Such work may be based on feminist, gender studies, queer theory or postcolonial theory, or the work of Theodor W. Adorno [citation needed].
the new musicology was the "old" musicology, a musicology that still focused on the work and on the canon, and that was less inclined to question the ideology and politics on which both the canon and mu-sicology itself were based. Watching the new musicology produce and appropriate its own brand of power, we look on and wonder if it is
ABSTRACT: Continuing tensions between contemporary music theory and the new musicology suggest the need for music theorists to step back and look at their discipline in terms of the fresh perspective that the new musicology offers—a task that the following essays by Scott Burnham, Marion Guck, Matthew Brown, Joseph Dubiel, and Kofi Agawu undertake.
