Kevin Korsyn
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195104547
- eISBN:
- 9780199868988
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195104547.003.0003
- Subject:
- Music, Theory, Analysis, Composition
This chapter argues that the present crisis confronting musical scholarship needs something like an antimethod that will ask how current methods work by examining their enabling conditions. Given the ...
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This chapter argues that the present crisis confronting musical scholarship needs something like an antimethod that will ask how current methods work by examining their enabling conditions. Given the deadlock between opposing groups, and the impasses at which debates repeatedly seem to stall, it recommends starting at the impasses to see how they arise. Rather than build another tower, or another pyramid of truth, it seeks to occupy the space between existing structures, to inhabit the shadows, to map the labyrinth. An overview of the succeeding chapters is presented.Less
This chapter argues that the present crisis confronting musical scholarship needs something like an antimethod that will ask how current methods work by examining their enabling conditions. Given the deadlock between opposing groups, and the impasses at which debates repeatedly seem to stall, it recommends starting at the impasses to see how they arise. Rather than build another tower, or another pyramid of truth, it seeks to occupy the space between existing structures, to inhabit the shadows, to map the labyrinth. An overview of the succeeding chapters is presented.
Kevin Korsyn
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195104547
- eISBN:
- 9780199868988
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195104547.003.0011
- Subject:
- Music, Theory, Analysis, Composition
This chapter argues that the crisis of musical research is ultimately an ethical crisis: when we reduce others to representatives of factions, we objectify them and their language; when we submit to ...
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This chapter argues that the crisis of musical research is ultimately an ethical crisis: when we reduce others to representatives of factions, we objectify them and their language; when we submit to the forced consensus of the ideology of the abstract, we objectify ourselves. Faced with this dilemma, the critique of musicology must draw its energy from an ethical commitment, from a commitment to justice. Three areas are identified in which change seems particularly urgent: (i) the process of peer review in professional associations (such as the AMS, SEM, and SMT); (ii) the university; and (iii) writing about music.Less
This chapter argues that the crisis of musical research is ultimately an ethical crisis: when we reduce others to representatives of factions, we objectify them and their language; when we submit to the forced consensus of the ideology of the abstract, we objectify ourselves. Faced with this dilemma, the critique of musicology must draw its energy from an ethical commitment, from a commitment to justice. Three areas are identified in which change seems particularly urgent: (i) the process of peer review in professional associations (such as the AMS, SEM, and SMT); (ii) the university; and (iii) writing about music.
Linda Phyllis Austern
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780226701592
- eISBN:
- 9780226704678
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226704678.001.0001
- Subject:
- Music, History, Western
This interdisciplinary study shows the extent to which literate sixteenth- and seventeenth-century English people considered music beyond its heard and performed aspects. It explains the remarkable ...
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This interdisciplinary study shows the extent to which literate sixteenth- and seventeenth-century English people considered music beyond its heard and performed aspects. It explains the remarkable range of ways in which they wrote about music and understood it to inform other endeavors, and how musical ideas were connected to other trends during an era marked by intellectual change. Music was considered both art and science, had a long-established place in many human enterprises, and inhabited the fluid conceptual space between abstraction and concretion. Music and musical terminology thus enabled explanation of complex ideas and provided points of contact between otherwise discrete fields of human learning across audible, visual, literary, and performed media. Music and musical language also facilitated carefully coded approaches to some of the era’s most hotly contested topics such as religion and the rising domains of scientific inquiry. Such understanding, in turn, influenced ways in which sounding music was practiced, and its materials were created, marketed, and presented. Furthermore, reading, writing, and talking about music were valuable skills for a culture in which the subtleties of musical knowledge signified status, and in which gentlemen in particular fraternized through discourse as well as sociable practice. Yet no matter how esoteric reference to music became, there always remained something of its audibility and potential to affect the body, soul, and all five senses.Less
This interdisciplinary study shows the extent to which literate sixteenth- and seventeenth-century English people considered music beyond its heard and performed aspects. It explains the remarkable range of ways in which they wrote about music and understood it to inform other endeavors, and how musical ideas were connected to other trends during an era marked by intellectual change. Music was considered both art and science, had a long-established place in many human enterprises, and inhabited the fluid conceptual space between abstraction and concretion. Music and musical terminology thus enabled explanation of complex ideas and provided points of contact between otherwise discrete fields of human learning across audible, visual, literary, and performed media. Music and musical language also facilitated carefully coded approaches to some of the era’s most hotly contested topics such as religion and the rising domains of scientific inquiry. Such understanding, in turn, influenced ways in which sounding music was practiced, and its materials were created, marketed, and presented. Furthermore, reading, writing, and talking about music were valuable skills for a culture in which the subtleties of musical knowledge signified status, and in which gentlemen in particular fraternized through discourse as well as sociable practice. Yet no matter how esoteric reference to music became, there always remained something of its audibility and potential to affect the body, soul, and all five senses.
Kofi Agawu
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195370249
- eISBN:
- 9780199852161
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195370249.003.0010
- Subject:
- Music, Theory, Analysis, Composition
This chapter looks at two works that may serve to provide better understanding of the concept of musical discourse as essentially being a discourse of repetition. The analysis in this chapter is ...
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This chapter looks at two works that may serve to provide better understanding of the concept of musical discourse as essentially being a discourse of repetition. The analysis in this chapter is similar to that given in the other chapters: this chapter comments on the building blocks of each work separately and then concludes with remarks of a directly comparative nature.Less
This chapter looks at two works that may serve to provide better understanding of the concept of musical discourse as essentially being a discourse of repetition. The analysis in this chapter is similar to that given in the other chapters: this chapter comments on the building blocks of each work separately and then concludes with remarks of a directly comparative nature.
Stefan Lorenz Sorgner and Oliver Furbeth (eds)
- Published in print:
- 2011
- Published Online:
- March 2013
- ISBN:
- 9780226768373
- eISBN:
- 9780226768397
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226768397.001.0001
- Subject:
- Philosophy, Aesthetics
Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. This ...
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Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. This book aims to fill this important gap for musical scholars and students alike with this compelling guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno. The book includes contributions from a renowned group of ten scholars, including some of today's most prominent German thinkers, all of whom are specialists in the writers they treat. Each chapter consists of a short biographical sketch of the philosopher concerned, a summary of his writings on aesthetics, and finally a detailed exploration of his thoughts on music.Less
Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. This book aims to fill this important gap for musical scholars and students alike with this compelling guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno. The book includes contributions from a renowned group of ten scholars, including some of today's most prominent German thinkers, all of whom are specialists in the writers they treat. Each chapter consists of a short biographical sketch of the philosopher concerned, a summary of his writings on aesthetics, and finally a detailed exploration of his thoughts on music.
