Abstract
ONE of the most effective ways of evaluating the achievements of 20oth-century musicology is to read a late 19th-century history of Western music. Much of our knowledge has been so thoroughly assimilated that the century's scholarly legacy can only be appreciated fully in its absence. This is especially true of archival and palaeographical research into music of the relatively distant past, without which we would have inadequate access to source materials, and equally true of critical and hermeneutic studies, without which we might accept the ideological biases of past approaches or forget to be sufficiently self-conscious about our own interpretative choices.
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