Abstract
Among many other even less important things, the 20th century has been the Age of Musicology. If music as the object of historical and theoretical enquiry began to impinge on the Academy well before 1900, it has taken the 20th century to explore its full potential for various kinds of systematic, even scientific analysis. And so a problem has emerged, for although most musicologists accept that compositions are at least a part of their subject-matter, they have difficulty with the proposition that composition – the creative act – itself is a part of musicology. In a sense, therefore, it is entirely logical for the British Academy to consider ceasing its financial support for postgraduate courses in composition.
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