American Musicology Research Articles

The Role of Ideology in the Study of Western Music

Research Article| January 01 1983 The Role of Ideology in the Study of Western Music Rose Rosengard Subotnik Rose Rosengard Subotnik Search for other works by this author on: This Site PubMed Google Scholar Journal of Musicology (1983) 2 (1): 1–12. https://doi.org/10.2307/763575 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Rose Rosengard Subotnik; The Role of Ideology in the Study of Western Music. Journal of Musicology 1 January 1983; 2 (1): 1–12. doi: https://doi.org/10.2307/763575 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Musicology Search This content is only available via PDF. Copyright 1982 Imperial Printing Company, Inc. Article PDF first page preview Close Modal You do not currently have access to this content.

American Music and American Musicology

American Music and American Musicology

American Music and American Musicology

T he main thrust of this brief article will be promote view that musical history of United States cannot be adequately delineated or interpreted except by a conjunction of musicology and ethnomusicology, which inevitably involves input from social sciences. ultimate result would be a cultural continuum rather than a fragmentation of forms, styles, and values. last item is crucial, for music should be valued, judged, and historically interpreted in terms of its importance mankind at all levels of society. In my view, two fundamental exegetes of American musical history are Oscar Sonneck and Charles Seeger. Neither wrote extensive histories; but what I have in mind is their affinity with root meaning of exegesis, which derives from Greek exegeisthai, to show way. My own debt these crucial precursors is immense. While Sonneck concentrated more heavily on documentation and Seeger on theory, both emphasized sociocultural foundations of music.1 Sonneck's basic contribution our topic is a paper titled The History of Music in (modestly subtitled A Few Suggestions), dating from 1916. For me, his key statement is that the interests of a historian of music and musical life are not and ought not remain confined matters of musical esthetics or techniques.2 Later he quotes from an earlier paper in which he stated: The literature on music in America is fairly voluminous and is constantly growing, but books and articles deal more with history of music and musicians in America than with history of America's musical life.3

Some Recent Developments in Latin American Musicology

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.

American Musicology

American Musicology

American Studies and American Musicology: A Point of View and a Case in Point

American Studies and American Musicology: A Point of View and a Case in Point

American Studies and American Musicology

American Studies and American Musicology

American Studies and American Musicology: A Point of View and a Case in Point

American Studies and American Musicology: A Point of View and a Case in Point

Finding a Place for American Studies in American Musicology

Finding a Place for American Studies in American Musicology

Finding a Place for American Studies in American Musicology

Research Article| April 01 1966 Finding a Place for American Studies in American Musicology Donald M. McCorkle Donald M. McCorkle Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (1966) 19 (1): 73–84. https://doi.org/10.2307/830872 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Donald M. McCorkle; Finding a Place for American Studies in American Musicology. Journal of the American Musicological Society 1 April 1966; 19 (1): 73–84. doi: https://doi.org/10.2307/830872 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the American Musicological Society Search This content is only available via PDF. Copyright 1966 The American Musicological Society Article PDF first page preview Close Modal You do not currently have access to this content.

Character and Purposes of American Musicology; A Reply to Joseph Kerman

T HERE HAVE BEEN FEw deeply-considered statements about American musicology-distressingly few, I should say, in recent years, writes Professor Kerman in the publication of his address delivered at a plenary session of the thirtieth Annual Meeting of the American Musicological Society, December 27, 1964.1 Surely, the critical attitude that pervades Professor Kerman's address justifies a critical examination of his own statement.

Character and Purposes of American Musicology; A Reply to Joseph Kerman

Character and Purposes of American Musicology; A Reply to Joseph Kerman

A Profile for American Musicology

44 WHAT IS THE PURPOSE of humanistic scholarship? What, in fact, does humanist scholar do? These sanguine editorial questions introduce and define scope of Princeton Studies of Humanistic Scholarship in America-fourteen books-in-progress appraising condition of various humanistic disciplines in this country. aim of these volumes is present a critical account of American humanistic scholarship in recent decades. They have been commissioned by Council of Humanities, Whitney J. Oates, Chairman, of Princeton University and were made possible by a grant from Ford Foundation.2 Certain of books may be thought glut certain of fields, but one on musicology fills into a void; joint study by Frank Ll. Harrison, Mantle Hood, and Claude Palisca has been welcomed and very rightly praised as a milestone in history of discipline. There have been few deeply-considered statements about American musicology-distressingly few, I should say, in recent years. The general un-selfconsciousness of American musicology perhaps reflects its newness as a field of study; much more discussion of aims and principles and premises is needed, as well as of actual working methods. Starting discussion is first great virtue of Musicology volume, which I am gratefully paying a small tribute in form of present address. is purpose of humanistic scholarship? What, in fact, does humanist scholar do? The Musicology volume answers second of these questions far better than first. The field has been defined in very comprehensive ways, as Professor Palisca points out, but when all is said and done, the musicologist is first and foremost a historian. What serves this particular variety of historian as a goal or as a goad, Palisca never makes very clear; perhaps that is tacitly contained in term history, or perhaps musicologists themselves are not so very clear about it. As for Dr. Harrison, he frankly set himself job not of just answering questions, but of casting around and nudging us a little in one particular direction. That direction is towards a social aim. Without such an ideal, Harrison remarks in a terrifying aside, musicology seems merely to

A Profile for American Musicology

A Profile for American Musicology