By Stan Hawkins
This choice of unique essays is in tribute to the paintings of Derek Scott at the get together of his 60th birthday. As one of many best lighting in serious musicology, Scott has helped formed the epistemological path for song learn because the past due Eighties. there is not any doubt that the trail taken via the serious musicologist has been a tough one, resulting in new conceptions, interactions, and heated debates in the past twenty years. adjustments in musicology through the final many years of the 20 th century brought on the institution of latest units of theoretical equipment that probed on the social and cultural relevance of song, up to its self-referentiality. all of the students contributing to this publication have performed a job within the basic paradigmatic shift that ensued within the wake of Kerman's demand swap within the Eighties. getting down to handle a variety of methods to theorizing song and promulgating modes of study throughout a variety of repertories, the essays during this assortment may be learn as a coming of age of severe musicology via its energetic discussion with different disciplines equivalent to sociology, feminism, ethnomusicology, heritage, anthropology, philosophy, cultural stories, aesthetics, media stories, movie tune reports, and gender experiences. the quantity presents song researchers and graduate scholars with an updated authoritative connection with all issues facing the kingdom of serious musicology this day.
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Extra info for Critical Musicological Reflections: Essays in Honour of Derek B. Scott
All that effort was, apparently, for naught. Evidence of Things Not Seen 27 Yet the slippery semitones that have infiltrated each idea in the movement enable even as they destabilize, and in the extensive middle section of the movement, they take centre stage. By means of their unpredictable manoeuvres, Schubert deposits us repeatedly on islands of melodic serenity, but with little apparent rhyme or reason along the way; he gives us either erratic motion or stasis. 11 A formal recapitulation typically brings back the key and theme that opened a movement, but that consolidation of initial identity can qualify either as a triumphant return or (in cases where the piece has laboured to escape its tragic beginnings) as an admission of defeat.
11 apprehensive though: while the evolution of genres is of historical significance, it has not received sufficient attention within musicology. In the wake of the ideas aired by Hennion, Leppert, and Fabbri, Lawrence Kramer in Chapter 14 proceeds to scrutinize musical performance as a historical precipitate. Demonstrating how instrumentalists before the early nineteenth century were understood as ‘executants’, Kramer identifies their task as reproducing and embellishing the notes in a score.
Agawu, Kofi (1997) ‘Analyzing Music under the New Musicological Regime’, The Journal of Musicology, XV(3): 297–307. Barthes, Roland (1983) ‘Authors and Writers’, in A Barthes Reader, ed. Susan Sontag (New York: Hill and Wang). Brett, Philip, Wood, Elizabeth and Thomas, Gary C. (1994) Queering the Pitch: The New Gay and Lesbian Musicology (London: Routledge). Citron, Marcia (1993) Gender and the Musical Canon (Cambridge: Cambridge University Press). Cook, Nicholas and Everist, Mark (eds) (1999) Rethinking Music (Oxford: Oxford University Press).