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Wikipedia

Musicology

May 03, 2023

For other uses, see Musicology (disambiguation).

Musicology (from Greek μουσική mousikē 'music' and -λογια -logia, 'domain of study') is the scholarly analysis and research-based study of music. Musicology departments traditionally belong to the humanities, although some music research is scientific in focus (psychological, sociological, acoustical, neurological, computational). Some geographers and anthropologists have an interest in musicology, so the social sciences also have an academic interest. A scholar who participates in musical research is a musicologist.

Musicology traditionally is divided into three main branches: historical musicology, systematic musicology and ethnomusicology. Historical musicologists mostly study the history of the Western classical music tradition, the origin of the works composed, the lives of the composers and how they relate to the music studied. However, the study of music history need not be limited to that. Ethnomusicologists draw from anthropology (particularly field research) to understand how and why people make music. Systematic musicology includes music theory, aesthetics, pedagogy, musical acoustics, the science and technology of musical instruments, and the musical implications of physiology, psychology, sociology, philosophy and computing. Cognitive musicology is the set of phenomena surrounding the cognitive modeling of music. When musicologists carry out research using computers, their research often falls under the field of computational musicology. Music therapy is a specialized form of applied musicology which is sometimes considered more closely affiliated with health fields, and other times regarded as part of musicology proper.

Background

The 19th-century philosophical trends that led to the re-establishment of formal musicology education in German and Austrian universities had combined methods of systematization with evolution. These models were established not only in the field of physical anthropology, but also cultural anthropology. This was influenced by Hegel's ideas on ordering "phenomena" from the simple to complex as the stages of evolution are classified from primitive to developed, and stages of history from ancient to modern. Comparative methods became more widespread in diverse disciplines from anatomy to Indo-European linguistics, and beginning around 1880, also in comparative musicology.[1]

Parent disciplines

The parent disciplines of musicology include:

Musicology also has two central, practically oriented sub-disciplines with no parent discipline: performance practice and research (sometimes viewed as a form of artistic research), and the theory, analysis and composition of music. The disciplinary neighbours of musicology address other forms of art, performance, ritual and communication, including the history and theory of the visual and plastic arts and architecture; linguistics, literature and theatre; religion and theology; and sport. Musical knowledge is applied within medicine, education and music therapy—which, effectively, are parent disciplines of applied musicology.

Subdisciplines

Historical musicology

Music history or historical musicology is concerned with the composition, performance, reception and criticism of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres (such as baroque concertos), the social function of music for a particular group of people, (such as court music), or modes of performance at a particular place and time (such as Johann Sebastian Bach's choir in Leipzig). Like the comparable field of art history, different branches and schools of historical musicology emphasize different types of musical works and approaches to music. There are also national differences in various definitions of historical musicology. In theory, "music history" could refer to the study of the history of any type or genre of music (such as the history of Indian music or the history of rock). In practice, these research topics are more often considered within ethnomusicology (see below) and "historical musicology" is typically assumed to imply Western Art music of the European tradition.

The methods of historical musicology include source studies (especially manuscript studies), palaeography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis (analysis of music to find "inner coherence")[2] and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. Music historians create a number of written products, ranging from journal articles describing their current research, new editions of musical works, biographies of composers and other musicians, book-length studies or university textbook chapters or entire textbooks. Music historians may examine issues in a close focus, as in the case of scholars who examine the relationship between words and music for a given composer's art songs. On the other hand, some scholars take a broader view and assess the place of a given type of music, such as the symphony in society using techniques drawn from other fields, such as economics, sociology or philosophy.

New musicology

New musicology is a term applied since the late 1980s to a wide body of work emphasizing cultural study, analysis and criticism of music. Such work may be based on feminist, gender studies, queer theory or postcolonial theory, or the work of Theodor W. Adorno[citation needed]. Although New Musicology emerged from within historical musicology, the emphasis on cultural study within the Western art music tradition places New Musicology at the junction between historical, ethnological and sociological research in music.

New musicology was a reaction against traditional historical musicology, which according to Susan McClary, "fastidiously declares issues of musical signification off-limits to those engaged in legitimate scholarship."[3] Charles Rosen, however, retorts that McClary, "sets up, like so many of the 'new musicologists', a straw man to knock down, the dogma that music has no meaning, and no political or social significance."[4] Today, many musicologists no longer distinguish between musicology and new musicology since it has been recognized that many of the scholarly concerns once associated with new musicology already were mainstream in musicology, so that the term "new" no longer applies.

Ethnomusicology

Ethnomusicology, formerly comparative musicology, is the study of music in its cultural context. It is often considered the anthropology or ethnography of music. Jeff Todd Titon has called it the study of "people making music".[5] Although it is most often concerned with the study of non-Western music, it also includes the study of Western music from an anthropological or sociological perspective, cultural studies and sociology as well as other disciplines in the social sciences and humanities. Some ethnomusicologists primarily conduct historical studies,[6] but the majority are involved in long-term participant observation or combine ethnographic, musicological, and historical approaches in their fieldwork. Therefore, ethnomusicological scholarship can be characterized as featuring a substantial, intensive fieldwork component, often involving long-term residence within the community studied. Closely related to ethnomusicology is the emerging branch of sociomusicology. For instance, Ko (2011) proposed the hypothesis of "Biliterate and Trimusical" in Hong Kong sociomusicology.[7]

Popular music studies

Popular music studies, known, "misleadingly",[8] as popular musicology, emerged in the 1980s as an increasing number of musicologists, ethnomusicologists and other varieties of historians of American and European culture began to write about popular music past and present. The first journal focusing on popular music studies was Popular Music which began publication in 1981.[9] The same year an academic society solely devoted to the topic was formed, the International Association for the Study of Popular Music. The association's founding was partly motivated by the interdisciplinary agenda of popular musicology though the group has been characterized by a polarized 'musicological' and 'sociological' approach also typical of popular musicology.[10]

Music theory, analysis and composition

Music theory is a field of study that describes the elements of music and includes the development and application of methods for composing and for analyzing music through both notation and, on occasion, musical sound itself. Broadly, theory may include any statement, belief or conception of or about music (Boretz, 1995)[incomplete short citation]. A person who studies or practices music theory is a music theorist.

Some music theorists attempt to explain the techniques composers use by establishing rules and patterns. Others model the experience of listening to or performing music. Though extremely diverse in their interests and commitments, many Western music theorists are united in their belief that the acts of composing, performing and listening to music may be explicated to a high degree of detail (this, as opposed to a conception of musical expression as fundamentally ineffable except in musical sounds). Generally, works of music theory are both descriptive and prescriptive, attempting both to define practice and to influence later practice.

Musicians study music theory to understand the structural relationships in the (nearly always notated) music. Composers study music theory to understand how to produce effects and structure their own works. Composers may study music theory to guide their precompositional and compositional decisions. Broadly speaking, music theory in the Western tradition focuses on harmony and counterpoint, and then uses these to explain large scale structure and the creation of melody.

Music psychology

Music psychology applies the content and methods of all subdisciplines of psychology (perception, cognition, motivation, etc.) to understand how music is created, perceived, responded to, and incorporated into individuals' and societies' daily lives.[11] Its primary branches include cognitive musicology, which emphasizes the use of computational models for human musical abilities and cognition, and the cognitive neuroscience of music, which studies the way that music perception and production manifests in the brain using the methodologies of cognitive neuroscience. While aspects of the field can be highly theoretical, much of modern music psychology seeks to optimize the practices and professions of music performance, composition, education and therapy.[12]

Performance practice and research

Performance practice draws on many of the tools of historical musicology to answer the specific question of how music was performed in various places at various times in the past. Although previously confined to early music, recent research in performance practice has embraced questions such as how the early history of recording affected the use of vibrato in classical music or instruments in Klezmer.

Within the rubric of musicology, performance practice tends to emphasize the collection and synthesis of evidence about how music should be performed. The important other side, learning how to sing authentically or perform a historical instrument is usually part of conservatory or other performance training. However, many top researchers in performance practice are also excellent musicians.

Music performance research (or music performance science) is strongly associated with music psychology. It aims to document and explain the psychological, physiological, sociological and cultural details of how music is actually performed (rather than how it should be performed). The approach to research tends to be systematic and empirical and to involve the collection and analysis of both quantitative and qualitative data. The findings of music performance research can often be applied in music education.

Education and careers

 
Music historian Jack Stewart lectures at a conference

Musicologists in tenure track professor positions typically hold a PhD in musicology. In the 1960s and 1970s, some musicologists obtained professor positions with an MA as their highest degree, but in the 2010s, the PhD is the standard minimum credential for tenure track professor positions. As part of their initial training, musicologists typically complete a BMus or a BA in music (or a related field such as history) and in many cases an MA in musicology. Some individuals apply directly from a bachelor's degree to a PhD, and in these cases, they may not receive an MA. In the 2010s, given the increasingly interdisciplinary nature of university graduate programs, some applicants for musicology PhD programs may have academic training both in music and outside of music (e.g., a student may apply with a BMus and an MA in psychology). In music education, individuals may hold an M.Ed and an Ed.D.

Most musicologists work as instructors, lecturers or professors in colleges, universities or conservatories. The job market for tenure track professor positions is very competitive. Entry-level applicants must hold a completed PhD or the equivalent degree and applicants to more senior professor positions must have a strong record of publishing in peer-reviewed journals. Some PhD-holding musicologists are only able to find insecure positions as sessional lecturers. The job tasks of a musicologist are the same as those of a professor in any other humanities discipline: teaching undergraduate and/or graduate classes in their area of specialization and, in many cases some general courses (such as Music Appreciation or Introduction to Music History); conducting research in their area of expertise, publishing articles about their research in peer-reviewed journals, authors book chapters, books or textbooks; traveling to conferences to give talks on their research and learn about research in their field; and, if their program includes a graduate school, supervising MA and PhD students, giving them guidance on the preparation of their theses and dissertations. Some musicology professors may take on senior administrative positions in their institution, such as Dean or Chair of the School of Music.

Notable journals

See also: Category:Music theory journals

Role of women

 
Rosetta Reitz (1924–2008) was an American jazz historian who established a record label producing 18 albums of the music of the early women of jazz and the blues.[13]

The vast majority of major musicologists and music historians from past generations have been men, as in the 19th century and early 20th century; women's involvement in teaching music was mainly in elementary and secondary music teaching.[14] Nevertheless, some women musicologists have reached the top ranks of the profession. Carolyn Abbate (born 1956) is an American musicologist who did her PhD at Princeton University. She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians".[15]

Susan McClary (born 1946) is a musicologist associated with new musicology who incorporates feminist music criticism in her work. McClary holds a PhD from Harvard University. One of her best known works is Feminine Endings (1991), which covers musical constructions of gender and sexuality, gendered aspects of traditional music theory, gendered sexuality in musical narrative, music as a gendered discourse and issues affecting women musicians.[16]

Other notable women scholars include:

See also

References

  1. ^ Bader, Rolf (2018). Spring Handbook of Systematic Musicology. Springer. p. 40. ISBN 978-3662550045. Retrieved 5 August 2019.
  2. ^ Beard, David; Gloag, Kenneth (2005). Musicology: The Key Concepts. Routledge. ISBN 978-0-415-31692-7.
  3. ^ McClary, Susan (1991). Feminine Endings: Music, Gender, and Sexuality. Minneapolis, MN: University of Minnesota Press. p. 4.
  4. ^ Rosen, Charles (2001). "The New Musicology". Critical Entertainments: Music Old and New. Harvard University Press. p. 264. ISBN 978-0-674-00684-3. I doubt that anyone, except perhaps the nineteenth-century critic Hanslick, has ever really believed that, although some musicians have been goaded into proclaiming it by the sillier interpretations of music with which we are often assailed.
  5. ^ Titon, Jeff Todd (January 2020). "Ethnomusicology as the Study of People Making Music". Musicological Annual. 51 (2): 175–185. doi:10.4312/mz.51.2.175-185. ISSN 2350-4242. S2CID 191062139.
  6. ^ McCollum, Jonathan; Hebert, David, eds. (2014). Theory and Method in Historical Ethnomusicology. Lanham, MD: Rowman & Littlefield.
  7. ^ Ko, C.K.S. (2011). An Analysis of Sociomusicology, Its Issues; and the Music and Society in Hong Kong. Hong Kong: Ko Ka Shing. ISBN 978-9-881-58021-4. This book has been selected for inclusion in the Association for Chinese Music Research Bibliography in 2012.
  8. ^ Moore, Allan, ed. (2003). Analyzing Popular Music. p. 2. ISBN 978-0-521-77120-7. 'Popular musicology' should be read as the musicological investigation of popular music, rather than the accessible investigation of music!
  9. ^ Popular Music - All Issues (journal), Cambridge University Press
  10. ^ Moore 2003, p. 4.
  11. ^ Tan, Siu-Lan; Pfordresher, Peter; Harré, Rom (2010). Psychology of Music: From Sound to Significance. New York: Psychology Press. p. 2. ISBN 978-1-84169-868-7.
  12. ^ Ockelford, Adam (2009). "Beyond music psychology". In Hallam, Susan; Cross, Ian; Thaut, Michael (eds.). The Oxford Handbook of Music Psychology. Oxford: Oxford University Press. p. 539. ISBN 978-0-19-929845-7.
  13. ^ Martin, Douglas. "Rosetta Reitz, Champion of Jazz Women, Dies at 84", The New York Times, 14 November 2008. Accessed 19 November 2008.
  14. ^ Wieland Howe, Sandra (2015). "Women Music Educators in the United States: A History". GEMS (Gender, Education, Music, and Society). 8 (4). [When looking beyond bandleaders and top leaders, women had many music education roles in the] home, community, churches, public schools, and teacher-training institutions [and] as writers, patrons, and through their volunteer work in organizations.
  15. ^ "Abbate named University Professor", The Harvard Gazette, 20 November 2013. Accessed 10 December 2014
  16. ^ "Susan McClary". MacArthur Foundation. 1 July 1995. Retrieved 18 January 2021.

Further reading

  • Allen, Warren Dwight (1962). Philosophies of Music History: a Study of General Histories of Music, 1600–1960. New ... ed. New York: Dover Publications. N.B.: First published in 1939; expanded and updated for republication in 1962.
  • Babich, Babette (2003) "Postmodern Musicology" in Victor E. Taylor and Charles Winquist, eds., Routledge Encyclopedia of Postmodernism, London: Routledge, 2003. pp. 153–159. ISBN 978-0-415-30886-1.
  • Brackett, David (1995). Interpreting Popular Music. ISBN 0-520-22541-4.
  • Cook, Nicholas, "What is Musicology?", BBC Music Magazine 7 (May 1999), 31–33
  • Everett, Walter, ed. (2000). Expression in Pop-Rock Music. ISBN 0-8153-3160-6.
  • McCollum, Jonathan and David Hebert, eds. (2014). Theory and Method in Historical Ethnomusicology. Lanham, MD: Lexington. ISBN 978-0-7391-6826-4.
  • Honing, Henkjan (2006). "On the growing role of observation, formalization and experimental method in musicology. " Empirical Musicology Review.
  • Kerman, Joseph (1985). Musicology. London: Fontana. ISBN 0-00-197170-0.
  • McClary, Susan, and Robert Walser (1988). "Start Making Sense! Musicology Wrestles with Rock" in On Record ed. by Frith and Goodwin (1990), pp. 277–292.ISBN 0-394-56475-8.
  • McClary, Susan (2000). "Women and Music on the Verge of the New Millennium (Special Issue: Feminists at a Millennium)", Signs 25/4 (Summer): 1283–1286.
  • Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
  • Moore, A. F. (2001). Rock: The Primary Text, 2nd edition, ISBN 0-7546-0298-2.
  • Parncutt, Richard. (2007). "", Journal of Interdisciplinary Music Studies, 1, 1–32.
  • Pruett, James W., and Thomas P. Slavens (1985). Research Guide to Musicology. Chicago: American Library Association. ISBN 0-8389-0331-2.
  • Randel, Don Michael, ed. (4th edition, 2003). Harvard Dictionary of Music, pp. 452–454. The Belknap Press of Harvard University Press. ISBN 0-674-01163-5.
  • Sorce Keller, Marcello. "The Emperor's New Clothes: Why Musicologies Do Not Always Wish to Know All They Could Know", in Victoria Lindsay Levine and Philip V. Bohlman. This Thing Called Music. Essays in Honor of Bruno Nettl. Lanham, MD / Boulder, CO / New York City / London: Rowman & Littlefield, 2015, pp. 366–377.
  • Tagg, Philip (1979, ed. 2000). Kojak – 50 Seconds of Television Music: Toward the Analysis of Affect in Popular Music, pp. 38–45. The Mass Media Music Scholar's Press. ISBN 0-9701684-0-3.
  • Tagg, Philip (1982). "Analysing Popular Music: Theory, Method and Practice", Popular Music, vol. 2, Theory and Method, pp. 37–67.
  • van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth Century Popular Music. ISBN 0-19-816305-3 (1992).
  • Winkler, Peter (1978). "Toward a theory of pop harmony", In Theory Only, 4, pp. 3–26., cited in Moore 2003, p. 9.

External links

 
Wikimedia Commons has media related to Musicology.
 
Wikiquote has quotations related to Musicology.
  • International Musicological Society (IMS)
  • The American Musicological Society
  • AMS: Web sites of interest to Musicologists 2020-01-27 at the Wayback Machine
  • The Society for American Music
  • International Association for the Study of Popular Music
  • Society for Ethnomusicology
  • Society for Music Theory
  • The European Network for Theory & Analysis of Music

On-line journals

Many musicology journals are only available in print or through pay-for-access portals. This list, however, contains a sample of peer reviewed and open-access journals in various subfields as examples of musicological writings:

  • JIMS: Journal of Interdisciplinary Music Studies
  • Echo: a music centered journal
  • Empirical Musicology Review (website)
  • Ethnomusicology Review
  • Journal of Interdisciplinary Music Studies
  • JMM: The Journal of Music and Meaning
  • Music Theory Online
  • Min-Ad: Israel Studies in Musicology Online
  • Volume!, French journal of popular music studies

A list of open-access European journals in the domains of music theory and/or analysis is available on the website of the European Network for Theory & Analysis of Music. A more complete list of open-access journals in theory and analysis can be found on the website of the Société Belge d'Analyse Musicale (in French).

May 03, 2023
musicology, other, uses, disambiguation, this, article, includes, list, general, references, lacks, sufficient, corresponding, inline, citations, please, help, improve, this, article, introducing, more, precise, citations, october, 2018, learn, when, remove, t. For other uses see Musicology disambiguation This article includes a list of general references but it lacks sufficient corresponding inline citations Please help to improve this article by introducing more precise citations October 2018 Learn how and when to remove this template message Musicology from Greek moysikh mousike music and logia logia domain of study is the scholarly analysis and research based study of music Musicology departments traditionally belong to the humanities although some music research is scientific in focus psychological sociological acoustical neurological computational Some geographers and anthropologists have an interest in musicology so the social sciences also have an academic interest A scholar who participates in musical research is a musicologist Musicology traditionally is divided into three main branches historical musicology systematic musicology and ethnomusicology Historical musicologists mostly study the history of the Western classical music tradition the origin of the works composed the lives of the composers and how they relate to the music studied However the study of music history need not be limited to that Ethnomusicologists draw from anthropology particularly field research to understand how and why people make music Systematic musicology includes music theory aesthetics pedagogy musical acoustics the science and technology of musical instruments and the musical implications of physiology psychology sociology philosophy and computing Cognitive musicology is the set of phenomena surrounding the cognitive modeling of music When musicologists carry out research using computers their research often falls under the field of computational musicology Music therapy is a specialized form of applied musicology which is sometimes considered more closely affiliated with health fields and other times regarded as part of musicology proper Contents 1 Background 2 Parent disciplines 3 Subdisciplines 3 1 Historical musicology 3 2 New musicology 3 3 Ethnomusicology 3 4 Popular music studies 3 5 Music theory analysis and composition 3 6 Music psychology 3 7 Performance practice and research 4 Education and careers 5 Notable journals 6 Role of women 7 See also 8 References 9 Further reading 10 External links 10 1 On line journalsBackground EditThe 19th century philosophical trends that led to the re establishment of formal musicology education in German and Austrian universities had combined methods of systematization with evolution These models were established not only in the field of physical anthropology but also cultural anthropology This was influenced by Hegel s ideas on ordering phenomena from the simple to complex as the stages of evolution are classified from primitive to developed and stages of history from ancient to modern Comparative methods became more widespread in diverse disciplines from anatomy to Indo European linguistics and beginning around 1880 also in comparative musicology 1 Parent disciplines EditThe parent disciplines of musicology include General history Cultural studies Philosophy particularly aesthetics and semiotics Ethnology and cultural anthropology Archaeology and prehistory Psychology and sociology Physiology and neuroscience Acoustics and psychoacoustics Computer information sciences and mathematicsMusicology also has two central practically oriented sub disciplines with no parent discipline performance practice and research sometimes viewed as a form of artistic research and the theory analysis and composition of music The disciplinary neighbours of musicology address other forms of art performance ritual and communication including the history and theory of the visual and plastic arts and architecture linguistics literature and theatre religion and theology and sport Musical knowledge is applied within medicine education and music therapy which effectively are parent disciplines of applied musicology Subdisciplines EditHistorical musicology Edit Music history or historical musicology is concerned with the composition performance reception and criticism of music over time Historical studies of music are for example concerned with a composer s life and works the developments of styles and genres such as baroque concertos the social function of music for a particular group of people such as court music or modes of performance at a particular place and time such as Johann Sebastian Bach s choir in Leipzig Like the comparable field of art history different branches and schools of historical musicology emphasize different types of musical works and approaches to music There are also national differences in various definitions of historical musicology In theory music history could refer to the study of the history of any type or genre of music such as the history of Indian music or the history of rock In practice these research topics are more often considered within ethnomusicology see below and historical musicology is typically assumed to imply Western Art music of the European tradition The methods of historical musicology include source studies especially manuscript studies palaeography philology especially textual criticism style criticism historiography the choice of historical method musical analysis analysis of music to find inner coherence 2 and iconography The application of musical analysis to further these goals is often a part of music history though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory Music historians create a number of written products ranging from journal articles describing their current research new editions of musical works biographies of composers and other musicians book length studies or university textbook chapters or entire textbooks Music historians may examine issues in a close focus as in the case of scholars who examine the relationship between words and music for a given composer s art songs On the other hand some scholars take a broader view and assess the place of a given type of music such as the symphony in society using techniques drawn from other fields such as economics sociology or philosophy New musicology Edit New musicology is a term applied since the late 1980s to a wide body of work emphasizing cultural study analysis and criticism of music Such work may be based on feminist gender studies queer theory or postcolonial theory or the work of Theodor W Adorno citation needed Although New Musicology emerged from within historical musicology the emphasis on cultural study within the Western art music tradition places New Musicology at the junction between historical ethnological and sociological research in music New musicology was a reaction against traditional historical musicology which according to Susan McClary fastidiously declares issues of musical signification off limits to those engaged in legitimate scholarship 3 Charles Rosen however retorts that McClary sets up like so many of the new musicologists a straw man to knock down the dogma that music has no meaning and no political or social significance 4 Today many musicologists no longer distinguish between musicology and new musicology since it has been recognized that many of the scholarly concerns once associated with new musicology already were mainstream in musicology so that the term new no longer applies Ethnomusicology Edit Ethnomusicology formerly comparative musicology is the study of music in its cultural context It is often considered the anthropology or ethnography of music Jeff Todd Titon has called it the study of people making music 5 Although it is most often concerned with the study of non Western music it also includes the study of Western music from an anthropological or sociological perspective cultural studies and sociology as well as other disciplines in the social sciences and humanities Some ethnomusicologists primarily conduct historical studies 6 but the majority are involved in long term participant observation or combine ethnographic musicological and historical approaches in their fieldwork Therefore ethnomusicological scholarship can be characterized as featuring a substantial intensive fieldwork component often involving long term residence within the community studied Closely related to ethnomusicology is the emerging branch of sociomusicology For instance Ko 2011 proposed the hypothesis of Biliterate and Trimusical in Hong Kong sociomusicology 7 Popular music studies Edit Popular music studies known misleadingly 8 as popular musicology emerged in the 1980s as an increasing number of musicologists ethnomusicologists and other varieties of historians of American and European culture began to write about popular music past and present The first journal focusing on popular music studies was Popular Music which began publication in 1981 9 The same year an academic society solely devoted to the topic was formed the International Association for the Study of Popular Music The association s founding was partly motivated by the interdisciplinary agenda of popular musicology though the group has been characterized by a polarized musicological and sociological approach also typical of popular musicology 10 Music theory analysis and composition Edit Music theory is a field of study that describes the elements of music and includes the development and application of methods for composing and for analyzing music through both notation and on occasion musical sound itself Broadly theory may include any statement belief or conception of or about music Boretz 1995 incomplete short citation A person who studies or practices music theory is a music theorist Some music theorists attempt to explain the techniques composers use by establishing rules and patterns Others model the experience of listening to or performing music Though extremely diverse in their interests and commitments many Western music theorists are united in their belief that the acts of composing performing and listening to music may be explicated to a high degree of detail this as opposed to a conception of musical expression as fundamentally ineffable except in musical sounds Generally works of music theory are both descriptive and prescriptive attempting both to define practice and to influence later practice Musicians study music theory to understand the structural relationships in the nearly always notated music Composers study music theory to understand how to produce effects and structure their own works Composers may study music theory to guide their precompositional and compositional decisions Broadly speaking music theory in the Western tradition focuses on harmony and counterpoint and then uses these to explain large scale structure and the creation of melody Music psychology Edit Music psychology applies the content and methods of all subdisciplines of psychology perception cognition motivation etc to understand how music is created perceived responded to and incorporated into individuals and societies daily lives 11 Its primary branches include cognitive musicology which emphasizes the use of computational models for human musical abilities and cognition and the cognitive neuroscience of music which studies the way that music perception and production manifests in the brain using the methodologies of cognitive neuroscience While aspects of the field can be highly theoretical much of modern music psychology seeks to optimize the practices and professions of music performance composition education and therapy 12 Performance practice and research Edit Performance practice draws on many of the tools of historical musicology to answer the specific question of how music was performed in various places at various times in the past Although previously confined to early music recent research in performance practice has embraced questions such as how the early history of recording affected the use of vibrato in classical music or instruments in Klezmer Within the rubric of musicology performance practice tends to emphasize the collection and synthesis of evidence about how music should be performed The important other side learning how to sing authentically or perform a historical instrument is usually part of conservatory or other performance training However many top researchers in performance practice are also excellent musicians Music performance research or music performance science is strongly associated with music psychology It aims to document and explain the psychological physiological sociological and cultural details of how music is actually performed rather than how it should be performed The approach to research tends to be systematic and empirical and to involve the collection and analysis of both quantitative and qualitative data The findings of music performance research can often be applied in music education Education and careers Edit Music historian Jack Stewart lectures at a conference Musicologists in tenure track professor positions typically hold a PhD in musicology In the 1960s and 1970s some musicologists obtained professor positions with an MA as their highest degree but in the 2010s the PhD is the standard minimum credential for tenure track professor positions As part of their initial training musicologists typically complete a BMus or a BA in music or a related field such as history and in many cases an MA in musicology Some individuals apply directly from a bachelor s degree to a PhD and in these cases they may not receive an MA In the 2010s given the increasingly interdisciplinary nature of university graduate programs some applicants for musicology PhD programs may have academic training both in music and outside of music e g a student may apply with a BMus and an MA in psychology In music education individuals may hold an M Ed and an Ed D Most musicologists work as instructors lecturers or professors in colleges universities or conservatories The job market for tenure track professor positions is very competitive Entry level applicants must hold a completed PhD or the equivalent degree and applicants to more senior professor positions must have a strong record of publishing in peer reviewed journals Some PhD holding musicologists are only able to find insecure positions as sessional lecturers The job tasks of a musicologist are the same as those of a professor in any other humanities discipline teaching undergraduate and or graduate classes in their area of specialization and in many cases some general courses such as Music Appreciation or Introduction to Music History conducting research in their area of expertise publishing articles about their research in peer reviewed journals authors book chapters books or textbooks traveling to conferences to give talks on their research and learn about research in their field and if their program includes a graduate school supervising MA and PhD students giving them guidance on the preparation of their theses and dissertations Some musicology professors may take on senior administrative positions in their institution such as Dean or Chair of the School of Music Notable journals Edit19th Century Music 1977 present Acta Musicologica 1928 2014 International Musicological Society Asian Music 1968 2002 BACH Journal of the Riemenschneider Bach Institute 1970 present Black Music Research Journal 1980 2004 Early Music History 1981 2002 Ethnomusicology 1953 2003 Society for Ethnomusicology Journal of Music Theory 1957 2002 The Journal of Musicology 1982 2004 Journal of the American Musicological Society 1948 present American Musicological Society Journal of the Society for American Music Musica Disciplina 1946 present Music Educators Journal 1934 2007 Music Theory Spectrum 1979 present Society for Music Theory The Musical Quarterly 1915 present Perspectives of New Music 1962 present The World of Music 1957 present Yearbook for Traditional Music 1981 2003 See also Category Music theory journalsRole of women Edit Rosetta Reitz 1924 2008 was an American jazz historian who established a record label producing 18 albums of the music of the early women of jazz and the blues 13 The vast majority of major musicologists and music historians from past generations have been men as in the 19th century and early 20th century women s involvement in teaching music was mainly in elementary and secondary music teaching 14 Nevertheless some women musicologists have reached the top ranks of the profession Carolyn Abbate born 1956 is an American musicologist who did her PhD at Princeton University She has been described by the Harvard Gazette as one of the world s most accomplished and admired music historians 15 Susan McClary born 1946 is a musicologist associated with new musicology who incorporates feminist music criticism in her work McClary holds a PhD from Harvard University One of her best known works is Feminine Endings 1991 which covers musical constructions of gender and sexuality gendered aspects of traditional music theory gendered sexuality in musical narrative music as a gendered discourse and issues affecting women musicians 16 Other notable women scholars include Eva Badura Skoda Margaret Bent Suzanne Cusick Ursula Gunther Maud Cuney Hare Amelia Ishmael Tammy L Kernodle Liudmila Kovnatskaya Elizabeth Eva Leach Ottalie Mark Carol J Oja Rosetta Reitz Elaine Sisman Hedi Stadlen Rose Rosengard Subotnik Anahit Tsitsikian Sherrie TuckerSee also Edit Music portalAcoustics Aesthetics of music Choreomusicology Computational musicology List of musicologists List of musicology topics Music and emotion Music and mathematics Music education Musical analysis Musical temperament Musical tuning Organology Prehistoric music Psychoanalysis and music Scale music Set theory music Sociomusicology Tonality World music Virtual Library of MusicologyReferences Edit Bader Rolf 2018 Spring Handbook of Systematic Musicology Springer p 40 ISBN 978 3662550045 Retrieved 5 August 2019 Beard David Gloag Kenneth 2005 Musicology The Key Concepts Routledge ISBN 978 0 415 31692 7 McClary Susan 1991 Feminine Endings Music Gender and Sexuality Minneapolis MN University of Minnesota Press p 4 Rosen Charles 2001 The New Musicology Critical Entertainments Music Old and New Harvard University Press p 264 ISBN 978 0 674 00684 3 I doubt that anyone except perhaps the nineteenth century critic Hanslick has ever really believed that although some musicians have been goaded into proclaiming it by the sillier interpretations of music with which we are often assailed Titon Jeff Todd January 2020 Ethnomusicology as the Study of People Making Music Musicological Annual 51 2 175 185 doi 10 4312 mz 51 2 175 185 ISSN 2350 4242 S2CID 191062139 McCollum Jonathan Hebert David eds 2014 Theory and Method in Historical Ethnomusicology Lanham MD Rowman amp Littlefield Ko C K S 2011 An Analysis of Sociomusicology Its Issues and the Music and Society in Hong Kong Hong Kong Ko Ka Shing ISBN 978 9 881 58021 4 This book has been selected for inclusion in the Association for Chinese Music Research Bibliography in 2012 Moore Allan ed 2003 Analyzing Popular Music p 2 ISBN 978 0 521 77120 7 Popular musicology should be read as the musicological investigation of popular music rather than the accessible investigation of music Popular Music All Issues journal Cambridge University Press Moore 2003 p 4 Tan Siu Lan Pfordresher Peter Harre Rom 2010 Psychology of Music From Sound to Significance New York Psychology Press p 2 ISBN 978 1 84169 868 7 Ockelford Adam 2009 Beyond music psychology In Hallam Susan Cross Ian Thaut Michael eds The Oxford Handbook of Music Psychology Oxford Oxford University Press p 539 ISBN 978 0 19 929845 7 Martin Douglas Rosetta Reitz Champion of Jazz Women Dies at 84 The New York Times 14 November 2008 Accessed 19 November 2008 Wieland Howe Sandra 2015 Women Music Educators in the United States A History GEMS Gender Education Music and Society 8 4 When looking beyond bandleaders and top leaders women had many music education roles in the home community churches public schools and teacher training institutions and as writers patrons and through their volunteer work in organizations Abbate named University Professor The Harvard Gazette 20 November 2013 Accessed 10 December 2014 Susan McClary MacArthur Foundation 1 July 1995 Retrieved 18 January 2021 Further reading EditAllen Warren Dwight 1962 Philosophies of Music History a Study of General Histories of Music 1600 1960 New ed New York Dover Publications N B First published in 1939 expanded and updated for republication in 1962 Babich Babette 2003 Postmodern Musicology in Victor E Taylor and Charles Winquist eds Routledge Encyclopedia of Postmodernism London Routledge 2003 pp 153 159 ISBN 978 0 415 30886 1 Brackett David 1995 Interpreting Popular Music ISBN 0 520 22541 4 Cook Nicholas What is Musicology BBC Music Magazine 7 May 1999 31 33 Everett Walter ed 2000 Expression in Pop Rock Music ISBN 0 8153 3160 6 McCollum Jonathan and David Hebert eds 2014 Theory and Method in Historical Ethnomusicology Lanham MD Lexington ISBN 978 0 7391 6826 4 Honing Henkjan 2006 On the growing role of observation formalization and experimental method in musicology Empirical Musicology Review Kerman Joseph 1985 Musicology London Fontana ISBN 0 00 197170 0 McClary Susan and Robert Walser 1988 Start Making Sense Musicology Wrestles with Rock in On Record ed by Frith and Goodwin 1990 pp 277 292 ISBN 0 394 56475 8 McClary Susan 2000 Women and Music on the Verge of the New Millennium Special Issue Feminists at a Millennium Signs 25 4 Summer 1283 1286 Middleton Richard 1990 2002 Studying Popular Music Philadelphia Open University Press ISBN 0 335 15275 9 Moore A F 2001 Rock The Primary Text 2nd edition ISBN 0 7546 0298 2 Parncutt Richard 2007 Systematic musicology and the history and future of Western musical scholarship Journal of Interdisciplinary Music Studies 1 1 32 Pruett James W and Thomas P Slavens 1985 Research Guide to Musicology Chicago American Library Association ISBN 0 8389 0331 2 Randel Don Michael ed 4th edition 2003 Harvard Dictionary of Music pp 452 454 The Belknap Press of Harvard University Press ISBN 0 674 01163 5 Sorce Keller Marcello The Emperor s New Clothes Why Musicologies Do Not Always Wish to Know All They Could Know in Victoria Lindsay Levine and Philip V Bohlman This Thing Called Music Essays in Honor of Bruno Nettl Lanham MD Boulder CO New York City London Rowman amp Littlefield 2015 pp 366 377 Tagg Philip 1979 ed 2000 Kojak 50 Seconds of Television Music Toward the Analysis of Affect in Popular Music pp 38 45 The Mass Media Music Scholar s Press ISBN 0 9701684 0 3 Tagg Philip 1982 Analysing Popular Music Theory Method and Practice Popular Music vol 2 Theory and Method pp 37 67 van der Merwe Peter 1989 Origins of the Popular Style The Antecedents of Twentieth Century Popular Music ISBN 0 19 816305 3 1992 Winkler Peter 1978 Toward a theory of pop harmony In Theory Only 4 pp 3 26 cited in Moore 2003 p 9 External links Edit Wikimedia Commons has media related to Musicology Wikiquote has quotations related to Musicology This article s use of external links may not follow Wikipedia s policies or guidelines Please improve this article by removing excessive or inappropriate external links and converting useful links where appropriate into footnote references February 2016 Learn how and when to remove this template message International Musicological Society IMS The American Musicological Society AMS Web sites of interest to Musicologists Archived 2020 01 27 at the Wayback Machine The Society for American Music International Association for the Study of Popular Music Society for Ethnomusicology Society for Music Theory The European Network for Theory amp Analysis of MusicOn line journals Edit Many musicology journals are only available in print or through pay for access portals This list however contains a sample of peer reviewed and open access journals in various subfields as examples of musicological writings JIMS Journal of Interdisciplinary Music Studies Echo a music centered journal Empirical Musicology Review website Ethnomusicology Review Journal of Interdisciplinary Music Studies JMM The Journal of Music and Meaning Music Theory Online Journal of Seventeenth Century Music Min Ad Israel Studies in Musicology Online Music and Politics Volume French journal of popular music studiesA list of open access European journals in the domains of music theory and or analysis is available on the website of the European Network for Theory amp Analysis of Music A more complete list of open access journals in theory and analysis can be found on the website of the Societe Belge d Analyse Musicale in French Retrieved from https en wikipedia org w index php title Musicology amp oldid 1149192276, wikipedia, wiki, book, books, library,

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