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By Giles Hooper

In "The Discourse of Musicology", Giles Hooper considers a few concerns imperative to fresh debates concerning the nature and path of latest musicology. the 1st bankruptcy seeks to situate and seriously reconsider the alleged 'postmodern' flip in musical scholarship. In trying to triumph over a number of the difficulties linked to postmodern conception, the second one bankruptcy attracts at the paintings of Jurgen Habermas to be able to interpret musicology as a kind of institutionalized discourse and to suggest a normative framework for the type of wisdom within which it could legitimately factor. The 3rd bankruptcy makes a speciality of the difficulty of 'mediation' and the 'music itself' and the fourth severely engages with the paintings of influential severe theorist, Theodor Adorno, and the modern musicologist, Lawrence Kramer. the ultimate bankruptcy compares and contrasts a few diversified ways to Mahler's 9th Symphony. The author's underlying objective all through is to question no matter if, and the way, it really is attainable to advance a style of musicological enquiry that's either epistemologically strong and whilst in a position to answering the call for that it show its social, political and moral relevance.

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Extra info for The Discourse of Musicology

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Indeed, as has been suggested, some of the principal concepts targeted by much contemporary ‘postmodern’ musicological discourse – among them, transcendentalism, internalism and A New Musicology? 33 organicism – were in part reactive against early cultural and social modernity, while historically prior to aesthetic modernism proper. If postmodernism has helped to collapse, or problematize, the binary distinction between ‘high’ and ‘low’, then the issue of formal close reading still remains central to debates internal to popular musicology.

Hence, some of the terminological confusion surrounding developments in contemporary musicology would appear to stem from the way in which a critical challenge to the traditional exclusion of particular repertoires, issues or interpretive priorities is confused with the adoption of ‘critical’ (theoretical) interpretive strategies themselves. To return to one of the topics considered earlier in this chapter, there is a marked difference between a challenge to the exclusion of music composed by women from the ‘canon’ of objects of viable study – albeit that such a challenge may be motivated by ‘critical’ feminist concerns – and the adoption of a critical theoretical (post)feminist interpretive framework or set of methodological presuppositions for the purpose of understanding any and (potentially) all music.

A New Musicology? 21). Contemporary musicology is undoubtedly characterized by an inherently self-reflective condition; it is often as concerned with problematizing itself as it is concerned with problematizing music – this book is of course a prime example. No doubt this is a symptom of disciplinary uncertainty, of the attempt to find one’s disciplinary bearings amid the swirling eddies of intellectual trends as well as to remain reflectively alert to one’s ‘grounding’ – especially in an academic climate acutely sensitive to the requirement that one do so.

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