Musicology

Musicology (Greek: μουσικη = "music" and λογος = "word" or "reason") is the scholarly study of
music. The word is used in narrow, broad and intermediate senses. In the narrow sense,
musicology is confined to the music history of Western cultural elites. In the intermediate sense,
it includes all relevant humanities and a range of musical forms, styles, genres and traditions. In
the broad sense, it includes - at least potentially - all musically relevant disciplines and all
manifestations of music in all cultures. The broad meaning corresponds most closely to the
word's etymology, the entry on "musicology" in Grove's dictionary, the entry on
"Musikwissenschaft" in Musik in Geschichte und Gegenwart, and the classic approach of Adler
(1885).

In the broad definition, the parent disciplines of musicology include history; cultural studies and
gender studies; philosophy, aesthetics and semiotics; ethnology and cultural anthropology;
archeology and prehistory; psychology and sociology; biology, physiology and the
neurosciences; acoustics and psychoacoustics; and computer/information sciences and
mathematics. Musicology also has two central, practically oriented subdisciplines with no parent
discipline: performance practice and research, and the theory, analysis and composition of
music. The disciplinary neighbors of musicology address other forms of art, performance, ritual
and communication, including the history and theory of the visual and plastic arts and of
architecture; linguistics, literature and theater; religion and theology; and sport. Musical
knowledge and know-how are applied in medicine, education and therapy, which may be
regarded as the parent disciplines of Applied Musicology.
Contents

 1 Types of Musicology
 1.1 Historical musicology
 1.1.1 New Musicology
 1.2 Philosophy and aesthetics of music
 1.3 Semiotics of music
 1.4 Ethnomusicology
 2 == Archaeology and prehistory of music
 2.1 Sociology of music
 2.2 Psychology of music
 2.2.1 Music cognition
 2.3 Physiology and neurosciences of music
 2.4 Biomusicology and zoomusicology
 2.5 Acoustics and psychoacoustics of music
 2.6 Computer/information sciences and mathematics of music
  2.7 Music theory, analysis and composition
 2.8 Performance practice and research
 2.9 What is music?
 2.10 Critiques of musicology
 2.10.1 Arbitrary exclusion of disciplines and musics
 2.10.2 Richard Middleton's critique of musicology
 2.11 See also
 2.12 References
 2.13 External links
Music history or historical musicology is a diverse subfield of the broader discipline of
musicology that studies 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 (e. g. baroque concertos), the social function of music
for a particular group of people (e. g. court music), or modes of performance at a particular
place and time (e. g. 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 different approaches to music. There are also national differences in the
definition of historical musicology.

In theory, "music history" could refer to the study of the history of any type or genre of music
(e.g., the history of Indian music or the history of rock). In practice, these research topics may
be misleadingly categorized as part of ethnomusicology, cultural studies, or music sociology.

The methods of historical musicology include source studies (esp. manuscript studies),
paleography, philology (especially textual criticism), style criticism, historiography (the choice of
historical method), musical analysis, 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. (For a more
detailed discussion of methods see "Research in Music History" below.)

The intellectual products of music historians include editions of musical works, biography of
composers and other musicians, studies of the relationship between words and music, and the
reflections upon the place of music in society.

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 Adorno. 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." Today, many musicologists no longer distinguish between musicology
and New Musicology, since many of the scholarly concerns that used to be associated New
Musicology have now become mainstream, and the term "new" clearly no longer applies.

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Ethnomusicology is the study of music in its cultural context. It can be considered the
anthropology of music. Jeff Todd Titon has called it the study of "people making music". It is
often thought of as a study of non-Western musics, and indeed most of the work in
ethnomusicology has been on non-Western or popular music. But ethnomusicology may also
include the study of Western "classical" music from an anthropological perspective.

After studying previous publications, ethnomusicologists usually (but not always) conduct
fieldwork in the culture they are studying. Such fieldwork may involve the recording and later
transcription of music, interviewing musicians, and/or learning to perform in a different musical
style (called bimusicality).

Theomusicology is the study of music informed by theology. It is a multi-disciplinary modality,

using tools from ethnomusicology, ritual studies and liturgical studies, sociology, psychology
and philosophy. Theomusicology takes the religious aspects of the culture under study as
normative sources.

Among the key issues in the sociology of music, or sociomusicology, is that new music styles
and genres tend to correlate to new subcultures. For example, in contemporary North American
society, a teenager might not be brought up to like the "goth lifestyle", but through the listening
of goth music provided to him by friends, he embraces the subculture partly because of his
liking to the music and partly to feel accepted in his group of friends. The role of music in
identity, agency, and social structure, are issues that have also been examined in the field of
ethnomusicology.

Music psychology applies the content and methods of all subdisciplines of psychology
(perception, cognition, motivation, personality and so on) to all aspects of musical behaviour
and experience (performance, listening, composition).

Music cognition is the study of music as information, from the viewpoint of cognitive science.
Since it primarily addresses the processing of musical information by humans, it may be
regarded as a subdiscipline of music psychology. The discipline shares the interdisciplinary
nature of fields such as cognitive linguistics.

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Biomusicology is the study of music from a biological point of view. Zoomusicology is a field of
musicology and zoology or more specifically, zoosemiotics. Zoomusicology is the study of the
music of animals, or rather the musical aspects of sound or communication produced and
received by animals. Biomusicology is likewise the study of the musical aspects of sound and
communication produced and received by all living organisms. Biomusicology can sometimes
also encompass questions of music's origin and the possibility of an evolutionary purpose for
music.

details needed here

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). 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.
Thus, music theory generally lags behind practice in important ways, but also points towards
future exploration, composition, and performance.

Musicians study music theory in order to be able to understand the structural relationships in the
(nearly always notated) music, and composers study music theory in order to be able to
understand how to produce effects and to structure their own works. Composers may study
music theory in order 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.

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 an 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.

Although one might expect "What is music?" to be the first (and historical) question of
musicology, surprisingly, it has not occupied a central part of musicological discourse. For
instance, the 1980 edition of the 20-volume New Grove Dictionary of Music and Musicians had
no entry for "music". The problem is that no-one has been able to formulate a definition of music
that applies equally to all known forms of music, is supported by musicology's diverse
subdisciplines, and is likely to remain constant as knowledge and discourse about music
changes. Moreover, many cultures have no word or concept for "music", but instead refer to
specific activities such as singing or dancing, or specific ceremonies and rituals, that other
cultures regard as musical.

In its most narrow definition, musicology is the music history of Western cultural elites. Such a
definition arbitrarily excludes disciplines other than history, cultures other than Western, and
forms of music other than "classical" ("art", "serious", "high culture") or notated ("artificial") -
implying that the omitted disciplines, cultures, and musical styles/genres are somehow inferior.
A somewhat broader definition incorporating all musical humanities is still problematic, because
it arbitrarily excludes the relevant (natural) sciences (acoustics, psychology, physiology,
neurosciences, information and computer sciences, empirical sociology and aesthetics) as well
as musical practice.

Within historical musicology, scholars have been reluctant to adopt postmodern and critical
approaches that are common elsewhere in the humanities. According to Susan McClary (2000,
p.1285) the discipline of "music lags behind the other arts; it picks up ideas from other media
just when they have become outmoded." Only in the 1990s did historical musicologists,
preceded by feminist musicologists in the late 80s, begin to address issues such as gender,
sexualities, bodies, emotions, and subjectivities which dominated the humanities for twenty
years before (ibid, p.10). In McClary's words (1991, p.5), "It almost seems that musicology
managed miraculously to pass directly from pre- to postfeminism without ever having to change
- or even examine - its ways."

Furthermore, in their discussion on musicology and rock music, Susan McClary and Robert
Walser also address a key struggle within the discipline: how musicology has often "dismisse[d]
questions of socio-musical interaction out of hand, that part of classical music's greatness is
ascribed to its autonomy from society." (1988, p. 283)

According to Richard Middleton, the strongest criticism of (historical) musicology has been that it
by and large ignores popular music. Though musicological study of popular music has vastly
increased in quantity recently, Middleton's assertion in 1990-- that most major "works of
musicology, theoretical or historical, act as though popular music did not exist" -- holds true.
Academic and conservatory training typically only peripherally addresses this broad spectrum of
musics, and many (historical) musicologists who are "both contemptuous and condescending
are looking for types of production, musical form, and listening which they associate with a
different kind of music...'classical music'...and they generally find popular music lacking"
(Middleton 1990, p.103).

He cites (p.104-6) "three main aspects of this problem":

1. "a terminology slanted by the needs and history of a particular music ('classical music')."
1. "on one hand, there is a rich vocabulary for certain areas [harmony, tonality,
certain part-writing and forms], important in musicology's typical corpus, and
an impoverished vocabulary for others [rhythm, pitch nuance and gradation,
and timbre], which are less well developed there"
2. "on the other hand, terms are ideologically loaded...these connotations are
ideological because they always involve selective, and often unconsciously
formulated, conceptions of what music is."
2. "a methodology slanted by the characteristics of notation," 'notational centricity' (Tagg
1979, p.28-32)
1. "musicological methods tend to foreground those musical parameters which
can be easily notated...they tend to neglect or have difficulty with parameters
which are not easily notated", such as Fred Lerdahl. "notation-centric training
induces particular forms of listening, and these then tend to be applied to all
sorts of music, appropriately or not."
2. Notational centricity also encourages "reification: the score comes to be seen
as 'the music', or perhaps the music in an ideal form."
3. "an ideology slanted by the origins and development of a particular body of music and
its aesthetic...It arose at a specific moment, in a specific context - nineteenth-century
Europe, especially Germany - and in close association with that movement in the
musical practice of the period which was codifying the very repertory then taken by
musicology as the centre of its attention."

These terminological, methodological, and ideological problems affect even works symphathetic
to popular music. However, it is not "that musicology cannot understand popular music, or that
students of popular music should abandon musicology" (p.104).
 Organology
 Musical set theory
 Tonal theory
 Psychoacoustics
 Music education
 Prehistoric music
 Tuning, Temperament and Scales

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Category · Portal · Project
 Adler, Guido (1885). Umfang, Methode und Ziel der Musikwissenschaft.
Vierteljahresschrift für Musikwissenschaft, 1, 5-20.
 Gaunt, Kyra D. (2006). The Games Black Girls Play. ISBN 0-8147-3120-1.
 Honing, Henkjan (2006). "On the growing role of observation, formalization and
experimental method in musicology." Empirical Musicology Review, 1/1, 2-5
 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 0394564758.
 McClary, Susan (1991). Feminine Endings. Music, Gender, and Sexuality. University of
Minnesota Press. ISBN 0-8166-1899-2 (pbk).
 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. Cited in
Gaunt (2006).
 Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University
Press. ISBN 0-335-15275-9.
 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 ed. 2003). Harvard Dictionary of Music, pp. 452–454.
The Belknap Press of Harvard University Press. ISBN 0-674-01163-5.
 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.
 The American Musicological Society (Wikipedia entry)
 Doctoral Dissertations in Musicology Online
 AMS: Web sites of interest to Musicologists
 The Society for American Music
 Graduate Programs in Musicology
 Conference on Interdisciplinary Musicology
 Society for Ethnomusicology
 Gestalt Theory and Musicology
 Wikiquote - quotes about musicology

On-line Journals

Although most of the broadest musicology journals are not available on-line, a sampling of peer
reviewed journals in various subfields gives some idea of musicological writings:

 Echo: a music centered journal

 Empirical Musicology
 Music Theory Online
 Journal of Seventeenth-Century Music
 Ethnomusicology OnLine
 Min-Ad: Israel Studies in Musicology Online
 Research in New Zealand Performing Arts

Musicology Blogs

More and more musicological scholarship is appearing in the blogosphere:

 amusicology.com
 Dial "M" for Musicology
http://domainhelp.search.com/reference/Musicology