By Stan Hawkins
This choice of unique essays is in tribute to the paintings of Derek Scott at the celebration of his 60th birthday. As one of many prime lighting in severe Musicology, Scott has assisted in shaping the epistemological course for tune learn because the past due Nineteen Eighties. there is not any doubt that the trail taken through the severe musicologist has been a difficult one, resulting in new conceptions, interactions, and heated debates in past times 20 years. alterations in musicology through the final many years of the 20th century triggered the institution of latest units of theoretical equipment that probed on the social and cultural relevance of tune, up to its self-referentiality. the entire students contributing to this publication have performed a task within the normal paradigmatic shift that ensued within the wake of Kerman's demand swap within the Nineteen Eighties. getting down to deal with a variety of methods to theorizing track and promulgating modes of research throughout a variety of repertories, the essays during this assortment should be learn as a coming of age of serious musicology via its lively discussion with different disciplines comparable to sociology, feminism, ethnomusicology, background, anthropology, philosophy, cultural stories, aesthetics, media reports, movie track stories, and gender experiences. the amount offers track researchers and graduate scholars with an up to date authoritative connection with all concerns facing the nation of severe musicology this present day.
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Extra resources for Critical Musicological Reflections: Essays in Honour of Derek B. Scott
Not so in this quartet, which consistently denies us the security of unequivocal identity. Indeed, we might regard this ambivalence as the G-major Quartet’s defining characteristic, as its true key note; within its historical context, the quartet performs a refusal of the Enlightenment-era archetypes that reward linear reason and hard work with happy endings. Schubert casts into serious doubt right from the outset on the viability – perhaps even the desirability – of such stories. A member of the Romantic generation that also produced sceptics such as Stendhal, Schubert peels back the veil that the eighteenth century had thrown over the less reassuring aspects of human experience, exposing us to the tribulations and uncertainties that beset even the most deserving of subjects.
My chapter will similarly explore experiences not visible to the eye, but – like St Paul and my similarly fearless colleague Derek Scott – I hope to offer something of substance along with the leaps of faith I will invite you to take over the course of my discussion. In his book Eyewitnessing, Peter Burke explains how the visual arts can contribute to historical knowledge. 2 Alas, music offers little concerning material culture, though the study of musical practices in their social contexts sheds some light on the people who made and enjoyed music.
For an in-depth discussion of these points, see Hawkins (2002), pp. 25–9, as well as Scott’s later work, in which he mobilizes ten questions relevant to approaching the ideological dimensions of musical evaluation (Scott 2003, pp. 6–7). 16 See Scott (2009), pp. 1–21. Scott regards popular musicology as ‘a branch or subset of critical musicology that has tended, for the most part, to interest itself in one particular area more than others, that of the music industry, its output and its audiences’ (p.