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Musicology 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. 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.
Music history, sometimes called historical musicology, is a highly diverse subfield of the broader discipline of musicology that studies music from a historical point of view. In theory, "music history" could refer to the study of the history of any type or genre of music. In practice, these research topics are often categorized as part of ethnomusicology or cultural studies, whether or not they are ethnographically based. The terms "music history" and "historical musicology" usually refer to the history of the notated music of Western elites, sometimes called "art music".
New musicology is a wide body of musicology since the 1980s with a focus upon the cultural study, aesthetics, criticism, and hermeneutics of music. It began in part a reaction against the traditional positivist musicology of the early 20th century and postwar era. Many of the procedures of new musicology are considered standard, although the name more often refers to the historical turn rather than to any single set of ideas or principles. Indeed, although it was notably influenced by feminism, gender studies, queer theory, postcolonial studies, and critical theory, new musicology has primarily been characterized by a wide-ranging eclecticism.
Allen Forte was an American music theorist and musicologist. He was Battell Professor Emeritus of the Theory of Music at Yale University and specialized in 20th-century atonal music and music analysis.
Gustave Reese was an American musicologist and teacher. Reese is known mainly for his work on medieval and Renaissance music, particularly with his two publications Music in the Middle Ages (1940) and Music in the Renaissance (1954); these two books remain the standard reference works for these two eras, with complete and precise bibliographical material, allowing for almost every piece of music mentioned to be traced back to a primary source.
The American Musicological Society (AMS) is a musicological organization which researches, promotes and produces publications on music. Founded in 1934, the AMS was begun by leading American musicologists of the time, and was crucial in legitimizing musicology as a scholarly discipline.
Richard Filler Taruskin was an American musicologist and music critic who was among the leading and most prominent music historians of his generation. The breadth of his scrutiny into source material as well as musical analysis that combines sociological, cultural, and political perspectives, has incited much discussion, debate and controversy. He regularly wrote music criticism for newspapers including The New York Times. He researched a wide variety of areas, but a central topic was the Russian music of the 18th century to present day. Other subjects he engaged with include the theory of performance, 15th-century music, 20th-century classical music, nationalism in music, the theory of modernism, and analysis. He is best known for his monumental survey of Western classical music, the six-volume Oxford History of Western Music. He received several awards, including the first Noah Greenberg Award from the American Musicological Society in 1978, and the Kyoto Prize in Arts and Philosophy in 2017.
Hugo Leichtentritt was a German-Jewish musicologist and composer who spent much of his life in the USA. His pupils include composers Leroy Robertson and Erich Walter Sternberg.
Joseph Wilfred Kerman was an American musicologist and music critic. Among the leading musicologists of his generation, his 1985 book Contemplating Music: Challenges to Musicology was described by Philip Brett in The Grove Dictionary of Music and Musicians as "a defining moment in the field." He was Professor Emeritus of Musicology at the University of California, Berkeley.
Claude Victor Palisca was an American musicologist. An internationally recognized authority on early music, especially opera of the Renaissance and Baroque periods, he was the Henry L. and Lucy G. Moses Professor Emeritus of Music at Yale University. Palisca is best known for co-writing the standard textbook A History of Western Music, as well as for his substantial body of work on the history of music theory in the Renaissance, reflected in his editorship of the Yale Music Theory in Translation series and in the book Humanism in Italian Renaissance Musical Thought (1985). In particular, he was the leading expert on the Florentine Camerata. His 1968 book Baroque Music in the Prentice-Hall history of music series ran to three editions.
Leo Treitler is an American musicologist born in Dortmund, Germany. He is distinguished professor at the Graduate Center of the City University of New York.
Tim Carter is an Australian musicologist with a special focus on late Renaissance music and Italian Baroque music. An active member of the field of musicology, Carter is a department chair at the University of North Carolina at Chapel Hill, where he holds the position of David G. Frey Distinguished Professor. He has worked on the editorial boards or staffs of a number of prominent musical publications and has published extensively in the field.
Alexander Rehding is Fanny Peabody Professor of Music at Harvard University. Rehding is a music theorist and musicologist with a focus on intellectual history and media theory, known for innovative interdisciplinary work. His publications explore music in a wide range of contexts from Ancient Greek music to the Eurovision Song Contest—and even in outer space. His research has contributed to Riemannian theory, the history of music theory, sound studies, and media archaeology, reaching into the digital humanities and ecomusicology.
Philip Brett was a British-born American musicologist, musician and conductor. He was particularly known for his scholarly studies on Benjamin Britten and William Byrd and for his contributions to the development of lesbian and gay musicology. At the time of his death, he was Distinguished Professor of Musicology at the University of California, Los Angeles.
Barbara Russano Hanning is an American musicologist who specializes in 16th- and 17th-century Italian music. She has also written works on the music of 18th-century France and on musical iconography.
Ellen Rosand is an American musicologist, historian, and opera critic who specializes in Italian music and poetry of the 16th through 18th centuries. Her work has been particularly focused on the music and culture of Venice and Italian opera of the baroque era. She is an acknowledged expert on the operas of Handel and Vivaldi, and on Venetian opera. Her books include Opera in Seventeenth-Century Venice: The Creation of a Genre and Monteverdi's last operas: a Venetian trilogy. She has also contributed articles to numerous publications, including The New Grove Dictionary of Music and Musicians.
Karol Berger is a Polish-American musicologist.
Lawrence Kramer is an American musicologist and composer. His academic work is closely associated with the humanistic, culturally oriented New Musicology, now more often referred to as cultural or critical musicology. Writing in 2001, Alastair Williams described Kramer as a pioneering figure in the disciplinary change that brought musicology, formerly an outlier, into the broader fold of the humanities.
Mark Everist is a British music historian, critic and musicologist.
References
- ↑ "University of Pennsylvania - Department of Music". Archived from the original on 2010-04-02. Retrieved 2010-04-15.
- ↑ "Musicologist and cultural theorist Tomlinson named director of Whitney Humanities Center". YaleNews. 23 April 2012. Retrieved 12 June 2015.
