Critical Practice in Musicology

Learning Outcomes

Subject Specific Intellectual and Research Skills

Having successfully completed this module you will be able to:

• explain the range of critical approaches to Western music employed since the late 18th century
• read and understand scholarly literature on music that employs terms derived from cultural theory
• use a critical vocabulary derived from cultural studies as part of a detailed study of a musical work and its existing literature
• describe and evaluate critical practices employed in musicology following the discipline’s intense period of self-critique in the 1980s and 1990s
• explain the essential features of a specific piece of musical criticism
• discuss critically the political affiliations and impact of various musicological methods, conventions, and discourses
• understand and employ terms derived from cultural theory in discussions of the arts

Transferable and Generic Skills

Having successfully completed this module you will be able to:

• actively participate in debate about scholarly practices

Knowledge and Understanding

Having successfully completed this module, you will be able to demonstrate knowledge and understanding of:

• the applicability of different critical practices to different repertories
• the methodological and ideological frameworks of a range of recent scholarly writings on music
• some of the current critical practices in musicology

This module is based on a selection of recent and innovative scholarly writings on music, which challenge the reader to examine their assumptions about the nature of both scholarship and music as cultural practices.

Teaching and learning methods

Teaching methods include

• formal teaching in seminars
• structured discussion seminars, in which course tutor acts as moderator.

Learning activities include

• reading about the discipline of musicology
• following, in a step-by-step fashion, some innovative writings on music
• preparing oral summaries and evaluations of critical writings
• weekly study diary, published on class blog

The seminars are designed to clarify the principles underlying critical approaches, and to show how they may be applied to specific contexts. The background reading will enable you to study in greater depth matters that are introduced in the seminars but not explored in detail. The week-to-week study of critical methods, together with the longer-term application of these methods in formal assessment, will give you the competence to undertake critical acts of your own, and the confidence to share your insights into music with your tutors, your peers, and your own students.

Resources & Reading list

Journal Articles

Taruskin, Richard (1995). “The Modern Sound of Early Music” and “Tradition and Authority.”. Text and Act: Essays on Music and Performance, pp. 164-97.

Kerman, Joseph (1985). “Introduction” and “Musicology and Positivism: The Postwar Years.”. Musicology, pp. 11—59.

Middleton, Richard (2000). Introduction. Reading Pop: Approaches to Textual Analysis in Popular Music, pp. 1—19.

Tomlinson, Gary (1984). The Web of Culture: A Context for Musicology. 19th Century Music, 7(3), pp. 350-62.

Claude Palisca (1963). The Scope of American Musicology. Musicology, pp. 89-121.

Cusick, Suzanne G (1999). Gender, Musicology, and Feminism. Rethinking Music, pp. 471-98.

Subotnik, Rose Rosengard (1996). Toward a Deconstruction of Structural Listening: A Critique of Schoenberg, Adorno, and Stravinsky. Deconstructive Variations: Music and Reason in Western Society, pp. 148-252.

Treitler, Leo (1999). The Historiography of Music: Issues of Past and Present. Rethinking Music, pp. 356-77.

Tucker, Sherrie (2008). When Did Jazz Go Straight? A Queer Question for Jazz Studies. Critical studies in improvisation, 4(2).

Burke, Peter (2005). Performing History: The Importance of Occasions. Rethinking History, 9, pp. 35-52.

Fink, Robert (1998). Elvis Everywhere: Musicology and Popular Music Studies At the Twilight of the Canon. American Music, pp. 135-79.

Solie, Ruth (1997). Defining Feminism: Conundrums, Contexts, Communities. Women and Music: A Journal of Gender and Culture, 1, pp. 1—11.

Treitler, Leo (1989). Music Analysis in a Historical Context. Music and the Historical Imagination, pp. 67-78.

Frith, Simon (2004). What is Bad Music?. Bad Music: The Music We Love to Hate, pp. 16-36.

Duckles, Vincent and Jann Pasler. Musicology §I: The nature of musicology. Grove Music Online.

Levy, Beth E (2001). ’The White Hope of American Music,’ Or, How Roy Harris Became Western. American Music, 19(2), pp. 131-67.

Bowen, José (1999). Finding the Music in Musicology. Rethinking Music, pp. 424-51.

Everist, Mark (1999). Reception Theories, Canonic Discourses, and Musical Value. Rethinking Music, pp. 378-402.

Nettl, Bruno (1999). The Institutionalization of Musicology: Perspectives of a North American Ethnomusicologist. Rethinking Music, pp. 287-310.

Geertz, Clifford (1973). Thick Description: Toward an Interpretive Theory of Culture. The Interpretation of Cultures.

Smith, Bruce R. (2004). Listening to the Wild Blue Yonder: The Challenges of Acoustic Ecology. Hearing Cultures: Essays on Sound, Listening, and Modernity, pp. 21-41.

Solie, Ruth (1993). Introduction: On 'Difference'. Musicology and Difference: Gender and Sexuality in Music Scholarship, pp. 1—20.

Covach, John (1999). Popular Music, Unpopular Musicology. Rethinking Music, pp. 452-470.

Pinch, Trevor and Karin Bijsterveld (2004). Sound Studies: New Technologies and Music. Social Studies of Science, pp. 635-648.

Taruskin, Richard (2005). Introduction: The History of What?. The Oxford History of Western Music.

Gabbard, Krin (1995). The Jazz Canon and Its Consequences. Jazz Among the Discourses, pp. 1—28.

Dreyfus, Laurence (1993). Musical Analysis and the Historical Imperative. Revista de musicologia, 16, pp. 407- 19.

Guck, Marion A (1994). Analytical Fictions. Music Theory Spectrum, 16(2), pp. 217–30.

Potter, Pamela (2007). The Concept of Race in German Musical Discourse. Western Music and Race, pp. 49-62.

Dahlhaus, Carl (1983). The Significance of Art: Historical of Aesthetic?. Foundations of Music History, pp. 19-33.

Jenkins, Keith, and Alun Munslow (2004). Introduction. The Nature of History Reader, pp. 1—18.

Agawu, Kofi (1997). Analyzing Music Under the New Musicological Regime. The Journal of Musicology, 15(3), pp. 297-307.

Samuels, David W., et al. (2010). Soundscapes: Toward a Sounded Anthropology. Annual Review of Anthropology, 39, pp. 329-45.

Middleton, Richard (2000). Musical Belongings: Western Music and Its Low-Other. Western Music and its Others: Difference, Representation, and Appropriation in Music, pp. 59-85.

Davies, James (2006). Julia’s Gift: The Social Life of Scores, c.1830. Journal of the Royal Musical Association, pp. 287–309.

Brett, Philip (1993). Britten's Dream. Musicology and Difference: Gender and Sexuality in Music Scholarship, pp. 259-79.

Taruskin, Richard. Nationalism. Grove Music Online.

Citron, Marcia (1993). Introduction. Gender and the Musical Canon, pp. 1—14.

Cook, Nicholas (1999). Analysing Performance and Performing Analysis. Rethinking Music, pp. 424-51.

Small, Christopher (1998). Prelude. The Meanings of Performing and Listening, pp. 1—18.

Samson, Jim. Canon (iii). Grove Music Online.

Assessment strategy

• one position paper, critically engaging with one of the topics covered during the module
• one essay summarising the major themes and debates surrounding one topic in the musicological literature covered during the semester

Summative

This is how we’ll formally assess what you have learned in this module.

Referral

This is how we’ll assess you if you don’t meet the criteria to pass this module.

Repeat

An internal repeat is where you take all of your modules again, including any you passed. An external repeat is where you only re-take the modules you failed.

Repeat Information

Repeat type: Internal & External