Subject: Re: A Musicology of Ea/Cm
From: Carlos Palombini (email@example.com)
Date: Mon Oct 11 1999 - 14:56:14 EDT
Alexandra Hettergott escreveu:
> >In his article, Landy reviews the musicology of EA music --- 'any music
> >n which electricity has had some involvement in sound registration and/or
> >production other than that of simple microphone recording or amplification'
> >--- according to the traditional division of the discipline: historical
> >musicology, systematic musicology and ethnomusicology, plus critical >musicology.
> -- But why then a "new musicology", as Kevin poses it, at all, if the field is (to be
> considered to be) covered by the traditional threefold division anyway ?, and where,
> as to the contemporary scene, it often might not even be tenable (or desirable) ?
> Integration and a more pluralistic view here might once more seem to be more
> advisable -- don't we have a musiculture of (historical/geographical/technological)
> synchronicity today...?
Well, Landy starts by saying that he's not going to question the usefulness of
thatdivision. In my essay, I do precisely that, I call that tripartition into question,
that all musicology of EA music is necessarily critical, since it cannot accept some
assumptions of Western art music, and hence of its associated musicology.
> >as the musicological
> >text today results from select-copy-and-paste procedures. However, it might
> >be useful to ask to what extent such procedures, in general, result from a
> >certain worldview.
> ...or the opposite way around...
oui, tout le monde dit ša, donc ša va sans dire...
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