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Music of the Americas and Historical Narratives

Music of the Americas and Historical Narratives J. PeTer BUrkholder Music of the Americas and h istorical Narratives In recent decades, scholars and teachers of music history have expanded our reach to encompass a wider range of music. Musicologists have pro- duced a o fl od of research in areas that previously were little studied and have introduced new methods and perspectives. This work has chal- lenged the old paradigms of music history and has raised questions about what and how we should teach. These questions have come into particularly sharp focus for me since 2001, when I was asked to prepare the next editions of A History of Western Music, the leading textbook in english for the past half century, and the accompanying Norton Anthology of Western Music. These texts are canonic, in several senses: they are the oldest music history textbooks currently in widespread use; most students in music history survey courses in North America use them, as do students around the world, including translations into languages from Spanish to k orean; many students keep these books after the course is over and return to them throughout their careers as musicians and listeners; most North Americans who teach music history used A History of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Music of the Americas and Historical Narratives

American Music , Volume 27 (4) – Feb 26, 2010

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Publisher
University of Illinois Press
Copyright
Copyright © 2009 Board of Trustees of the University of Illinois
ISSN
1945-2349

Abstract

J. PeTer BUrkholder Music of the Americas and h istorical Narratives In recent decades, scholars and teachers of music history have expanded our reach to encompass a wider range of music. Musicologists have pro- duced a o fl od of research in areas that previously were little studied and have introduced new methods and perspectives. This work has chal- lenged the old paradigms of music history and has raised questions about what and how we should teach. These questions have come into particularly sharp focus for me since 2001, when I was asked to prepare the next editions of A History of Western Music, the leading textbook in english for the past half century, and the accompanying Norton Anthology of Western Music. These texts are canonic, in several senses: they are the oldest music history textbooks currently in widespread use; most students in music history survey courses in North America use them, as do students around the world, including translations into languages from Spanish to k orean; many students keep these books after the course is over and return to them throughout their careers as musicians and listeners; most North Americans who teach music history used A History of

Journal

American MusicUniversity of Illinois Press

Published: Feb 26, 2010

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