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Musicology and Postmodernism

Musicology and Postmodernism Music Analysis, 19/iii (2000) 385 ß Blackwell Publishers Ltd. 2000. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK ALASTAIR WILLIAMS genre was coming under fire from literary scholars is nonetheless ironic. Indeed, if only for this reason, it is not surprising that his call for musicology to turn critical should have been met by an accelerating wave of theoretical applications adapted from their original formulations in the spheres of literary and cultural studies. It is in this vein that musicology has been able to merge with wider humanities debates, all of them set to challenge the `common sense' views once prevalent. For musicology, this transformation has generally been as welcome as it was overdue. However, once interpretation moves beyond a necessary interrogation of epistemological strategies and institutional preferences, it risks embracing a set of postmodernist beliefs that are sometimes as dogmatic as their purportedly outmoded predecessors. Postmodernism, as an umbrella term, includes discourses that were forged in a struggle to displace notions such as integration, depth, teleology and grand narrative that at one time, we are told, were accepted unquestioningly. These critical discourses have performed invaluable work; but problems arise when they are taken to http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Musicology and Postmodernism

Music Analysis , Volume 19 (3) – Oct 1, 2000

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Publisher
Wiley
Copyright
Copyright © 2000 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00125
Publisher site
See Article on Publisher Site

Abstract

Music Analysis, 19/iii (2000) 385 ß Blackwell Publishers Ltd. 2000. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK ALASTAIR WILLIAMS genre was coming under fire from literary scholars is nonetheless ironic. Indeed, if only for this reason, it is not surprising that his call for musicology to turn critical should have been met by an accelerating wave of theoretical applications adapted from their original formulations in the spheres of literary and cultural studies. It is in this vein that musicology has been able to merge with wider humanities debates, all of them set to challenge the `common sense' views once prevalent. For musicology, this transformation has generally been as welcome as it was overdue. However, once interpretation moves beyond a necessary interrogation of epistemological strategies and institutional preferences, it risks embracing a set of postmodernist beliefs that are sometimes as dogmatic as their purportedly outmoded predecessors. Postmodernism, as an umbrella term, includes discourses that were forged in a struggle to displace notions such as integration, depth, teleology and grand narrative that at one time, we are told, were accepted unquestioningly. These critical discourses have performed invaluable work; but problems arise when they are taken to

Journal

Music AnalysisWiley

Published: Oct 1, 2000

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