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'''Музикологија''' ([[Грчки језик|грч.]] ''musike'', ''logia'') начна је анализа и на истраживањима базирана студија [[Музика|музике]]. Она се превасходно бави [[Теорија музике|теоријом]] и историјом музике. Музиколошки департмани традиционално припадају [[Хуманистика|хуманистичким]] наукама, мада су музичка истраживања често више фокусирана на научни рад (психолошки, социолошки, акустички, неуролошки, [[Computational musicology|рачунски]]). Научник који учествује у музичком истраживању је '''музиколог'''.<ref>John Haines, ''Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music'' (Cambridge, 2004)<!--, '55 (What does this signify?) -->.</ref><ref>For broad treatments, see the entry on "musicology" in [[Grove Dictionary of Music and Musicians|Grove's dictionary]], the entry on "Musikwissenschaft" in ''[[Die Musik in Geschichte und Gegenwart]]'', and the classic approach of Adler (1885).</ref><ref>[[Guido Adler|Adler, Guido]] (1885). "Umfang, Methode und Ziel der Musikwissenschaft." ''Vierteljahresschrift für Musikwissenschaft'', 1, 5–20.</ref>
'''Музикологија''' ([[Грчки језик|грч.]] ''musike'', ''logia'') начна је анализа и на истраживањима базирана студија [[Музика|музике]]. Она се превасходно бави [[Теорија музике|теоријом]] и историјом музике. Музиколошки департмани традиционално припадају [[Хуманистика|хуманистичким]] наукама, мада су музичка истраживања често више фокусирана на научни рад (психолошки, социолошки, акустички, неуролошки, [[Computational musicology|рачунски]]). Научник који учествује у музичком истраживању је '''музиколог'''.<ref>John Haines, ''Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music'' (Cambridge, 2004)<!--, '55 (What does this signify?) -->.</ref><ref>For broad treatments, see the entry on "musicology" in [[Grove Dictionary of Music and Musicians|Grove's dictionary]], the entry on "Musikwissenschaft" in ''[[Die Musik in Geschichte und Gegenwart]]'', and the classic approach of Adler (1885).</ref><ref>[[Guido Adler|Adler, Guido]] (1885). "Umfang, Methode und Ziel der Musikwissenschaft." ''Vierteljahresschrift für Musikwissenschaft'', 1, 5–20.</ref>

== Залеђина ==
{{рут}}
The 19th-century philosophical trends that led to the re-establishment of formal musicology education in German and Austrian universities had combined methods of systematization with [[evolution]]. These models were established not only in the field of [[physical anthropology]], but also [[cultural anthropology]]. This was influenced by [[Hegel]]'s ideas on ordering "phenomena" from the simple to complex as the stages of evolution are classified from primitive to developed, and stages of history from ancient to modern. Comparative methods became more widespread in diverse disciplines from [[anatomy]] to [[Indo-European linguistics]], and beginning around 1880, also in comparative musicology.<ref>{{cite book |last=Bader |first=Rolf |title=Spring Handbook of Systematic Musicology |url=https://books.google.com/books?id=gK9SDwAAQBAJ |publisher=Springer |date=2018 |page=40 |access-date=5 August 2019 |isbn=978-3662550045}}</ref>

== Поддисциплине ==

===Historical musicology===
[[Music history]] or historical musicology is concerned with the composition, performance, reception and [[criticism]] of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres (such as baroque concertos), the social function of music for a particular group of people, (such as court music), or modes of performance at a particular place and time (such as Johann Sebastian Bach's choir in Leipzig). Like the comparable field of [[art history]], different branches and schools of historical musicology emphasize different types of musical works and approaches to music. There are also national differences in various definitions of historical musicology. In theory, "music history" could refer to the study of the history of any type or genre of music (such as the history of [[Music of India|Indian music]] or the history of [[Rock music|rock]]). In practice, these research topics are more often considered within [[ethnomusicology]] (see below) and "historical musicology" is typically assumed to imply Western Art music of the European tradition.

The methods of historical musicology include source studies (especially [[manuscript]] studies), [[palaeography]], [[philology]] (especially [[textual criticism]]), style criticism, historiography (the choice of [[historical method]]), musical analysis (analysis of music to find "inner coherence")<ref>{{cite book |last1=Beard |first1=David |last2=Gloag |first2=Kenneth |title=Musicology: The Key Concepts |publisher=Routledge |year=2005 |isbn=978-0-415-31692-7}}</ref> and [[iconography]]. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of [[music theory]]. Music historians create a number of written products, ranging from journal articles describing their current research, new editions of musical works, [[biographies]] of composers and other musicians, book-length studies or university textbook chapters or entire textbooks. Music historians may examine issues in a close focus, as in the case of scholars who examine the relationship between words and music for a given composer's [[art song]]s. On the other hand, some scholars take a broader view and assess the place of a given type of music, such as the [[symphony]] in society using techniques drawn from other fields, such as economics, sociology or philosophy.

===New musicology===
''[[New musicology]]'' is a term applied since the late 1980s to a wide body of work emphasizing [[cultural studies|cultural study]], analysis and criticism of music. Such work may be based on [[feminist]], [[gender studies]], [[queer theory]] or [[postcolonial]] theory, or the work of [[Theodor W. Adorno]]. Although New Musicology emerged from within historical musicology, the emphasis on cultural study within the Western art music tradition places New Musicology at the junction between historical, ethnological and sociological research in music.

New musicology was a reaction against traditional historical musicology, which according to [[Susan McClary]], "fastidiously declares issues of musical signification off-limits to those engaged in legitimate scholarship."<ref>{{cite book |last=McClary |first=Susan |author-link=Susan McClary |year=1991 |title=Feminine Endings: Music, Gender, and Sexuality |publisher=University of Minnesota Press |location=Minneapolis, MN |page=4 |isbn= }}</ref> [[Charles Rosen]], however, retorts that McClary, "sets up, like so many of the 'new musicologists', a [[straw man]] to knock down, the [[dogma]] that music has no meaning, and no political or social significance."<ref name="Rosen">{{cite book |last=Rosen |first=Charles |author-link=Charles Rosen |chapter=The New Musicology<!--pp.&nbsp;255–272.--> |title=Critical Entertainments: Music Old and New |quote=I doubt that anyone, except perhaps the nineteenth-century critic [[Eduard Hanslick|Hanslick]], has ever really believed that, although some musicians have been goaded into proclaiming it by the sillier interpretations of music with which we are often assailed. |publisher=Harvard University Press |year=2001 |page=264 |isbn=978-0-674-00684-3}}</ref> Today, many musicologists no longer distinguish between musicology and new musicology since it has been recognized that many of the scholarly concerns once associated with new musicology already were mainstream in musicology, so that the term "new" no longer applies.

===Ethnomusicology===
[[Ethnomusicology]], formerly comparative musicology, is the study of music in its cultural context. It is often considered the anthropology or [[ethnography]] of music. [[Jeff Todd Titon]] has called it the study of "people making music".<ref>{{cite journal |last=Titon |first=Jeff Todd |title=Ethnomusicology as the Study of People Making Music |url=https://www.academia.edu/10540708 |journal=Musicological Annual |volume=51 |issue=2 |pages=175–185 |date=January 2020 |issn=2350-4242 |s2cid=191062139 |doi=10.4312/mz.51.2.175-185 |doi-access=free}}</ref> Although it is most often concerned with the study of non-[[Western world|Western]] music, it also includes the study of Western music from an anthropological or sociological perspective, [[cultural studies]] and [[sociology]] as well as other disciplines in the social sciences and humanities. Some ethnomusicologists primarily conduct historical studies,<ref>{{cite book |editor-last1=McCollum |editor-first1=Jonathan |editor-last2=Hebert |editor-first2=David |title=Theory and Method in Historical Ethnomusicology |publisher=Rowman & Littlefield |location=Lanham, MD |year=2014 |isbn= }}</ref> but the majority are involved in long-term participant observation or combine ethnographic, musicological, and historical approaches in their fieldwork. Therefore, ethnomusicological scholarship can be characterized as featuring a substantial, intensive fieldwork component, often involving long-term residence within the community studied. Closely related to ethnomusicology is the emerging branch of [[sociomusicology]]. For instance, Ko (2011) proposed the hypothesis of "Biliterate and Trimusical" in Hong Kong sociomusicology.<ref>{{cite book |last=Ko |first=C.K.S. |title=An Analysis of Sociomusicology, Its Issues; and the Music and Society in Hong Kong |publisher=Ko Ka Shing |location=Hong Kong |year=2011 |isbn=978-9-881-58021-4}} This book has been selected for inclusion in the [http://hdl.handle.net/10524/23174 Association for Chinese Music Research Bibliography in 2012].</ref>

===Popular music studies===

Popular music studies, known, "misleadingly",<ref>{{cite book|editor-last=Moore|editor-first= Allan| year= 2003|title=Analyzing Popular Music| page=2|isbn=978-0-521-77120-7 | quote= 'Popular musicology' should be read as the musicological investigation of popular music, rather than the accessible investigation of music!}}</ref> as ''popular musicology'', emerged in the 1980s as an increasing number of musicologists, ethnomusicologists and other varieties of historians of American and European culture began to write about popular music past and present. The first journal focusing on popular music studies was ''Popular Music'' which began publication in 1981.<ref>[https://www.cambridge.org/core/journals/popular-music/all-issues ''Popular Music - All Issues''] (journal), [[Cambridge University Press]]</ref> The same year an academic society solely devoted to the topic was formed, the [[International Association for the Study of Popular Music]]. The association's founding was partly motivated by the interdisciplinary agenda of popular musicology though the group has been characterized by a polarized 'musicological' and 'sociological' approach also typical of popular musicology.{{sfn|Moore|2003|p=4}}


== Референце ==
== Референце ==

Верзија на датум 20. јул 2023. у 07:33

За друге употребе погледајте страницу Музикологија (часопис).

Музикологија (грч. musike, logia) начна је анализа и на истраживањима базирана студија музике. Она се превасходно бави теоријом и историјом музике. Музиколошки департмани традиционално припадају хуманистичким наукама, мада су музичка истраживања често више фокусирана на научни рад (психолошки, социолошки, акустички, неуролошки, рачунски). Научник који учествује у музичком истраживању је музиколог.[1][2][3]

Залеђина

The 19th-century philosophical trends that led to the re-establishment of formal musicology education in German and Austrian universities had combined methods of systematization with evolution. These models were established not only in the field of physical anthropology, but also cultural anthropology. This was influenced by Hegel's ideas on ordering "phenomena" from the simple to complex as the stages of evolution are classified from primitive to developed, and stages of history from ancient to modern. Comparative methods became more widespread in diverse disciplines from anatomy to Indo-European linguistics, and beginning around 1880, also in comparative musicology.[4]

Поддисциплине

Historical musicology

Music history or historical musicology is concerned with the composition, performance, reception and criticism of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres (such as baroque concertos), the social function of music for a particular group of people, (such as court music), or modes of performance at a particular place and time (such as Johann Sebastian Bach's choir in Leipzig). Like the comparable field of art history, different branches and schools of historical musicology emphasize different types of musical works and approaches to music. There are also national differences in various definitions of historical musicology. In theory, "music history" could refer to the study of the history of any type or genre of music (such as the history of Indian music or the history of rock). In practice, these research topics are more often considered within ethnomusicology (see below) and "historical musicology" is typically assumed to imply Western Art music of the European tradition.

The methods of historical musicology include source studies (especially manuscript studies), palaeography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis (analysis of music to find "inner coherence")[5] and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. Music historians create a number of written products, ranging from journal articles describing their current research, new editions of musical works, biographies of composers and other musicians, book-length studies or university textbook chapters or entire textbooks. Music historians may examine issues in a close focus, as in the case of scholars who examine the relationship between words and music for a given composer's art songs. On the other hand, some scholars take a broader view and assess the place of a given type of music, such as the symphony in society using techniques drawn from other fields, such as economics, sociology or philosophy.

New musicology

New musicology is a term applied since the late 1980s to a wide body of work emphasizing cultural study, analysis and criticism of music. Such work may be based on feminist, gender studies, queer theory or postcolonial theory, or the work of Theodor W. Adorno. Although New Musicology emerged from within historical musicology, the emphasis on cultural study within the Western art music tradition places New Musicology at the junction between historical, ethnological and sociological research in music.

New musicology was a reaction against traditional historical musicology, which according to Susan McClary, "fastidiously declares issues of musical signification off-limits to those engaged in legitimate scholarship."[6] Charles Rosen, however, retorts that McClary, "sets up, like so many of the 'new musicologists', a straw man to knock down, the dogma that music has no meaning, and no political or social significance."[7] Today, many musicologists no longer distinguish between musicology and new musicology since it has been recognized that many of the scholarly concerns once associated with new musicology already were mainstream in musicology, so that the term "new" no longer applies.

Ethnomusicology

Ethnomusicology, formerly comparative musicology, is the study of music in its cultural context. It is often considered the anthropology or ethnography of music. Jeff Todd Titon has called it the study of "people making music".[8] Although it is most often concerned with the study of non-Western music, it also includes the study of Western music from an anthropological or sociological perspective, cultural studies and sociology as well as other disciplines in the social sciences and humanities. Some ethnomusicologists primarily conduct historical studies,[9] but the majority are involved in long-term participant observation or combine ethnographic, musicological, and historical approaches in their fieldwork. Therefore, ethnomusicological scholarship can be characterized as featuring a substantial, intensive fieldwork component, often involving long-term residence within the community studied. Closely related to ethnomusicology is the emerging branch of sociomusicology. For instance, Ko (2011) proposed the hypothesis of "Biliterate and Trimusical" in Hong Kong sociomusicology.[10]

Popular music studies

Popular music studies, known, "misleadingly",[11] as popular musicology, emerged in the 1980s as an increasing number of musicologists, ethnomusicologists and other varieties of historians of American and European culture began to write about popular music past and present. The first journal focusing on popular music studies was Popular Music which began publication in 1981.[12] The same year an academic society solely devoted to the topic was formed, the International Association for the Study of Popular Music. The association's founding was partly motivated by the interdisciplinary agenda of popular musicology though the group has been characterized by a polarized 'musicological' and 'sociological' approach also typical of popular musicology.[13]

Референце

  1. ^ John Haines, Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music (Cambridge, 2004).
  2. ^ For broad treatments, see the entry on "musicology" in Grove's dictionary, the entry on "Musikwissenschaft" in Die Musik in Geschichte und Gegenwart, and the classic approach of Adler (1885).
  3. ^ Adler, Guido (1885). "Umfang, Methode und Ziel der Musikwissenschaft." Vierteljahresschrift für Musikwissenschaft, 1, 5–20.
  4. ^ Bader, Rolf (2018). Spring Handbook of Systematic Musicology. Springer. стр. 40. ISBN 978-3662550045. Приступљено 5. 8. 2019. 
  5. ^ Beard, David; Gloag, Kenneth (2005). Musicology: The Key Concepts. Routledge. ISBN 978-0-415-31692-7. 
  6. ^ McClary, Susan (1991). Feminine Endings: Music, Gender, and Sexuality. Minneapolis, MN: University of Minnesota Press. стр. 4. 
  7. ^ Rosen, Charles (2001). „The New Musicology”. Critical Entertainments: Music Old and New. Harvard University Press. стр. 264. ISBN 978-0-674-00684-3. „I doubt that anyone, except perhaps the nineteenth-century critic Hanslick, has ever really believed that, although some musicians have been goaded into proclaiming it by the sillier interpretations of music with which we are often assailed.” 
  8. ^ Titon, Jeff Todd (јануар 2020). „Ethnomusicology as the Study of People Making Music”. Musicological Annual. 51 (2): 175—185. ISSN 2350-4242. S2CID 191062139. doi:10.4312/mz.51.2.175-185 Слободан приступ. 
  9. ^ McCollum, Jonathan; Hebert, David, ур. (2014). Theory and Method in Historical Ethnomusicology. Lanham, MD: Rowman & Littlefield. 
  10. ^ Ko, C.K.S. (2011). An Analysis of Sociomusicology, Its Issues; and the Music and Society in Hong Kong. Hong Kong: Ko Ka Shing. ISBN 978-9-881-58021-4.  This book has been selected for inclusion in the Association for Chinese Music Research Bibliography in 2012.
  11. '^ Moore, Allan, ур. (2003). Analyzing Popular Music. стр. 2. ISBN 978-0-521-77120-7. „Popular musicology' should be read as the musicological investigation of popular music, rather than the accessible investigation of music!” 
  12. ^ Popular Music - All Issues (journal), Cambridge University Press
  13. ^ Moore 2003, стр. 4.

Литература

  • Allen, Warren Dwight (1962). Philosophies of Music History: a Study of General Histories of Music, 1600–1960. New ... ed. New York: Dover Publications. N.B.: First published in 1939; expanded and updated for republication in 1962.
  • Babich, Babette (2003) "Postmodern Musicology" in Victor E. Taylor and Charles Winquist, eds., Routledge Encyclopedia of Postmodernism, London: Routledge, 2003. pp. 153–159. ISBN 978-0-415-30886-1.
  • Brackett, David (1995). Interpreting Popular Music. ISBN 0-520-22541-4.
  • Cook, Nicholas, "What is Musicology?", BBC Music Magazine 7 (May, 1999), 31–3
  • Everett, Walter, ed. (2000). Expression in Pop-Rock Music. ISBN 0-8153-3160-6.
  • McCollum, Jonathan and David Hebert, eds. (2014). Theory and Method in Historical Ethnomusicology. Lanham, MD: Lexington. ISBN 978-0-7391-6826-4.
  • Honing, Henkjan (2006). "On the growing role of observation, formalization and experimental method in musicology. " Empirical Musicology Review.
  • Kerman, Joseph (1985). Musicology. London: Fontana. ISBN 0-00-197170-0.
  • McClary, Susan, and Robert Walser (1988). "Start Making Sense! Musicology Wrestles with Rock" in On Record ed. by Frith and Goodwin (1990), pp. 277–292.ISBN 0-394-56475-8.
  • McClary, Susan (1991). Feminine Endings. Music, Gender, and Sexuality. University of Minnesota Press. ISBN 0-8166-1899-2 (pbk).
  • McClary, Susan (2000). "Women and Music on the Verge of the New Millennium (Special Issue: Feminists at a Millennium)", Signs 25/4 (Summer): 1283–1286.
  • Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
  • Moore, A.F. (2001). Rock: The Primary Text, 2nd edn., ISBN 0-7546-0298-2.
  • Parncutt, Richard. (2007). "Systematic musicology and the history and future of Western musical scholarship", Journal of Interdisciplinary Music Studies, 1, 1–32.
  • Pruett, James W., and Thomas P. Slavens (1985). Research guide to musicology. Chicago: American Library Association. ISBN 0-8389-0331-2.
  • Randel, Don Michael, ed. (4th ed. 2003). Harvard Dictionary of Music, pp. 452–454. The Belknap Press of Harvard University Press. ISBN 0-674-01163-5.
  • Tagg, Philip (1979, ed. 2000). Kojak - 50 Seconds of Television Music: Toward the Analysis of Affect in Popular Music, pp. 38–45. The Mass Media Music Scholar's Press. ISBN 0-9701684-0-3.
  • Tagg, Philip (1982). "Analysing Popular Music: Theory, Method and Practice", Popular Music, Vol. 2, Theory and Method, pp. 37–67.
  • van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth Century Popular Music. ISBN 0-19-816305-3 (1992).
  • Winkler, Peter (1978). "Toward a theory of pop harmony", In Theory Only, 4, pp. 3–26., cited in Moore (2003), p. 9.

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Онлајн журнали

Иако многи музиколошки часописи нису доступни онлајн или су доступни само путем портала са плаћањем приступа, узорковање рецензираних часописа у разним потпољима даје одређену идеју о музиколошким списима:

Следећим музиколошким часописима може се приступити онлајн користећи JSTOR (потребна је претплата за потпуни приступ). Многи од њих имају своја најновија издања доступна онлајн путем портала издавача (који обично захтевају накнаду за приступ).

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