By Stan Hawkins
This choice of unique essays is in tribute to the paintings of Derek Scott at the get together of his 60th birthday. As one of many top lighting in serious musicology, Scott has helped formed the epistemological course for song examine because the past due Nineteen Eighties. there isn't any doubt that the trail taken by way of the serious musicologist has been a tough one, resulting in new conceptions, interactions, and heated debates in the past 20 years. alterations in musicology through the ultimate a long time of the 20th century brought on the institution of latest units of theoretical equipment that probed on the social and cultural relevance of track, up to its self-referentiality. the entire students contributing to this publication have performed a job within the common paradigmatic shift that ensued within the wake of Kerman's demand swap within the Nineteen Eighties. getting down to tackle more than a few methods to theorizing song and promulgating modes of research throughout quite a lot of repertories, the essays during this assortment might be learn as a coming of age of severe musicology via its lively discussion with different disciplines reminiscent of sociology, feminism, ethnomusicology, historical past, anthropology, philosophy, cultural experiences, aesthetics, media stories, movie track stories, and gender stories. the amount presents track researchers and graduate scholars with an up to date authoritative connection with all issues facing the country of severe musicology this present day.
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Extra info for Critical Musicological Reflections: Essays in Honour of Derek B. Scott
This she proceeds to map against patterns of globalization, especially with respect to ‘world music’, arguing that this somewhat dubious generic category belies an interest in protecting local, traditional and national musical forms. Music education and its practice need to be receptive to both global and local musical practices that, in turn, can spark innovative musical pedagogies. The success of such an approach, Green suggests, requires a study of the cultural moulding of sound and its reception.
By the same token, the paradoxical positioning of ‘great music’ in Western culture is subjected to a level of evaluation that is as enthusiastic as it is critical. 47 This standpoint upholds the realization that music (whose basis is teleological and ideological) is about the mediation of metaphysical concepts. Scott’s quest, then, is one of finding a footing for not only contesting, but also affirming the aesthetic and ideological values that grant canonization. In Sounds of the Metropolis the performative and aesthetic practices that were established across North America and Europe are placed in a new light.
46 Such an insight into music of the metropolis helps shed light on the gulf between the ‘popular’ and ‘serious’ and the notoriety with which it was perpetuated through most of the twentieth century. It is the scholarly tenacity with which Scott delves into sociohistorical contexts that leads to this wealth of critical reflection on subjectivity. Indefatigably, his musicological inquiry uncovers many of the cultural meanings inscribed in human expression. Moreover, his approach includes a modelling of ideas that is crucial to understanding the prototypes of musical expression as represented by the historical documentation of our music.
Critical Musicological Reflections: Essays in Honour of Derek B. Scott by Stan Hawkins