Since musicology’s inception as an academic discipline in the 19th century, few scholars have influenced the field as profoundly as Susan McClary. Perhaps best known for her central role in “New Musicology”—the late-1980s push to incorporate social, political, and cultural analyses into music studies—she is certainly no stranger to criticism and controversy. Although there were […]
Tag: Musicology & Theory
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The Discovery Phase
The Center for Black Music Research (CBMR) is an independent research unit of Columbia College Chicago devoted to the documentation, research, preservation, and dissemination of information about the history of black music on a global scale. I recently spoke with Melanie Zeck, Research Fellow with the Center, over Skype. Zeck joined the CBMR in 2005, […]
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The Berliozians
Behind the fabulous website hberlioz.com, turning 20 this year, is not a team of French musicologists, but rather a pair of retired academics in Edinburgh, Scotland. Monir Tayeb and Michel Austin live in a quite street which traces its origins back to the 18th century. In the living room, above two large computers, hangs a […]
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Liquid Modernity
In his first book, Music After the Fall: Modern Composition and Culture Since 1989 (University of California Press), Tim Rutherford-Johnson writes: “Searching for or describing unities in the present age, which is usually described as fragmentary, may be foolhardy. But as economic, political, and technological forces conspire to create a world that is more homogenous […]
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Nonfictional Music
Jennie Gottschalk is a composer and scholar currently residing in Boston. Gottschalk holds degrees from The Boston Conservatory and Northwestern University. Her teachers have included Larry Bell, Yakov Gubanov, Jay Alan Yim, Augusta Read Thomas, and Aaron Cassidy. Gottschalk’s new book “Experimental Music Since 1970” was recently published by Bloomsbury. Over the course of a […]
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What Is Indie Classical?
“During my dissertation research, I felt a certain mournful nostalgia for the world that I was investigating,” writes William Robin in “A Scene Without A Name: Indie Classical and American New Music in the 21st Century.” Reading it, I was surprised to find myself emotional at times too—a testament to Robin’s writing, which is precise […]