Introduction to Musicology: A Survey of the Fields, Systematic & Historical, of Musical Knowledge & Research

By Glen Haydon | Go to book overview
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applies, with necessary changes, to each of the subsequent chapters. Courses in the theory of music and in the philosophy of music history would, of course, naturally tend to be in the graduate field.
A NOTE OF WARNING
The reader is warned against assuming that the relative importance of the several subdivisions of musicology is in direct proportion to the amount of space devoted to each in the present book. Although it is impossible, if not pointless, to give the various subjects definite relative values, we are undoubtedly justified in juxtaposing theory with history in the systematic and historical framework, and in placing acoustics, psychophysiology, and aesthetics in the category of auxiliary science. This leaves musical pedagogy and comparative musicology as important practical divisions of systematic musicology, each with numerous characteristic articulations to the systematic field.17
BIBLIOGRAPHY
Abert Hermann, "Kunst, Kunstwissenschaft, und Kunstkritik," Gesammelte Schriften und Vorträge von Hermann Abert, pages 548-561. Edited by Friedrich Blume. Halle: Max Niemeyer, 1929.
-----, "Musikwissenschaft," Illustriertes Musik-Lexikon, page 316.
Adler Guido, "Musik und Musikwissenschaft," Jahrbuch der Musikbibliothek Peters, Vol. V ( 1898), pages 27-39.
-----, "Umfang, Methode und Ziel der Musikwissenschaft," Vierteljahrsschrift für Mitsikwissenschaft, Vol. I ( 1885), pages 5-20.
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17
The reader may be interested in comparing this arrangement of the systematic section of musicology with that of Guido Adler (given in Grove's Dictionary of Music and Musicians, Supplementary Volume, page 461). Cf. also, Waldo Selden Pratt, "On Behalf of Musicology," The Musical Quarterly, Vol. I ( 1915), pages 1-16.

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