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• W967616743 abstract "As young musicologist, I was advised against pursuing wind band actively as scholarly topic. I was offered number of reasons: study was best left to wind band conductors, institutions would not be interested in hiring musicologist with such specialty, etc. These were all well-intentioned pieces of advice, meant for my benefit, but they led me to wonder why this situation existed. Would anyone give same advise to student interested in orchestral works, i.e. that study of such works is best left to conductors? Was perceived institutional reluctance product of lack of publication or presentation opportunities? If so, what factors have contributed to these conditions?It is my contention that manner in which Western art canon emerged, as well as values that developed around canon, has led to lack of musicological scholarship on wind band. as discipline has predicated itself primarily on canonical values; repertoires that stray from these values are necessarily devalued and afforded less attention. wind band as tradition has many manifestations that operate in different aesthetic contexts; ensembles can be geared towards ceremonial or traditional functions, or can appear as vehicle for aesthetic expression alone. While latter context is familiar to musicologists, former context is more traditionally province of ethnomusicologists, who place in cultural contexts and functions as prescribed by influence of anthropological practice. It follows that in some instances musicological practice is revealing, while in other wind band manifestations an ethnomusicological approach is appropriate. It is this varied nature of wind band, nature that requires approaches now found in separate disciplines, that proves problematic for musicology. Moreover this problem is not so much one of this methodological issue, as more scholars are employing approaches from both disciplines.1 More problematic are values that canon imparts. These values privilege that acts purely as vehicles for aesthetic expression and exist in that context alone; that functions in traditional or ceremonial contexts are devalued.2 wind band, which acts both aesthetically and functionally, is therefore less valued according to these criteria. This has led to lack of interest by musicologists.While canon emerges in before musicology, their origins are inexorably linked; we will therefore consider origins and definitions of musicology as field before considering Western canon. New Grove Dictionary of Music and Musicians, most common authority in field, defines musicology broadly: the scholarly study of music.3 is practiced in this broad sense elsewhere, but in United States it is construed more precisely. A committee of American Musicological Society focused on graduate studies defined field in 1955 as a field of knowledge having as its object investigation of art of as physical, psychological, aesthetic, and cultural phenomenon.4 This definition would seem to take cultural context, including function, into account, but first three areas are largely emphasis of field. This is due in large part to earlier origins of field in late nineteenth century.Historically, methodology of musicology has been modeled on an 1885 article in first issue of Musicological Quarterly (Vierteljahrsschrift fur Musikwissenschaft): The Scope, Method, and Aim of Musicology by Guido Adler (one of founders of journal).5 as term emerged in early 1860s as term Musikwissenschaft, literally translated as music science. This scientific definition is what distinguishes this field from fields of performance and composition. practice of composition involves theoretical perspectives to ends of an artist developing their own techniques, but musicology attempts to be science distinct from this. …" @default.
• W967616743 created "2016-06-24" @default.
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• W967616743 date "2013-09-01" @default.
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• W967616743 title "Canons and Consequences: Musicology and the Wind Band" @default.
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