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People would pave Kerman’s book “contemplating music” as a social analysis of music. A holistic questioning of music and it’s questioning of the world. 

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People would pave Kerman’s book “contemplating music” as a social analysis of music. A holistic questioning of music and it’s questioning of the world. 

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“[Musicology] has come to mean the study of the history of Western music in the high-art tradition” (11)- this does not reflect musicology because it disregards perspectives from marginalized demographics. You are looking at when western history is “Europe western europe, and how musicology means this”. 

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“[Musicology] has come to mean the study of the history of Western music in the high-art tradition” (11)- this does not reflect musicology because it disregards perspectives from marginalized demographics. You are looking at when western history is “Europe western europe, and how musicology means this”. 

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“Musicology is perceived as dealing essentially with the factual, the documentary, the verifiable, the analysable, the positivistic. Musicologists are respected for the facts they know about music. They are not admired for their insight into music as aesthetic experience” (12)- Creates a censored society that only honors and celebrates music and not the aesthetic context like how it looks.

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The term "musicology" dates to the early 20th century and originally referred to the study of all aspects of music, inspired by German Musikwissenschaft.

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The term "musicology" dates to the early 20th century and originally referred to the study of all aspects of music, inspired by German Musikwissenschaft.

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Music Theory- Music analysis, analysis 

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Music Theory- Music analysis, analysis 

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Musicology- Western Art Music (WAM), history 

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Musicology- Western Art Music (WAM), history 

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Ethnomusicology- Everyone else outside of WAM, Ethnography , we call the history of others “culture, it is the paradigm between WAM and everyone else,, This is how we made way of the world in the 90’s, we could concede there was culture elsewhere but there was no investment for music that was not WAM. 

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Ethnomusicology- Everyone else outside of WAM, Ethnography , we call the history of others “culture, it is the paradigm between WAM and everyone else,, This is how we made way of the world in the 90’s, we could concede there was culture elsewhere but there was no investment for music that was not WAM. 

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Criticism- The study and value/meaning of music/artworkm he wants to say that it is distinct from music analysis. 

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Criticism- The study and value/meaning of music/artworkm he wants to say that it is distinct from music analysis. 

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Over time, its focus narrowed, particularly in academic contexts, to the history of Western art music.

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Over time, its focus narrowed, particularly in academic contexts, to the history of Western art music.

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Initially broad in scope, encompassing areas like acoustics, aesthetics, and pedagogy.

Now typically associated with the study of Western high-art music traditions.

Comparison with Related Disciplines:

Music Theory: Focuses on the structure and functioning of music, often technical and aligned with Western music traditions.

Ethnomusicology: Examines music within cultural contexts, often focusing on non-Western or folk traditions but sometimes extending to Western genres.

Perception of Musicologists:

Often seen as historians of Western music.

Sometimes criticized for focusing on factual knowledge at the expense of understanding music's aesthetic experience.

Criticism in Music:

Serious academic music criticism is underdeveloped compared to fields like art and literary criticism.

Journalistic music criticism is often limited by its format and lacks depth.

Role of Modernism:

Modernist movements in music, spanning works from Debussy to Cage, challenge traditional theoretical approaches and emphasize innovation.

Challenges in Analysis and Criticism:

Musical analysis is seen as overly focused on internal structures, ignoring broader historical, cultural, and emotional contexts.

Kerman advocates for integrating history and criticism to enrich musicological studies.

Interdisciplinary Overlaps:

Musicology, theory, and ethnomusicology often overlap in subject matter, particularly in their philosophies and ideologies.

Kerman's Approach:

Promotes a fusion of criticism and history in musicology.

Aims to bring aesthetic and analytical insights into musicological work.

Critique of Conventional Views:

Rejects both overly broad and overly narrow definitions of musicology.

Advocates for a balanced, critical, and historically grounded approach.

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Extends the criticism of Kerman, showing using Southern, that when we wanted to teach a class at harvard was met with pushback from colleagues demeaning her wokr as (jazz and spirituals), showing that in the categories of Musicology, music theory, and ethnomusicology, there is no space for black music to be represented.

It is not recrucical, like talking about black people to give a space, but he is saying it is critical to give a space to this

Ramsay defines criticism- This reads like what kerman is asking for, it is not an answer, but it is writing in he is saying that Musicology is getting the criticism it needs, there is the paradigm of musicology, music theory, and ethnomusicology, what was possible and not possible, offering the possibilities to what is available, focusing on ramsey and music criticism because kerman singles out music criticism, it is one way to think through this. Criticism is the basis to how we understand the world.

The late 20th century saw efforts to connect academic work with societal and cultural realities, impacting musicology.

Identity Politics in Black Music:

Discussions focus on race, gender, and historical experiences shaping perspectives in black music studies.

The term "identity politics" examines the relationship between black music and broader societal frameworks.

James Brown and Black Power:

James Brown's music, such as "Say It Loud," became emblematic of black cultural pride and empowerment.

His work laid the foundation for funk, jazz

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Pasqualini’s Entrance as Fame  The castrato Marc Antonio Pasqualini, dressed as Fame, appeared on a chariot during a Barberini family event in 1634, symbolizing a fusion of human and machine, and highlighting the cultural interplay between the organic and mechanical in 17th-century Rome.

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Pasqualini’s Entrance as Fame  The castrato Marc Antonio Pasqualini, dressed as Fame, appeared on a chariot during a Barberini family event in 1634, symbolizing a fusion of human and machine, and highlighting the cultural interplay between the organic and mechanical in 17th-century Rome.

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Castrati and Machines The altered bodies of castrati resonated with the mechanical innovations of their time, challenging the boundary between humans and machines.

Castrati as Special Effects Castrati were not only musicians but also theatrical "special effects," enhancing baroque spectacles that merged magic, music, and mechanical ingenuity.

Cyborg Theory Application Gordon applies cyborg theory to early modernity, identifying castrati as proto-cyborgs who transcended natural limits through surgical and cultural modifications.

Historical Context Seventeenth-century Rome was a hub of religious, intellectual, and artistic activity, blending classical thought with baroque innovation and emphasizing wonder through artifice.

Castrati's Cultural Role Castrati were central to sacred and secular rituals, performing alongside elaborate stage machinery in events reflecting Rome's fascination with spectacle.

Castrati and Gender The practice of employing castrati emerged partly to circumvent the presumed eroticism of female voices, aligning with the era's gender dynamics and cultural preferences.

Musical Superiority By the 17th century, castrati achieved unparalleled vocal virtuosity, with extended training and anatomical uniqueness contributing to their distinctive sound.

Mechanical and Human Analogies The human voice, particularly that of castrati, was understood analogously to mechanical instruments like hydraulic organs, emphasizing breath and resonance.

Technological Theatricality Baroque Rome showcased hydraulic organs and stage machines, blending human artistry with mechanical ingenuity to captivate audiences.

Training of Castrati Castrati underwent rigorous training regimes, often residing with patrons or teachers, to perfect their breath control, vocal technique, and stage presence.

Ethics of Mutilation The practice of creating castrati, involving surgical intervention, was both accepted in its time and indicative of broader societal norms surrounding bodily alteration and commodification.

With their sensory overload, spectacles as Virtual Realities Baroque performances served as immersive experiences comparable to modern virtual realities, transporting audiences to alternate realms.

Artifice and Authenticity The constructed nature of castrati voices and their role in baroque spectacles challenges modern notions of authenticity in art and performance.

Defamiliarizing the Past and Present The study of castrati and their intersection with baroque technology offers insights into both early modern and contemporary cultures, emphasizing the fluidity of human-machine boundaries.