Musicology

Musicology is the name of the scientific discipline whose content is the theoretical study of music, ie the investigation and reflection of all aspects of music and music making. The phenomenon of music is considered from the perspective of all relevant disciplines ( and their paths to knowledge ); including intellectual, cultural, natural, social and structural scientific approaches.

The musicology is now divided into the following areas:

• Historical musicology, and music history
• Systematic Musicology
• Ethnomusicology, and Ethnomusicology, formerly comparative musicology

An older dichotomy in historical and comparative musicology is one of the first German musicologist, the Austrians Guido Adler (1855-1941), back. For Adler, the Comparative Musicology ( " Musicology " ) was a portion of Systematic Musicology. With the rapid international growth of the tray ethnomusicology during the 20th century, the dichotomy eagle has been overtaken.

The academic musicology in Germany since the 19th century focused mainly on historical research and teaching. An overview of musicological schools, directions and research priorities of the German musicology institutions offering the study guide musicology of the Federation of Students of musicology eV

Historical Musicology

The scope of historical musicology is music and history. It uses the source research, notation and music text analysis to uncover facts of the past. The Historical Musicology wants to make available sources and interpret them. Only since the 1960s, one turns to the music of the 20th century. Above all, the history of European music ( art music ) it has to content. It has various sub-areas:

• The Instrument tuition treated under the historical aspects of construction, acoustics, sound, use and playing of musical instruments. It is making experiments on classification of musical instruments, and provides guidance on performance practice.
• The iconography evaluates music-related image representations from as sources to gain insights into musical practice and belief, instruments, about people and social contexts.
• The performance practice of trying to open up the particular realization of musical notations in the spatial- acoustic, phonetic, occupation, and technical playing context. It creates the basis for the historical performance practice that seeks a factory or epoch faithful reproduction.
• The notation customer explores the recording of music, being in the center of their interest is the transmission of works in a contemporary form of notation.
• The source client opens with the help of philological, iconographic and diplomatic methods of primary and secondary sources for the history of music.
• The biography of the 19th century one of the main research fields in the humanities, describes the lives of people whose work is relevant to the history of music.
• The set of customer analyzed musical structure features such as harmony, rhythm, counterpoint or melodic. Your history of composition research results in statements about the historical development of music theory.
• The terminology suggests and defines terms that are used to describe music and the communication about them. It aims to clarify factual and contributes to the overall understanding of issues relating to music at.
• The stylistics examines analogous to other cultural studies characteristics of music that are valid on individual works out in order to identify epochs and genre -specific characteristics or to characterize a personal, group, genus-, regional or national style.

Important auxiliary disciplines are:

• Archaeology and Early History
• Music Archaeology

Systematic Musicology

From the original concept of Adler ( 1885) (keyword: " Gesetzesmäßigkeiten ") and the current international scientific practice shows that the subject of systematic musicology not primarily specific forms of music such as pieces of art, performances, traditions, genres, composers, styles, periods, etc., but rather the music itself and musical phenomena in general. To allow abstract, general statements about music is a " systematic " approach necessary (examples: epistemology, logic, classification, measurement, empiricism, statistical analysis, modeling, prediction). The systematic musicology is divided into the following individual events:

• The musical acoustics examines the physical basis of sound, which is perceived differently by sound generators based and acoustic conditions.
• The Music Physiology focuses on the one hand as a vocal and auditory physiology with the physiological conditions of the structure and function of the human vocal or Hörapparates (ear, auditory nerve, cortex ), on the other hand they studied as physiology instrumental performance muscle and motor function in the musical activity. Your results will be equally in music therapy as in music education teaching.
• The sound or Hörpsychologie concerned as an independent branch of general psychology of music with psychological processes of auditory perception, psycho-acoustic phenomena and the conditions under which incorporated, processed and responded to stimuli.
• The music psychology deals with the basics, conditions and consequences of music perception in Gestalt and cognitive psychology point of view. It examines both reactions to elementary parameters ( pitch, loudness, etc.) as well as complex phenomena such as musicality and the resulting consequences for the perception of music. For this purpose it makes use of, inter alia, statistical and informatic techniques.
• The sociology of music examined using sociological methods, the relationship between music and society, as well as existing in their institutions in order to identify causal relationships of mutual influence. Articles of this sub-discipline are the musical work and its reception, which can be analyzed using the tools of social science. The frequent overlap with other sciences gives an intertwining to other disciplines, such as to the psychology of music at social psychological issues or social anthropology at objects outside the Western- European cultural space.
• The music education is in its theoretical part part of musicology; she explores problems, methods and goals of music education and care, in private, educational and institutional framework, in turn, the results of which in the didactics and methodology of practical pedagogy.
• The philosophy of music as an element of the scheme and to define her humanities orientation examines the question of the nature of the music. Besides ontological and aesthetic aspects of the other musicological sub-areas reflecting form, meaning, significance and communicative structures of the music increasingly semiotic means.

Ethnomusicology

Since Jaap Kunst 1950, the English word ethnomusicology introduce the concepts of ethnomusicology or ethnomusicology over the previous comparative musicology have prevailed in German. The subject deals with music outside the Western art music. What remains is the European folk and popular music, the music of non-European peoples and the natural musical cultures that are not from the European Occident dependent, such as the Asian culture. Historical and systematic aspects are incorporated herein strict. The Abkapslung of the third branch is important, however, since different cultures have different requirements. So there is not in every culture the concept of " music ". And where does for science, " music " ever at? Often this brings only the field research science forward, where the daily life of people is observed in unmodified form as possible. Research areas:

• Music in the context of urban
• Music in the context of migration
• Music in everyday functional context ( liturgy, dance music, film music, music and advertising, etc.)
• Instrument tuition
• Music and religion
• Rock music with its subsystems, such as Progressive Rock and Glam Rock
• Youth subcultures
• Iconography in terms of sonic expressions
• Ethnomethodology and as a derivation of this methodology ethnomethodological Music Education, which works with the methods of quantitative and qualitative social research

Applied Musicology

The disciplines of applied musicology are areas of practical concern with music. The findings of applied sciences are directly utilized in the (mostly professional ) practice. Your sub-areas are as follows:

• The musical instruments deals with construction and restoration of musical instruments, and the development of technological innovations.
• The music theory taught as part of the field of music education, the different areas of music theory.
• The music critics rated musical works and their performances or media according to criteria such as Aesthetics or stylistics.

History of Musicology

Musical sciences to Age of Enlightenment

The developed in the Hellenistic antiquity curriculum based on the two pillars musician and gymnastics, which should promote the formation of the mind and the body. Therefore took the subject taught musician, which since Plato dealt with the latest mathematical and musicological issues, in its original and broad meaning a preferred place in the ancient education system a. Also, which emerged from this tradition ars musica turned to topics that are currently assigned to the Musicology or a special branch of research in music theory. As one of the four mathematical arts ( quadrivium ) of the septem artes liberales - - In the medieval university education was the ars musica but assigned only the space of a propaedeutic subject of philosophy. The latter was in turn since the Middle Ages as ancilla theologiae and participated as faculty lower compared to the highest theological faculty of only a supporting role in the Western Christian education. This was not without consequences for the ars musica who tried to justify to the theology with relevant quotations from the Bible in terms of its intellectual-historical relevance. A final emancipation of Philosophy against the theological faculties took place only in the Enlightenment from about 1740 instead, the music had now fallen out of the canon of university education.

Musicology in Germany in the 18th century

Lorenz Christoph Mizler Correspondierende Societät musica metallic Sciences (1738-1761) is considered the first musicological society. Mizler was with his held from 1736-1742 lectures at the University of Leipzig the first high school teacher who taught the subject Musicology according to a proposal submitted by him curriculum at a university after the expiry of the ars musica tradition. It was his stated intention, " the musical sciences, as well what the history anbelanget, and what from the world wisdom, mathematics, oratory and poetry heard this, is as much as possible to put in perfect state. " Tied In the following period now again operated at the Philosophical faculties musicology no more dignity to the noble Music Art ( Werkmeister 1691) of the ancient concept of music on, but turned primarily to other task fields.

Musicology during the Nazi era

Still not completely understood is the role of musicology in the Third Reich. Following the forced dismissal of Jewish scientists convinced Nazi party members or sympathizers in many places took over the institutions, and took them as willing executioners art within the meaning of the regime. So falsified about the musicologist Wolfgang Boetticher employees in the special bar music in the Operations Staff Reich Leader Rosenberg Schumann, Mendelssohn 's letters to the purposes of the National Socialist ideology. The musicologist Theophil Stengel and Herbert Gerigk published the racist Encyclopedia of Jews in the music. The musicologist Joseph Müller- Blattau became Professor of Musicology in Frankfurt am Main. Since 1933, SA Member, he conducted research for the research community Deutsches Ahnenerbe SS over the Germanic heritage in German art of music. In 1936, he played an inglorious role in the removal of Wilibald Gurlitt by the Nazi rector of the University of Freiburg / Breisgau. In 1937 he was appointed successor Gurlitt. Friedrich Blume held in 1938 at the first kingdom music days the keynote music and race foundations of a musical pedigree research. Besseler Heinrich, member of the SA and the Nazi Party called to the music days of the Hitler Youth in Erfurt, " that the cultivation of music at the University should be imbued with the spirit of the new HJ- song.

Even after the Second World War created many loaded musicologist music discourse of the Federal Republic; they were partly to the present day active in journalism. Otto Schumann published about 1940 " The history of German music "; in the 1980s was followed by standard works such as "The Great Concert Guide " and the "Manual of piano music." Other musicologists such as Hans Schnoor - spread their anti-Semitic remarks to Mendelssohn on ( quote: " musical miracle without mental substance "). Wolfgang Boetticher, involved in the confiscation of Jewish property, taught until 1998 at the University of Göttingen. Friedrich Blume was from 1949 editor of the first edition of the lexicon Music The music in past and present, Heinrich Besseler accepted a position at the newly established chair of musicology at the Friedrich -Schiller- University Jena, he was awarded the National Prize of the GDR.

A recent case is that of the musicologist Hans Heinrich Eggebrecht. The assertion of the historian Boris von Haken in a presentation at the annual meeting of the Society for Music Research in Tübingen, September 17, 2009, Eggebrecht was involved in massacres of Jews on the Crimean peninsula, has triggered a still ongoing debate located. A book publication of this announcement hook is still pending. Also in publications such as Albrecht Rieth miller German guiding culture music - music history after the Holocaust, some musicological careers are listed and their spiritual heritage critically examined. Also in the collection of the papers of the conference " Music Research - Fascism - Nazism ", which was held in Schloss Engers in 2000.