Critical Musicological Reflections

This collection of original essays is in tribute to the work of Derek Scott on the occasion of his sixtieth birthday. As one of the leading lights in Critical Musicology, Scott has helped shape the epistemological direction for music research since the late 1980s. There is no doubt that the path taken by the critical musicologist has been a tricky one, leading to new conceptions, interactions, and heated debates during the past two decades. Changes in musicology during the closing decades of the twentieth century prompted the establishment of new sets of theoretical methods that probed at the social and cultural relevance of music, as much as its self-referentiality. All the scholars contributing to this book have played a role in the general paradigmatic shift that ensued in the wake of Kerman's call for change in the 1980s. Setting out to address a range of approaches to theorizing music and promulgating modes of analysis across a wide range of repertories, the essays in this collection can be read as a coming of age of critical musicology through its active dialogue with other disciplines such as sociology, feminism, ethnomusicology, history, anthropology, philosophy, cultural studies, aesthetics, media studies, film music studies, and gender studies. The volume provides music researchers and graduate students with an up-to-date authoritative reference to all matters dealing with the state of critical musicology today.

Stan Hawkins is Professor of Musicology at the University of Oslo, Norway and adjunct professor at the University of Agder, Kristiansand, Norway. He is author of Settling the Pop Score (2002), The British Pop Dandy (2009), co-author of Prince: The Making of a Pop Music Phenomenon (2011), editor of Pop Music and Easy Listening (2011), and co-editor of Music, Space and Place (2005) (all published by Ashgate) and Essays on Sound and Vision (2007).

Festschrift; List of Publications by Derek Scott; Great, Scott!, Stan Hawkins; Evidence of things not seen: history, subjectivities, music, Susan McClary; Musical identities, learning and education: some cross-cultural issues, Lucy Green; Bela Bartok: reintegrating the semantic and syntactic axes in Duke Bluebeard's Castle, David Cooper; Amusing the cultivated classes and cultivating the masses: changes in concert repertoires in 19th-century Helsinki, Vesa Kurkela; From schizophonia to paraphonia: on the cultural matrix of digitally generated pop-sounds, Peter Wicke; Material culture and decentred selfhood (socio-visual typologies of musical excess), Richard Leppert; 'As fast as one possibly can...': virtuosity, a truth of musical performance?, Antoine Hennion; On music criticism and affect: two cases of the disaffected acoustic imaginary, John Richardson; The development of Bob Dylan's rhythmic sense: 'the times they were a'changin' (1958-1964), Charles Ford; How genres are born, change, die: conventions, communities and diachronic processes, Franco Fabbri; Anatomy of the encounter: intercultural analysis as relational musicology, Nicholas Cook; One way of feeling: contextualizing a hermeneutics of spatialization, Allan F. Moore; The virtuoso body, or, the two births of musical performance, Lawrence Kramer; Epilogue, Sheila Whiteley; Index.