Author: Prof. Ilya YonchevISBN: 954-844-011-3
Out of print
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When we use the term "musicological discourse" intuitively and associate it with a reflection on musical reality, we implicitly assume - usually also intuitively - what sort of reality we have in mind. But when analyzing musicological discourse, this approach holds risks, for such analysis must necessarily encompass all or at least different types of reflection. The problem is to know what kind of context the notion of "musicological discourse" is used in; this problem is enhanced by the obvious incompatibility of the approaches and the great stylistic differences that the musicologist sees in the history of discussions of music. Both thematically and historically musicological discourse can unfold to the cosmic dimensions of all music or shrink to a scrupulous inventory of the elements involved in the architectonic of a given musical composition. Moreover, every initial attitude, every approach, has its justifications, and these cannot be simply ignored.
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