On the Growing Role of Observation, Formalization and Experimental Method in Musicology
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Date
2006-01
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Empirical Musicology Review
Abstract
In the last two decades an important shift has occurred in music research,
that is, from music as an art (or art object) to music as a process in which the performer,
the listener, and music as sound play a central role. This transformation is most notable in
the field of systematic musicology, which developed from “a mere extension of
musicology” into a “complete reorientation of the discipline to fundamental questions
which are non-historical in nature, [encompassing] research into the nature and properties
of music as an acoustical, psychological and cognitive phenomenon” (Duckles & Pasler,
2001). Three recent strands of music research will be briefly discussed, namely empirical,
computational, and cognitive musicology. They will be interpreted in the context of the
“cognitive revolution” in the humanities and the sciences.
Description
Author Institution: University of Amsterdam
Keywords
cognition, computational, empirical, epistemology, method, musicology
Citation
Empirical Musicology Review, v1 n1 (January 2006), 2-6