Humanities and Music
AbstractThe postmodern discourse has challenged some basic concepts of music history: by denying the existence of deep-laid laws that govern the purportedly organic development of music, deconstruction questioned the allegedly inherent absolute values of classical music works. It is not a mere coincidence, however, that the deconstruction of music history appeared at a time when due to highly specialized studies the knowledge of music in various historical environments grew to such an extent that it became hardly possible for the history of music to be interpreted by any single concept. Judging from this viewpoint, deconstruction seems to have liberated the study of music from preconceived and inherited theoretical notions and systems of values together with their ideological implications. Due to the postmodern deconstructive critique, history of music seems to have been liberated from conceptual and ideological bonds; as such, it may still be understood as a vast body of knowledge and interpretations of music from ancient times up to the present, offering a relevant starting point for as good as any new musicological study or approach. As for the nature of musicology, it is highly significant that theories and approaches from various areas of the humanities prove applicable to music. This fact may be explained by the hypothesis that music – although seemingly without content – does not come into being independently of its environment; rather, it is deeply rooted in its contexts, the same that give rise also to other manifestations of the human spirit, eo ipso being subjects of the humaninities. Since concepts from other aerias of the humanities may be applied to its subject, musicology in a broader sense of the word may be understood as humanistic discourse on music.
Copyright (c) 2003 Jurij Snoj
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors are confirming that they are the authors of the submitting article, which will be published (print and online) in journal Musicological Annual by Znanstvena založba Filozofske fakultete Univerze v Ljubljani (University of Ljubljana, Faculty of Arts, Aškerčeva 2, 1000 Ljubljana, Slovenia). Author’s name will be evident in the article in journal. All decisions regarding layout and distribution of the work are in hands of the publisher.
- Authors guarantee that the work is their own original creation and does not infringe any statutory or common-law copyright or any proprietary right of any third party. In case of claims by third parties, authors commit their self to defend the interests of the publisher, and shall cover any potential costs.
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-ShareAlike 4.0 International License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.