At the completion of this course, students:|
1) are able to engage critically with historiographic and epistemological paradigms of musicological inquiry, both present and past;
2) have knowledge of epistemological and heuristic problems facing musicologists today and the methods available to address them;
3) have learned how to formulate research questions and assess the significance of one’s own research in a historiographical context;
4) have gained confidence in how to present the acquired knowledge in a coherent and digestible way both orally and in writing.
This course is for students in the RMA Musicology; students from the RMA programmes Art History, AMRS and MAPS should check with the course coordinator before enrolling. Only this way participation can be granted. The entrance requirements for Exchange Students will be checked by International Office and the Programme coordinator. You do not have to contact the Programme coordinator by yourself. |
Using examples from a variety of historical periods, geographical regions, and musicological subject areas, we review the most common historiographic models in the field of musicology in the past and now, including their advantages, limitations, and historical etiologies, and explore possible alternatives. Where once the discipline of musicology – as all others - knew distinct limits, today the boundaries appear fluid, or even to vanish entirely. Musicology expanded from researching the great composers, their patrons, culturally acknowledged masterworks, and the manuscripts and prints associated with them to incorporate, for example, issues of race, class, and gender, hybridization, popular forms of music, and the impact of media on music, all in an interdisciplinary or even transdisciplinary context. However, the deconstruction of inherited research paradigms also led to a destabilization of traditional canons of scholarly values and virtues. Can we write a history without heroes?
Training in written and oral presentation of research.