Critical Musicological Reflections: Essays in Honour of Derek B. Scott

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Contents: 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
BA(c)la BartA^3k: 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 cana |': 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.

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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.

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Popular Music & Society

an excellent collection of essays covering a wide range of historical, philosophical, and interpretive approaches to musicological subjects... This collection is an admirable testament to the expansion of the discipline of musicology into both historical and theoretical methodological considerations

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