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New Musicology

The New Musicology est le terme désignant un large champ de la musicologie qui enrichit sa démarche analytique et critique grâce aux études culturelles, et l'apport du féminisme, des études de genre, des études gaies et lesbiennes, de la théorie queer et des postcolonial studies. Les travaux de penseurs structuralistes et de post-structuralistes français, et à un moindre degré l'étude critique des théories de Theodor Adorno et de Walter Benjamin, ont aussi influencé la New Musicology. Les musicologues qui y sont rattachés ne se revendiquent cependant pas d'une école nouvelle.

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Références

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  • Makis Solomos et Grabócz, Márta (éd.) Filigrane, no 11 : New Musicology. Perspectives critiques, 2010.
  • Susan McClary (1987), « The blasphemy of talking politics during Bach Year », dans McClary et Richard Leppert, éds. Music and Society: The politics of composition, performance and reception. Cambridge University Press.
  • Susan McClary, (1989), « Terminal Prestige: The Case of Avant-Garde Music Composition » dans Cultural Critique 12 (1989), p. 57–81.
  • Ben Watson, (1995). «McClary and Postmodernism », dan Frank Zappa: The Negative Dialectics of Poodle Play. Quartet Books.
  • Maggie O'Neill, éd. (1999). Adorno, Culture and Feminism. Sage Publications.
  • Susan McClary, (2000), « Women and Music on the Verge of the New Millennium », dans Signs Vol. 25 no 4, p. 1283–1286.
  • Rose Rosengard Subotnik, (1991). Developing Variations: Style and Ideology in Western Music. Minneapolis: University of Minnesota Press. (ISBN 0-8166-1873-9).
  • Charles Rosen, (2000), « The New Musicology », dans Critical Entertainments: Music Old and New, p. 255–272. Harvard University Press.
  • Ellie M. Hisama, (2001). Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. Cambridge University Press. (ISBN 0-521-64030-X).
  • Tim Carter, (2002). « An American In », review-article of McClary Conventional Wisdom, dans Music and Letters, Vol. 83 No. 2, pp. 274–279.
  • Jennifer Rycenga, (2002). « Queerly Amiss: Sexuality and the Logic of Adorno's Dialectics », dans Nigel Gibson et Andrew Rubin (éds.), Adorno: A Critical Reader. Blackwell.
  • Alex Ross (2003). 'Ghost Sonata: Adorno and German Music'
  • Kofi Agawu, (2003), Representing African Music: Postcolonial Notes, Queries, Positions. Taylor & Francis.
  • Björn Heile, (2004), « Darmstadt as Other: British and American Responses to Musical Modernism » dans twentieth-century music, Vol. 1 Issue 02, p. 161–178.
  • Richard Taruskin, (2005). 'Speed Bumps', dans 19th-Century Music, vol. 29 no 2, p. 185–207.
  • Susan McClary, (2006). 'The World According to Taruskin', in Music and Letters Vol. 82 no 3, p. 408–415.
  • Morton Feldman, Earle Brown, et Heinz-Klaus Metzger (1972). Morton Feldman, Earle Brown and Heinz-Klaus Metzger in Discussion

Lectures fondamentales

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  • Kerman, Joseph (1985). Contemplating Music: Challenges to Musicology. UK edition: Musicology.
  • McClary, Susan and Leppert, Richard, eds. (1987). Music and Society: The politics of composition, performance and reception.
  • Kramer, Lawrence (1990). Music as Cultural Practice, 1800-1900.
  • McClary, Susan (1991). Feminine Endings.
  • Subotnik, Rose Rosengard (1991). Developing Variations: Style and Ideology in Western Music.
  • Solie, Ruth, ed. (1993). Musicology and Difference.
  • Tomlinson, Gary (1993). Music in Renaissance Magic: Toward a Historiography of Others.
  • Citron, Marcia (1993). Gender and the Musical Canon.
  • Brett, Philip, Wood, Elizabeth and Thomas, Gary C., eds. (1994). Queering the Pitch: The New Gay and Lesbian Musicology.
  • Kramer, Lawrence (1995). Classical Music and Postmodern Knowledge.
  • Subotnik, Rose Rosengard (1996). Deconstructive Variations: Music and Reason in Western Society.
  • Van den Toorn, Pieter C. (1996). Music, Politics and the Academy.
  • DeNora, Tia (1996). Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803.
  • Schwarz, David (1997). Listening Subjects: Music Psychoanalysis, Culture.
  • Kramer, Lawrence (1997). After the Lovedeath: Sexual Violence and the Making of Culture. University of California Press.
  • Bellman, Jonathan, ed. (1998). The Exotic in Western Music.
  • Fink, Robert. (1998) Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon.
  • Cook, Nicholas and Everist, Mark, ed. (1999). Rethinking Music.
  • McClary, Susan (2000). Conventional Wisdom.
  • Born, Georgina and Hesmondhalgh, David (2000). Western Music and Its Others: Difference, Representation, and Appropriation in Music.
  • Pederson, Sanna (2000). 'Beethoven and Masculinity', in Burnham, Scott and Steinberg, Michael P. (eds), Beethoven and his World, pp. 313–331.
  • Williams, Alistair (2001). Constructing Musicology. Ashgate.
  • Kramer, Lawrence (2003). Franz Schubert: Sexuality, Subjectivity, Song. Cambridge University Press.
  • Taruskin, Richard (2005). The Oxford History of Western Music (six volumes).
  • Fink, Robert (2005). Repeating Ourselves: American Minimal Music as Cultural Practice.
  • Newell, Derek. (2006) Juxtapositions of the Canonical World in Modern Day Pakistani Cultural Music.
  • Davidović, Dalibor (2006). Identität und Musik: Zwischen Kritik und Technik (Identité et musique: Entre critique et technique), Vienne: Mille Tre.
  • Ross, Alex (2007). The Rest is Noise: Listening to the Twentieth Century. Farrar, Straus and Giroux.

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Liens externes

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