Historical Musicology: Is it Still Possible - Essay Example

Sur Historical Musicology: Is it Still Possible? Musicology from my understanding is the study of music and knowing all aspects the surround it in the effort to grasp its meaning and be able to interpret music in the most accurate way for historical purposes. Harvard Dictionary of Music defines the term musicology as, “the whole body of systematized knowledge about music which results from the application of a scientific method of investigation or research, or of philosophical speculation and rational systematization to the facts, the processes and the development of musical art, and to the relation of man in general...to that art”. (Indopedia). Historical musicology as I understood is referred to as the study of the musical history in vast dimensions covering all musical aspect from note to the relative events including the author or composer. The most significant part of musical history is the interpretative aspect of the meaning of such music within a particular time and society because interpretation paints a story of the raw data which becomes a story of musical history. There is incessant debate over the possible existence of historical musicology in modern society. I would like to argue that music is about enjoyment, this is in agreement with Professor Nicholas Cook as he expressed, “I would argue that if you know about music (know how it is put together, know about its historical context) then this will enhance your enjoyment of it - not in the sense of replacing that original pleasure in the sound, but of adding further layers or dimensions of meaning to it.” (“What is Musicology”). This argument is in line with the notion that historical musicology Surname 2 is possible! However, the limitation to this argument agrees with Rob Wegman when he said that, “it is only the paralyzing fear to take human risks that might render historical musicology impossible.” (Historical Musicology, p.145). Therefore, historical musicology is a feasible profession when we indoctrinate ourselves as well as our readers of the consequence rendered upon by subjective interpretations. In this argument, I should stress the limitations that I rest in my concept of historical musicology – interpretation. This means that although I argue that historical musicology is still possible, there is tolerance in the margin of error. Such tolerance is what Wegman describes as the risk in historical musicology. Simply put, historical musicology is possible if taking the risk of inaccuracy and mistakes in the interpretation is acceptable to the musicologist and the society. The first point in my argument is that history doesn’t exist in the present time anymore. The memory of the past is left in artifacts or any object from the past. In music it is the notes and lyrics of a composition to attest that music has existed or has been composed. However, with these genuinely concrete raw data or materials existing to support for empirical evidence or we may call the truth of history doesn’t tell of history. It is the interpretation, the meaning behind each of these musical notes and lyrics along with intensive research in all aspects revolving around it like the author, the culture, the era, etc., which breathes life into a realistic illustration called the musical history. I say Surname 3 the lyrics and musical notes are but rubbish and cannot be considered history if without its meaning studying every part of that music entirety. To stress this point, Wegman expressed, “…[w]ithout interpretation, we are not engaged in history, but in collecting and storing raw data.” (“Historical Musicology”, p.137). From this view, it is comprehensible that history is about a story to tell, an illustration of the past supported by historical truth like the lyrics but simply not a collection and storage of these raw data. To tell a full story out of the musical notes and lyrics, interpretation is necessary. In such a way, that we understand the music and enjoy it. The meaning of the song, how the notes in the song are played, how the song is sung – all these elements are a significant part of historical musicology to be able to recount complete history of Mozart composition, which is subject to interpretation. History therefore cannot be told only with empirical evidence rather developed with subjective interpretation. The second point I would like to stress is that, each and every individual in this world enjoy music in one way or another – be it a hum, a beat, an acapella, anything with melody. As human, we appreciate music as it pierces through the soul and ease us somehow or other. However, appreciating music requires knowledge of its tone, lyrics, melody, etc. Professor Nicholas Cook urges us in his article to, “..[t]hink of some kind of music you really dislike. Is it that you understand the music and really dislike it? Or is it that you dont have that same unconscious knowledge of it that you do of your favourite music, dont in that sense understand it, and for that reason dont like it?” (“What is Musicology?”). Knowledge is a powerful influence to appreciate music. The knowledge Surname 4 of the meaning of the music is the most significant element to enjoy music. However, the meaning of music is an interpretation gathered from the lyrics, the tone, the melody, the author, the culture and era from which the music sprung. Cook articulated that, “Musicology (etymologically music-word or words about music) is all about the knowledge that underlies the enjoyment of music. When you study the music of other times and places, you need to reconstruct the knowledge that its original composers, performers, or listeners had: how it was made, what kind of social st[r]uctures supported it, what it meant. In that sense, all music implies its own musicology, for there is no music that does not entail knowledge…” (“What is Musicology?”). In this point of view it is undeniably lucid that the scientific study of music is a necessary issue – therefore, historical musicology is alive and kicking with importance thus, proving my point true that historical musicology is still possible as we continue to appreciate music. The line of reasoning is long for the argument that historical musicology is still possible. However, for this occasion, I would like to stress my final argument but definitely not the least. I would like to recognize the perceptible imprecision of interpretation in historical musicology. However, such an acknowledgement doesn’t invalidate my conviction rather convinces me strongly because while it is true that a subjective interpretation necessarily contained in historical musicology, let us also consider individual love for music. As argued by Tomlinson (1993, 21) “…in broad terms, a postmodern musicology will be characterized most distinctively by its insistent questioning of its own methods and practices we might begin to interrogate our love for Surname 5 the music we study.” (qtd. In “Historical Musicology”, 139). I have acknowledged the problem as according to Besseler (1931) and translated by Wegman that “…the rediscovery of early music had been driven by unconscious needs and longing, wishful dreams, and a yearning for fulfillment...” (“Historical Musicology”, 138). Alongside my acknowledgement of the problem substantiates my argument that is expressed in the thoughts of Wegman that, “…the past seem to offer an escape. The needs, longing, dreams and yearnings had finally been exposed for what they were: symptoms of modernity.” (“Historical Musicology”, 138). Therefore, the remark which attempts to impel as a problem implying that “…selection and interpretation, evaluation and cognizance, were determined by the ideas of an age which yearned for the past in order to use for its own fulfillment…” essentially offers an opportunity to strengthen my argument that if it is indeed the case then, historical musicology is certainly possible with a more precise interpretation than expected due to the fact that the interpretative ideas which aspired for the past is actually symptoms of modernity that makes subjective analysis of the music pointing to an accurate direction. In simpler terms, while it is declared a problem that interpretations of music is influenced upon the period when the interpretation is made which is the modern time then the analysis is accurate because the music to be interpreted is one that suggests modernity. Surname 6 Works Cited Wegman, Rob C. “Historical musicology: Is it Still Possible?” retrieved from Chapter 11 on May 23, 2008. “Musicology”. Outsourced from wikipedia, the free encyclopedia and occasionally developed by Indopedia authors. November 28, 2004. retrieved May 23, 2008. http://www.indopedia.org/Musicology.html Cook, Nicholas. “What is Musicology?” The Royal Musical Association. The following article appeared (with minor changes) in BBC Music Magazine 7/9, May 1999, pp. 31-3. retrieved May 23, 2008. http://www.rma.ac.uk/articles/what-is-musicology.htm. Read More