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Musicology (Greek: μουσικη = "music" and λογος = "word" or "reason") is the scholarly study of music. The word is used in narrow, broad and intermediate senses. In the narrow sense, musicology is confined to the music history of Western cultural elites. In the intermediate sense, it includes all relevant humanities and a range of musical forms, styles, genres and traditions. In the broad sense, it includes - at least potentially - all musically relevant disciplines and all manifestations of music in all cultures. The broad meaning corresponds most closely to the word's etymology, the entry on "musicology" in Grove's dictionary, the entry on "Musikwissenschaft" in Musik in Geschichte und Gegenwart, and the classic approach of Adler (1885). For another person sometimes known as The Artist, see Michael Haynes III. Prince Rogers Nelson (born June 7, 1958 in Minneapolis, Minnesota) is an American funk musician. ...
Musicology is an album by Prince, released on April 20, 2004, which proved to be his most successful in years, reaching the top 5 of the album charts in the United States, United Kingdom, Germany, and many other countries. ...
For other uses, see Music (disambiguation). ...
In the broad definition, the parent disciplines of musicology include history; cultural studies and gender studies; philosophy, aesthetics and semiotics; ethnology and cultural anthropology; archeology and prehistory; psychology and sociology; biology, physiology and the neurosciences; acoustics and psychoacoustics; and computer/information sciences and mathematics. Musicology also has two central, practically oriented subdisciplines with no parent discipline: performance practice and research, and the theory, analysis and composition of music. The disciplinary neighbors of musicology address other forms of art, performance, ritual and communication, including the history and theory of the visual and plastic arts and of architecture; linguistics, literature and theater; religion and theology; and sport. Musical knowledge and know-how are applied in medicine, education and therapy, which may be regarded as the parent disciplines of Applied Musicology. The Parthenons facade showing an interpretation of golden rectangles in its proportions. ...
Types of Musicology
Historical musicology Music history or historical musicology is a diverse subfield of the broader discipline of musicology that studies the composition, performance, reception, and criticism of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres (e. g. baroque concertos), the social function of music for a particular group of people (e. g. court music), or modes of performance at a particular place and time (e. g. Johann Sebastian Bach's choir in Leipzig). Like the comparable field of art history, different branches and schools of historical musicology emphasize different types of musical works and different approaches to music. There are also national differences in the definition of historical musicology. For other uses, see Music (disambiguation). ...
Look up time in Wiktionary, the free dictionary. ...
This article is about the academic discipline of art history. ...
In theory, "music history" could refer to the study of the history of any type or genre of music (e.g., the history of Indian music or the history of rock). In practice, these research topics may be misleadingly categorized as part of ethnomusicology, cultural studies, or music sociology. Indian music is: The music of India or Native American music This is a disambiguation page — a navigational aid which lists other pages that might otherwise share the same title. ...
For other uses, see Rock music (disambiguation). ...
Ethnomusicology (from the Greek ethnos = nation and mousike = music), formerly comparative musicology, is the study of music in its cultural context, cultural musicology. ...
This article needs additional references or sources for verification. ...
The methods of historical musicology include source studies (esp. manuscript studies), paleography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis, and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. (For a more detailed discussion of methods see "Research in Music History" below.) A manuscript (Latin manu scriptus, written by hand), strictly speaking, is any written document that is put down by hand, in contrast to being printed or reproduced some other way. ...
Palaeography, literally old writing, (from the Greek words paleos = old and grapho = write) is the study of script. ...
Philology, etymologically, is the love of words. It is most accurately defined as an affinity toward the learning of the backgrounds as well as the current usages of spoken or written methods of human communication. The commonality of studied languages is more important than their origin or age (that is...
Carmina Cantabrigiensia, Manuscript C, folio 436v, 11th century Textual criticism or lower criticism is a branch of philology or bibliography that is concerned with the identification and removal of errors from texts and manuscripts. ...
The historical method comprises the techniques and guidelines by which historians use primary sources and other evidence to research and then to write history. ...
Look up Iconography in Wiktionary, the free dictionary. ...
Music theory is a field of study that investigates the nature or mechanics of music. ...
The intellectual products of music historians include editions of musical works, biography of composers and other musicians, studies of the relationship between words and music, and the reflections upon the place of music in society. Sir Thomas Malory wrote the most famous fictional biography of the Middle Ages with Le Morte dArthur about the life of King Arthur. ...
For other uses, see Word (disambiguation). ...
For other uses, see Society (disambiguation). ...
New Musicology -
New Musicology is a term applied since the late 1980s to a wide body of work emphasizing cultural study, analysis, and criticism of music. Such work may be based on feminist, gender studies, queer theory, or postcolonial theory, or the work of Theodor Adorno. Although New Musicology emerged from within historical musicology, the emphasis on cultural study within the Western art music tradition places New Musicology at the junction between historical, ethnological and sociological research in music. The New Musicology is a term applied to a wide body of work produced by many musicologists who consider themselves and their musicology neither new nor New. ...
The New Musicology is a term applied to a wide body of work produced by many musicologists who consider themselves and their musicology neither new nor New. ...
This article needs additional references or sources for verification. ...
Feminism is a social theory and political movement primarily informed and motivated by the experience of women. ...
Gender studies is a theoretical work in the social sciences or humanities that focuses on issues of sex and gender in language and society, and often addresses related issues including racial and ethnic oppression, postcolonial societies, and globalization. ...
The tone or style of this article or section may not be appropriate for Wikipedia. ...
This article is in need of attention from an expert on the subject. ...
Max Horkheimer (front left), Theodor Adorno (front right), and Jürgen Habermas in the background, right, in 1965 at Heidelberg. ...
New musicology was a reaction against traditional historical musicology, which according to Susan McClary, "fastidiously declares issues of musical signification off-limits to those engaged in legitimate scholarship." Today, many musicologists no longer distinguish between musicology and New Musicology, since many of the scholarly concerns that used to be associated New Musicology have now become mainstream, and the term "new" clearly no longer applies. Susan McClary (born 2 October 1946) is a musicologist considered to be a significant figure in the New Musicology. She is noted for her work combining musicology and feminism. ...
Philosophy and aesthetics of music detail needed here
Semiotics of music detail needed here
Ethnomusicology -
Ethnomusicology is the study of music in its cultural context. It can be considered the anthropology of music. Jeff Todd Titon has called it the study of "people making music". It is often thought of as a study of non-Western musics, and indeed most of the work in ethnomusicology has been on non-Western or popular music. But ethnomusicology may also include the study of Western "classical" music from an anthropological perspective. Ethnomusicology (from the Greek ethnos = nation and mousike = music), formerly comparative musicology, is the study of music in its cultural context, cultural musicology. ...
Ethnomusicology (from the Greek ethnos = nation and mousike = music), formerly comparative musicology, is the study of music in its cultural context, cultural musicology. ...
Anthropology (from Greek: ἀνθÏωπος, anthropos, human being; and λόγος, logos, knowledge) is the study of humanity. ...
Popular music is music belonging to any of a number of musical styles that are accessible to the general public and are disseminated by one or more of the mass media. ...
After studying previous publications, ethnomusicologists usually (but not always) conduct fieldwork in the culture they are studying. Such fieldwork may involve the recording and later transcription of music, interviewing musicians, and/or learning to perform in a different musical style (called bimusicality). Fieldwork refers to scientific activity conducted in the field, outside the laboratory, of subject matter in an as-found state, by anthropologists, geologists, botanists, archaeologists or others who study the natural or human world. ...
In music, transcription is the act of notating a piece or a sound which was previously unnotated. ...
This article does not cite any references or sources. ...
Mantle Hood (? - July 31, 2005) was an American ethnomusicologist who specialized in tn studying gamelan music from Indonesia. ...
Theomusicology is the study of music informed by theology. It is a multi-disciplinary modality, using tools from ethnomusicology, ritural studies and liturgical studies, sociology, psychology and philosophy. Theomusicology takes the religious aspects of the culture under study as normative sources.
Archaeology and prehistory of music detail needed here
Sociology of music Among the key issues in the sociology of music, or sociomusicology, is that new music styles and genres tend to correlate to new subcultures. For example, in contemporary North American society, a teenager might not be brought up to like the "goth lifestyle", but through the listening of goth music provided to him by friends, he embraces the subculture partly because of his liking to the music and partly to feel accepted in his group of friends. The role of music in identity, agency, and social structure, are issues that have also been examined in the field of ethnomusicology. Sociology (from Latin: socius, companion; and the suffix -ology, the study of, from Greek λόγος, lógos, knowledge [1]) is the systematic and scientific study of society, including patterns of social relationships, social action, and culture[2]. Areas studied in sociology can range from the analysis of brief contacts between anonymous...
Ethnomusicology (from the Greek ethnos = nation and mousike = music), formerly comparative musicology, is the study of music in its cultural context, cultural musicology. ...
Psychology of music -
Music psychology applies the content and methods of all subdisciplines of psychology (perception, cognition, motivation, personality and so on) to all aspects of musical behaviour and experience (performance, listening, composition). Music psychology, or the psychology of music, may be regarded either as a branch of psychology or as a branch of musicology. ...
Music cognition -
Music cognition is the study of music as information, from the viewpoint of cognitive science. Since it primarily addresses the processing of musical information by humans, it may be regarded as a subdiscipline of music psychology. The discipline shares the interdisciplinary nature of fields such as cognitive linguistics. Music cognition is an interdisciplinary field involving such disparate areas as cognitive science, music theory, psychology, musicology, neuroscience, computer science, philosophy, psychoacoustics, etc. ...
In linguistics and cognitive science, cognitive linguistics (CL) refers to the currently dominant school of linguistics that views the important essence of language as innately based in evolutionarily-developed and speciated faculties, and seeks explanations that advance or fit well into the current understandings of the human mind. ...
Physiology and neurosciences of music detail needed here
Biomusicology and zoomusicology Biomusicology is the study of music from a biological point of view. Zoomusicology is a field of musicology and zoology or more specifically, zoosemiotics. Zoomusicology is the study of the music of animals, or rather the musical aspects of sound or communication produced and received by animals. Biomusicology is likewise the study of the musical aspects of sound and communication produced and received by all living organisms. Biomusicology can sometimes also encompass questions of music's origin and the possibility of an evolutionary purpose for music. Biomusicology is the study of music from a biological point of view. ...
Zoomusicology is a field of musicology and zoology or more specifically, zoosemiotics. ...
Zoology (from Greek: ζῴον, zoion, animal; and λόγος, logos, knowledge) is the biological discipline which involves the study of animals. ...
Animal communication is any behaviour on the part of one animal that has an effect on the current or future behaviour of another animal. ...
For other uses, see Music (disambiguation). ...
For other uses, see Animal (disambiguation). ...
The aspects of music are any characteristic, dimension, or element taken as a part or component of music. ...
Sound is a disturbance of mechanical energy that propagates through matter as a wave. ...
Communication is a process that allows organisms to exchange information by several methods. ...
Acoustics and psychoacoustics of music detail needed here
Computer/information sciences and mathematics of music details needed here
Music theory, analysis and composition -
Music theory is a field of study that describes the elements of music and includes the development and application of methods for composing and for analyzing music through both notation and, on occasion, musical sound itself. Broadly, theory may include any statement, belief, or conception of or about music (Boretz, 1995). A person who studies or practices music theory is a music theorist. Music theory is a field of study that investigates the nature or mechanics of music. ...
For other uses, see Music (disambiguation). ...
This article or section does not adequately cite its references or sources. ...
Benjamin Boretz is a twentieth- and twenty-first-century music theorist and composer. ...
Some music theorists attempt to explain the techniques composers use by establishing rules and patterns. Others model the experience of listening to or performing music. Though extremely diverse in their interests and commitments, many Western music theorists are united in their belief that the acts of composing, performing, and listening to music may be explicated to a high degree of detail (this, as opposed to a conception of musical expression as fundamentally ineffable except in musical sounds). Generally, works of music theory are both descriptive and prescriptive, attempting both to define practice and to influence later practice. Thus, music theory generally lags behind practice in important ways, but also points towards future exploration, composition, and performance.
Musicians study music theory in order to be able to understand the structural relationships in the (nearly always notated) music, and composers study music theory in order to be able to understand how to produce effects and to structure their own works. Composers may study music theory in order to guide their precompositional and compositional decisions. Broadly speaking, music theory in the Western tradition focuses on harmony and counterpoint, and then uses these to explain large scale structure and the creation of melody. In music, precompositional decisions are those decisions which a composer decides upon before or while beginning to create a composition. ...
Harmony is the use and study of pitch simultaneity, and therefore chords, actual or implied, in music. ...
For other uses, see Counterpoint (disambiguation). ...
Look up melody in Wiktionary, the free dictionary. ...
Performance practice and research -
Performance practice draws on many of the tools of historical musicology to answer the specific question of how music was performed in various places at various times in the past. Although previously confined to early music, recent research in performance practice has embraced questions such as how the early history of recording affected the use of vibrato in classical music, or instruments in Klezmer. The authentic performance movement is an effort on the part of musicians and scholars to perform works of classical music in ways similar to how they were performed when they were originally written. ...
Vibrato is a musical effect where the pitch or frequency of a note or sound is quickly and repeatedly raised and lowered over a small distance for the duration of that note or sound. ...
Klezmer (from Yiddish כּלי־זמיר, etymologically from Hebrew kli zemer כלי זמר, musical instrument) is a musical tradition which parallels Hasidic and Ashkenazic Judaism. ...
Within the rubric of musicology, performance practice tends to emphasize the collection and synthesis of evidence about how music should be performed. The important other side, learning how to sing authentically or perform an historical instrument is usually part of conservatory or other performance training. However, many top researchers in performance practice are also excellent musicians. A university school of music or college of music, or academy of music or conservatoire (British English) — also known as a conservatory (American English) or a conservatorium (Australian English) — is a higher education institution dedicated to teaching the art of music, including the playing of musical instruments, musical composition, musicianship...
Music performance research (or music performance science) is strongly associated with music psychology. It aims to document and explain the psychological, physiological, sociological and cultural details of how music is actually performed (rather than how it should be performed). The approach to research tends to be systematic and empirical, and to involve the collection and analysis of both quantitative and qualitative data. The findings of music performance research can often be applied in music education.
What is music? -
Although one might expect "What is music?" to be the first (and historical) question of musicology, surprisingly, it has not occupied a central part of musicological discourse. For instance, the 1980 edition of the 20-volume New Grove Dictionary of Music and Musicians had no entry for "music". The problem is that no-one has been able to formulate a definition of music that applies equally to all known forms of music, is supported by musicology's diverse subdisciplines, and is likely to remain constant as knowledge and discourse about music changes. Moreover, many cultures have no word or concept for "music", but instead refer to specific activities such as singing or dancing, or specific ceremonies and rituals, that other cultures regard as musical. Defining music is as difficult as defining art or anything. ...
Critiques of musicology
Arbitrary exclusion of disciplines and musics In its most narrow definition, musicology is the music history of Western cultural elites. Such a definition arbitrarily excludes disciplines other than history, cultures other than Western, and forms of music other than "classical" ("art", "serious", "high culture") or notated ("artificial") - implying that the omitted disciplines, cultures, and musical styles/genres are somehow inferior. A somewhat broader definition incorporating all musical humanities is still problematic, because it arbitrarily excludes the relevant (natural) sciences (acoustics, psychology, physiology, neurosciences, information and computer sciences, empirical sociology and aesthetics) as well as musical practice.
Within historical musicology, scholars have been reluctant to adopt postmodern and critical approaches that are common elsewhere in the humanities. According to Susan McClary (2000, p.1285) the discipline of "music lags behind the other arts; it picks up ideas from other media just when they have become outmoded." Only in the 1990s did historical musicologists, preceded by feminist musicologists in the late 80s, begin to address issues such as gender, sexualities, bodies, emotions, and subjectivities which dominated the humanities for twenty years before (ibid, p.10). In McClary's words (1991, p.5), "It almost seems that musicology managed miraculously to pass directly from pre- to postfeminism without ever having to change - or even examine - its ways." Susan McClary (born 2 October 1946) is a musicologist considered to be a significant figure in the New Musicology. She is noted for her work combining musicology and feminism. ...
Furthermore, in their discussion on musicology and rock music, Susan McClary and Robert Walser also address a key struggle within the discipline: how musicology has often "dismisse[d] questions of socio-musical interaction out of hand, that part of classical music's greatness is ascribed to its autonomy from society." (1988, p. 283)
Richard Middleton's critique of musicology According to Richard Middleton, the strongest criticism of (historical) musicology has been that it by and large ignores popular music. Though musicological study of popular music has vastly increased in quantity recently, Middleton's assertion in 1990-- that most major "works of musicology, theoretical or historical, act as though popular music did not exist" -- holds true. Academic and conservatory training typically only peripherally addresses this broad spectrum of musics, and many (historical) musicologists who are "both contemptuous and condescending are looking for types of production, musical form, and listening which they associate with a different kind of music...'classical music'...and they generally find popular music lacking" (Middleton 1990, p.103). Richard Middleton FBA is Professor of Music at Newcastle University in Newcastle upon Tyne. ...
Year 1990 (MCMXC) was a common year starting on Monday (link displays the 1990 Gregorian calendar). ...
He cites (p.104-6) "three main aspects of this problem":
- "a terminology slanted by the needs and history of a particular music ('classical music')."
- "on one hand, there is a rich vocabulary for certain areas [harmony, tonality, certain part-writing and forms], important in musicology's typical corpus, and an impoverished vocabulary for others [rhythm, pitch nuance and gradation, and timbre], which are less well developed there"
- "on the other hand, terms are ideologically loaded...these connotations are ideological because they always involve selective, and often unconsciously formulated, conceptions of what music is."
- "a methodology slanted by the characteristics of notation," 'notational centricity' (Tagg 1979, p.28-32)
- "musicological methods tend to foreground those musical parameters which can be easily notated...they tend to neglect or have difficulty with parameters which are not easily notated", such as Fred Lerdahl. "notation-centric training induces particular forms of listening, and these then tend to be applied to all sorts of music, appropriately or not."
- Notational centricity also encourages "reification: the score comes to be seen as 'the music', or perhaps the music in an ideal form."
- "an ideology slanted by the origins and development of a particular body of music and its aesthetic...It arose at a specific moment, in a specific context - nineteenth-century Europe, especially Germany - and in close association with that movement in the musical practice of the period which was codifying the very repertory then taken by musicology as the centre of its attention."
These terminological, methodological, and ideological problems affect even works symphathetic to popular music. However, it is not "that musicology cannot understand popular music, or that students of popular music should abandon musicology" (p.104). Fred Lerdahl, Fritz Reiner Professor of Musical Composition at Columbia University, is a composer and music theorist, best known for his work on pitch space and cognitive constraints on compositional systems or musical grammars. ...
See also Center For Arabic Culture (CAC) == http://www. ...
Musical set theory is an atonal or post-tonal method of musical analysis and composition which is based on explaining and proving musical phenomena, taken as sets and subsets, using mathematical rules and notation and using that information to gain insight to compositions or their creation. ...
Tonality is the character of music written with hierarchical relationships of pitches, rhythms, and chords to a center or tonic. ...
Psychoacoustics is the study of subjective human perception of sounds. ...
Music education is a field of study associated with the teaching and learning of music. ...
In the history of music, prehistoric music (previously called primitive music) is all music produced in preliterate cultures (prehistory), beginning somewhere in very late geological history. ...
In music, there are two common meanings for tuning: Tuning practice, the act of tuning an instrument or voice. ...
In musical tuning, a temperament is a system of tuning which slightly compromises the pure intervals of just intonation in order to meet other requirements of the system. ...
In music, a scale is a collection of musical notes that provides material for part or all of a musical work. ...
For other uses, see Music (disambiguation). ...
For the academic study of history of music, see Music history. ...
Ancient music is music that developed in literate cultures, replacing prehistoric music. ...
This article does not cite any references or sources. ...
Renaissance music is European music written during the Renaissance, approximately 1400 to 1600. ...
Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. ...
The Classical period in Western music occurred from about 1750 to 1820, despite considerable overlap at both ends with preceding and following periods, as is true for all musical eras. ...
The era of Romantic music is defined as the period of European classical music that runs roughly from the early 1800s to the first decade of the 20th century, as well as music written according to the norms and styles of that period. ...
A revolution occurred in 20th century music listening as the radio gained popularity worldwide, and new media and technologies were developed to record, capture, reproduce and distribute music. ...
In the broadest sense, contemporary music is any music being written in the present day. ...
Image File history File links GClef. ...
Musical composition is a phrase used in a number of contexts, the most commonly used being a piece of music. ...
This article or section does not adequately cite its references or sources. ...
Musical improvisation is the spontaneous creative process of making music while it is being performed. ...
Music theory is a field of study that investigates the nature or mechanics of music. ...
A History of Western Music Seventh Edition by J. Peter Burkholder, Donald J. Grout, and Claude V. Palisca is one of several popular books used to teach Music History in North America. ...
Ethnomusicology (from the Greek ethnos = nation and mousike = music), formerly comparative musicology, is the study of music in its cultural context, cultural musicology. ...
Music cognition is an interdisciplinary field involving such disparate areas as cognitive science, music theory, psychology, musicology, neuroscience, computer science, philosophy, psychoacoustics, etc. ...
Music therapy is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a qualified professional who has completed an approved music therapy program. ...
This article does not cite any references or sources. ...
An album or record album is a collection of related audio or music tracks distributed to the public. ...
For other uses, see Song (disambiguation). ...
In music, a suite is an organized set of instrumental or orchestral pieces normally performed at a single sitting, as a separate musical performance, not accompanying an opera, ballet, or theater-piece. ...
Lyrics are the words in songs. ...
In the music industry, a record label is a brand and a trademark associated with the marketing of music recordings and music videos. ...
In the music industry, a record producer (or music producer) has many roles, among them controlling the recording sessions, coaching and guiding the musicians, organizing and scheduling production budget and resources, and supervising the recording, mixing and mastering processes. ...
“Instrumentalist†redirects here. ...
A composer is a person who writes music. ...
The term musical form refers to two related concepts: the type of composition (for example, a musical work can have the form of a symphony, a concerto, or other generic type -- see Multi-movement forms below) the structure of a particular piece (for example, a piece can be written in...
A compilation album is an album (music or spoken-word) featuring tracks from one or multiple recording artists, often culled from a variety of sources (such as studio albums, live albums, singles, demos and outtakes. ...
Music is a human expression in the medium of time using the structures of sounds or tones and silence. ...
This page aims to list articles related to music. ...
This is a list of musical terms that are likely to be encountered in printed scores. ...
A list of musical forms. ...
The definition of music is a contested evaluation of what constitutes music and varies through history, geography, and within societies. ...
Music theory is a field of study that investigates the nature or mechanics of music. ...
A musical instrument is a device constructed or modified with the purpose of making music. ...
There is a long history of the connection between music and politics, particularly political expression in music. ...
Music theorists often use mathematics to understand musical structure and communicate new ways of hearing music. ...
The music industry is the industry that creates, performs, promotes, and preserves music. ...
References - Adler, Guido (1885). Umfang, Methode und Ziel der Musikwissenschaft. Vierteljahresschrift für Musikwissenschaft, 1, 5-20.
- Gaunt, Kyra D. (2006). The Games Black Girls Play. ISBN 0-8147-3120-1.
- Honing, Henkjan (2006). "On the growing role of observation, formalization and experimental method in musicology." Empirical Musicology Review, 1/1, 2-5
- Kerman, Joseph (1985). Musicology. London: Fontana. ISBN 0-00-197170-0.
- McClary, Susan, and Robert Walser (1988). "Start Making Sense! Musicology Wrestles with Rock" in On Record ed. by Frith and Goodwin (1990), pp. 277-292. ISBN 0394564758.
- McClary, Susan (1991). Feminine Endings. Music, Gender, and Sexuality. University of Minnesota Press. ISBN 0-8166-1899-2 (pbk).
- McClary, Susan (2000). "Women and Music on the Verge of the New Millennium (Special Issue: Feminists at a Millennium)", Signs 25/4 (Summer): 1283-1286. Cited in Gaunt (2006).
- Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
- Pruett, James W., and Thomas P. Slavens (1985). Research guide to musicology. Chicago: American Library Association. ISBN 0-8389-0331-2.
- Randel, Don Michael, ed. (4th ed. 2003). Harvard Dictionary of Music, pp. 452–454. The Belknap Press of Harvard University Press. ISBN 0-674-01163-5.
- Tagg, Philip (1979, ed. 2000). Kojak - 50 Seconds of Television Music: Toward the Analysis of Affect in Popular Music, pp. 38-45. The Mass Media Music Scholar's Press. ISBN 0-9701684-0-3.
External links On-line Journals The American Musicological Society was founded in 1934 to advance research in the various fields of music as a branch of learning and scholarship. ...
Although most of the broadest musicology journals are not available on-line, a sampling of peer reviewed journals in various subfields gives some idea of musicological writings: Peer review (known as refereeing in some academic fields) is a scholarly process used in the publication of manuscripts and in the awarding of funding for research. ...
Musicology Blogs
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