New musicology is a wide body of musicology since the 1980s with a focus upon the cultural study, aesthetics, criticism, and hermeneutics of music.
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11 Facts About New musicology
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Many of the procedures of new musicology are considered standard, although the name more often refers to the historical turn rather than to any single set of ideas or principles.
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Indeed, although it was notably influenced by feminism, gender studies, queer theory, postcolonial studies, and critical theory, new musicology has primarily been characterized by a wide-ranging eclecticism.
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New musicology seeks to question the research methods of traditional musicology by displacing positivism, working in partnership with outside disciplines, including the humanities and social sciences, and by questioning accepted musical knowledge.
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New musicology musicologists seek ways to employ anthropology, sociology, cultural studies, gender studies, feminism, history, and philosophy in the study of music.
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New musicology asked for "a new breadth and flexibility in academic music criticism [musicology]" that would extend to musical discourse, critical theory and analysis.
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Susan McClary suggests that new musicology defines music as "a medium that participates in social formation by influencing the ways we perceive our feelings, our bodies, our desires, our very subjectivities—even if it does so surreptitiously, without most of us knowing how".
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New musicology combines cultural studies with the analysis and criticism of music, and it accords more weight to the sociology of musicians and institutions and to non-canonical genres of music, including jazz and popular music, than traditional musicology did.
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New musicology is distinct from German music sociology in the work of Adorno, Max Weber and Ernst Bloch.
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Critics of new musicology include Pieter van den Toorn and to a lesser extent Charles Rosen.
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For David Beard and Kenneth Gloag writing at two later moments, the methods of new musicology have been fully incorporated into mainstream musicological practice.
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