My contribution to the debate on ‘Authoritarian Populism and Impure Futures: The Legacy of Stuart Hall’

On Tuesday 23 June 2020, as part of the City School of Arts and Social Sciences Online Festival of Research, a public debate was hosted entitled ‘Authoritarian Populism and Impure Futures: The Legacy of Stuart Hall’, co-convened by Professor Chris Rojek, of the Department of Sociology (author of Stuart Hall (Cambridge: Polity Press, 2003)), and myself. It was chaired by Professor Sylvia Walby, also from Sociology. Chris and I both featured as panellists, alongside Dr Jessica Evans, of the Open University; Dr Ajmal Hussain of the University of Manchester and Professor Jim McGuigan, Professor of Cultural Studies at Loughborough University. Unfortunately Professor McGuigan had some microphone problems so was unable to speak, but was there in spirit. My own contribution, below, was quite deeply informed by some of the work of McGuigan.

A short report on the debate can be found here , and we hope to place the video of the debate online soon – I will post a link when it is up. This is a slightly longer version of the text I delivered, with minor edits. It was adapted in part from sections of a paper I gave in 2018 on ‘The Populist Turn in Musicological Scholarship and the Retreat from Social Democratic Cultural Production, in which I placed the thought of Hall and others in the context of the debates on artistic autonomy in the Weimar Republic, the attack on forms of European protectionism and subsidy espoused by Woodrow Wilson in his ‘fourteen points’ formulated in January 1918, many of them authored by Walter Lippmann, known for his work on the manipulation of public opinion (which he did not view pejoratively), and from whom the term ‘manufacturing consent’ originates, as well as the relentless lionisation of commerce and market-driven musical production by many figures associated with contemporary musicology.

Populism is a vivid phenomenon in contemporary politics, witnessed in such figures as Donald Trump, Boris Johnson, Nigel Farage, Viktor Orban, Jair Bolsonaro, Narendra Modi and others. It is not necessarily an especially new phenomenon, but it has certainly been theorised more extensively in its own right than previously. Stuart Hall was undoubtedly an early contributor to this branch of political analysis, anticipated in some of the collectively authored volume Policing the Crisis (1978). In this volume, he and others considered such matters as the creation of ‘moral panics’, or the ability of a figure like Enoch Powell to appeal to some base racial nationalism amongst working-class people, as witnessed through the dockers who marched in support of Powell following his ‘Rivers of Blood’ speech. Hall himself arrived at the term ‘authoritarian populism’ slightly afterwards, according to him through reading the final section of Nicos Poulantzas’s book on State, Power, Socialism, about the growth of state control and decline of democratic institutions and civil liberties. Poulantzas viewed this as a type of ‘authoritarian statism’, an explanation which Hall nonetheless found unsatisfactory, because it took insufficient account of the extent to which advanced capitalist democracies appealed to popular consent for their policies, and achieved some legitimation in the process. As a result, he substituted the term ‘authoritarian populism’, an idea which was developed further in the important work of Margaret Canovan.

However, I wish to argue is that as Hall’s own thought developed in certain directions, he was unable to resist a populism of his own, which I believe undermined some of his earlier positions. I also want to say here how pleased I am to meet – at least in the online sense – Jim McGuigan, whose work on Cultural Populism (London: Routledge, 1992) has had a significant influence on my own thought on populism in musical and musicological thought.

In early post-war Britain, the influence of thinkers associated with ‘Western Marxism’, including the Frankfurt School, Ernst Bloch, Walter Benjamin, György Lukács, Siegfried Kracauer, Galvano della Volpe, or indeed for a long time Antonio Gramsci, was relatively minimal on the left, by which I mean those to the left of the Labour Party. As such, there was less engagement on such a left’s part with issues of culture and consciousness, a more accepting view of forms of collectivism ‘from above’ combined with somewhat idealised views of the proletariat, and as such a strong tendency towards Stalinism. At the same time, the same era saw the height of various progressive developments resulting from benevolent attitudes from above, which originated in the late nineteenth century. These included the growth of the welfare state, of state education with the Fisher Act of 1918 and then the Butler Act of 1944, the foundation of the Arts Council in 1940, and its flowering in the post-war era, especially during the 1960s, a degree of increased openness to European modernist culture after 1945, not least in architecture, where a series of architects inspired by the likes of Le Corbusier and Mies van der Rohe were charged with rebuilding bombed cities after 1945. Equally important was the role of the BBC as a sponsor and promoter of culture markedly distancing itself from commercial television and advertising.

The same era saw a new confrontation with commercial culture from the United States, which stimulated the growth of contemporary cultural studies. Richard Hoggart, in his 1957 book The Uses of Literacy (London: Pelican, 1958), contrasted new trends in American popular music with older forms of working class song. Whilst recognising the potential for nostalgic idealisation of the latter, he still saw in the former a high degree of standardisation, sentimentality, and appeal to a restricted and familiar range of emotions. Like Adorno and others before him, Hoggart identified the changes in music resulting from the relatively anonymous nature of mass production and the division of labour. The work of Raymond Williams, who in some ways bridged the worlds of Hoggart and of Hall, was of a related nature. Williams was highly critical of the bourgeois culture he encountered as a working-class boy from Wales, and the implied denigration of forms of working-class culture. But at least in his work from the 1950s, he did not necessarily see American commercial culture as the route to liberation. While neither Hoggart nor Williams adhered to an Arnoldian view of culture as a civilising force for the masses, by any means, neither were they starry-eyed about the top-down culture of American capitalism, though Williams’ position in this respect arguably shifted over the years.

When Stuart Hall took over as director of the Birmingham School of Contemporary Cultural Studies in 1969, founded 5 years earlier by Hoggart, there was a gradual but marked shift away from the outlook of Hoggart and in some ways Williams. Significant in this respect is one of Hall’s most lasting intellectual legacies, the model of ‘encoding/decoding’ as set out in his 1973 essay. Looking at television culture, he proposed that certain messages were ‘encoded’ in the work by its producers, but that audiences ‘decoded’ others. This was not however in Hall’s view a passive process, whereby the messages decoded were simply what the producers wished, and much depended upon the background of the consumers and their own priorities and ideologies. Hall framed this in terms of production, circulation, use and reproduction. In the emphasis placed upon the agency of the recipient and their ability to ‘decode’ such work. This stood in stark opposition to the model of culture which had grown in the preceding decades from the Frankfurt School, which tended to stress the successful use of mass communications as a weapon of manipulation, as in Theodor Adorno’s writings on horoscopes or charismatic preachers encountered during his time in the United States. Equally it was at odds with the model of the ‘consciousness industry’ or ‘mind industry’ developed by the German writer Hans Magnus Enzensberger in the 1960s, somewhat distinct from Adorno and Horkheimer’s ‘culture industry’. Enzensberger felt the latter placed too much emphasis on culture, in line with the priorities and interests of its protagonists. He argued instead that the previous century had witnessed a process whereby the ruling classes instilled a certain mode of consciousness amongst other citizens in a society through the mass media, education and other means. This was made possible by increased leisure time and mass production of consumer goods, all of which created sites for ruling class interests to manipulate others. Unlike Adorno, Enzensberger saw little possibility for critical resistance, as intellectuals were part of this whole process. Where this leaves Enzensberger’s own work is rather a difficult question.

The work of Hall and others on cultural studies have been labelled ‘cultural Marxism’, both by old-fashioned conservatives but also in the major study of the Birmingham School, Dennis Dworkin’s Cultural Marxism in Postwar Britain: History, the New Left, and the Origins of Cultural Studies (Durham and London: Duke University Press, 1997) is already mistitled, in my opinion, taking its cue from the volume edited by Cary Nelson and Lawrence Grossberg, Marxism and the Interpretation of Culture (Urbana and Chicago, IL: University of Illinois Press, 1988), which came out of an 1983 conference. Whilst various contributors to this were serious about their engagement with Marx, the volume contains an interview with Hall (linked to his article ‘The Toad in the Garden: Thatcherism among the Theorists’) which makes clear how far he was moving away from Marxism, and especially its focus on economic factors. Hall had certainly written at length on some of Marx’s original writings, but rightly set himself against a reductive view of the relationship between base and superstructure adhered to by vulgar Marxists and Stalinists.

But a wider shift of direction on Hall’s part was signified most clearly in a 1981 essay, ‘Notes on Deconstructing “The Popular”’ (in People’s History and Socialist History, edited Raphael Samuel (London: Routledge and Kegan Paul, 1981), also reproduced in Cultural Resistance Reader, edited Stuart Duncombe (London: Verso, 2002)), from which point I identify the move towards a populism of his own. Considering the period from the 1880s to the 1920s, Hall had little time for the idea of a ‘separate, autonomous, “authentic” layer of working class culture’ as he felt most things like that ‘are saturated by popular imperialism’. To Hall, this could not be ‘authentic’, but must be ‘the culture of a dominated class which, despite its complex interior formations and differentiations, stood in a very particular relation to a major restructuring of capital; which itself stood in a peculiar relation to the rest of the world; a people bound by the most complex ties to a changing set of material relations and conditions; who managed somehow to construct “a culture” which remained untouched by the most powerful dominant ideology – popular imperialism?’

So far, I think Hall’s point is valid, but he went on to argue against those socialists who were sceptical of ways in which working people consumed commercial culture , and the concomitant view of ‘false consciousness’:

Take the most common-sense meaning [of the word ‘popular’]: the things which are said to be ‘popular’ because masses of people listen to them, buy them, read them, consume them, and seem to enjoy them to the full. This is the ’market’ or commercial definition of the term: the one which brings socialists out in spots. It is quite rightly associated with the manipulation and debasement of the culture of the people. In one sense, it is the direct opposite of the way I have been using the word earlier. I have, though, two reservations about entirely dispensing with this meaning, unsatisfactory as it is.

First, if it is true that, in the twentieth century, vast numbers of people do consume and even indeed enjoy the cultural products of our modern cultural industry, then it follows that very substantial numbers of working people must be included within the audiences for such products. Now, if the forms and relationships, on which participation in this sort of commercially provided ’culture’ depend, are purely manipulative and debased, then the people who consume and enjoy them must either be themselves debased by these activities or else living in a permanent state of ’false consciousness’. They must be ’cultural dopes’ who can’t tell that what they are being fed is an up-dated form of the opium of the people. That judgment may make us feel right, decent and self-satisfied about our denunciations of the agents of mass manipulation and deception – the capitalist cultural industries: but I don’t know that it is a view which can survive for long as an adequate account of cultural relationships; and even less as a socialist perspective on the culture and nature of the working class. Ultimately, the notion of the people as a purely passive, outline force is a deeply unsocialist perspective.

Hall went on to acknowledge that commercial popular culture could be manipulative, but was more concerned about any claims made for the autonomy of alternative forms of popular culture. I believe his seemingly moderate point is anything but that, and itself ‘unsocialist’ in ways which bring it close to postmodernist thinking.

Hall’s appropriation of two Marxist thinkers is fundamental in this respect. One is Antonio Gramsci, and his concept of egemonia or hegemony, involving the role which intellectuals play in disseminating dominant ideologies throughout society, on the basis of the prestige and confidence they hold through their position:

What we can do, for the moment, is to fix two major superstructural “levels” : the one that can be called “civil society”, that is the ensemble of organisms commonly called “private”, and that of “political society” or “the State”. These two levels correspond on the one hand to the function of “hegemony” which the dominant group exercises throughout society and on the other hand to that of “direct domination” or command exercised through the State and ”juridical” government. The functions in question are precisely organisational and connective. The intellectuals are the dominant group’s “deputies” exercising the subaltern functions of social hegemony and political government. These comprise:

  1. The “spontaneous” consent given by the great masses of the population to the general direction imposed on social life by the dominant fundamental group ; this consent is “historically” caused by the prestige (and consequent confidence) which the dominant group enjoys because of its position and function in the world of production.
  2. The apparatus of state coercive power which “legally” enforces discipline on those groups who do not “consent” either actively or passively. This apparatus is, however, constituted for the whole of society in anticipation of moments of crisis.

(Antonio Gramsci, ‘The Intellectuals’, in Selections from the Prison Notebooks, edited and translated Quintin Hoare and Geoffrey Nowell Smith (New York: International Publishers, 1981)).

Hegemony is a vital concept and intimately linked with those of either the ‘culture industry’ or of ‘manufacturing consent’. Gramsci uses the term sometimes in this respect, others simply to refer to explicit power from above, as with the power of one regionality (for example, Florence) to dominate others, and force them to conform to certain cultural norms – this was how a form of Tuscan speech became standard Italian. Elsewhere in the Prison Notebooks Gramsci also uses the term to refer to the domination of ruling class ideas of laissez-faire liberalism, an argument which resembles the later views of Enzensberger.

But the term has come to be used by some in cultural studies to refer to any set of aesthetic or intellectual values which are at odds with something construed as popular taste. In this sense, teaching a foreign language to young people who might not have expressed any particular desire to learn it, or teaching something about various forms of West African music to white Western teenagers, or even encouraging some to eat a more balanced diet than might be obtained from fast food outlets – or for that matter attempting to challenge young people on ideas which may be prevalent amongst their peer group, whether those might be forms of white supremacy, or misogynistic views of white early-teenage girls as one step away from prostitutes – all constitute some form of hegemony. In short, this view opposes education.

My reference to fast food outlets is not arbitrary, as I have in mind Marie Gillespie’s book Television, Ethnicity and Cultural Change (London and New York: Routledge, 1995), an ethnographic study of a South Asian diaspora community in Southall, London, in which she talks about parents having a ‘hierarchy of values attached to different foods’, when they encourage them to eat dal, saag, subji (a vegetable curry) or roti, as opposed to food from McDonald’s, KFC, Coca-Cola and so on, and comes close to endorsing the view of some teenagers that such products might entail some form of emancipation and global youth culture, a view embodied in the classic Coca-Cola advert featuring the song ‘I’d like to teach the world to sing’.

Hall’s view, as I relate it to education, is also bolstered by the writings of another of Hall’s ideological heroes, Louis Althusser, who in his 1970 essay ‘Idéologie et appareils idéologiques d’Etat’ (Ideology and Ideological State Apparatuses) (published in Lenin and Philosophy and Other Essays, translated Andy Blunden (London: New Left Books, 1971)) wrote that:

…the school (but also other State institutions like the Church, or other apparatuses like the Army) teaches ‘know-how’, but in forms which ensure subjection to the ruling ideology or the mastery of its ‘practice’. All the agents of production, exploitation and repression, not to speak of the ‘professionals of ideology’ (Marx), must in one way or another be ‘steeped’ in this ideology in order to perform their tasks ‘conscientiously’ – the tasks of the exploited (the proletarians), of the exploiters (the capitalists), of the exploiters’ auxiliaries (the managers), or of the high priests of the ruling ideology (its ‘functionaries’), etc.’ The possibility that schools and teachers might at least be trying to do something else more positive in their work is entirely ruled out.

Gramsci, however, in 1919 (in ‘[Communism and Art]’ in Selections from Cultural Writings, edited David Forgacs and Geoffrey Nowell-Smith, translated William Boelhower 9London: Lawrence & Wishart, 1985)) praised the attempts of Soviet communists to increase schools, theatres and opera houses, to make galleries accessible to all, and so on, which he said showed that ‘once in power, the proletariat tends to establish the reign of beauty and grace, to elevate the dignity and freedom of those who create beauty’, comparing the work of Anatoly Lunacharsky and Maxim Gorky to the bureaucrats in Italy. In a few short essays from 1930 (‘Concept of “National-Popular”‘, and ‘Italian National Culture’, ibid.), in response to a fascist journal which was perturbed by the fact that newspapers in Rome and Naples were serialising novels of Alexandre Dumas and Paul Fontenay, which were very popular, Gramsci wrote of how the Italian people ‘undergo the moral and intellectual hegemony of foreign intellectuals, that they feel more closely related to foreign intellectuals than to ‘domestic’ ones, that there is no national intellectual and moral bloc, either hierarchical or, still less, egalitarian’ and that ‘Every people has its own literature, but this can come to it from another people, in other words the people in question can be subordinated to the intellectual and moral hegemony of other peoples.’ So hegemony here can be a voluntary and arguably not undesirable thing, as a counterpart to nationalism. Of course, these latter essays must be read in terms of the context of Italian fascism and the kitsch culture it bequeathed.

Lenin had argued that some sections of the working classes could be convinced that imperialism was in their interests and become its advocates, whilst many Marxist thinkers, not least amongst the Frankfurt School, had considered the phenomenon of false consciousness. This general trend of thought continued to inform the work of the Glasgow Media Group, founded in 1974. This would come to form a powerful alternative to the orthodoxies at Birmingham, with its director Greg Philo one of the most cogent critics of Stuart Hall. Through relentless collecting of evidence (published in their series of books entitled Bad News), Philo and his colleagues produced rigorous and compelling studies of how various forms of flagrant misinformation are disseminated and absorbed by media viewers through clear bias, lack of explanation and background, and various else. A similar outlook can be found in Edward S. Herman and Noam Chomsky’s book Manufacturing Consent (New York: Pantheon Books, 1988). The Glasgow group, Herman and Chomsky were in no sense presenting those viewers who have been manipulated as somehow mere fodder beyond redemption, but they recognised that it took a level of education and critical consciousness to resist such manipulation. This is one reason why conservatives have always disliked education towards such an end, and especially dislike the non-functionalised approach to learning associated with the humanities.

As Philo and David Miller point out (in their ‘Cultural Compliance: Media/cultural studies and social science’, in Market Killing: What the Free Market does and what Social Scientists can do about it, edited Greg Philo and David Miller (Harlow: Pearson Education, 2001)), by the 1980s most of the analysis of the hegemonic power of the media had gone from Hall’s work, and he moved closer and closer to a celebratory view of popular culture or at least of how it is appropriated by its consumers. This was even more pronounced in the work of some of those who continued in his wake, especially in two books published in 1989, around the peak of the Thatcher-Reagan-Bush senior era, and the year which later saw the fall of communism in Eastern Europe: John Fiske, Understanding Popular Culture (London: Unwin Hyman, 1989) and Andrew Ross, No Respect: Intellectuals and Popular Culture (New York: Routledge, 1989). Fiske interprets various approaches to consumption (which he describes as ‘a tactical raid upon the system’), such as sporting of particular garments, make-up or hairstyles, as guerrilla actions which subvert dominant values, writing that ‘At the point of sale the commodity exhausts its role in the distribution economy, but begins its work in the cultural. Detached from the strategies of capitalism, its work for the bosses completed, it becomes a resource for the culture of everyday life’. Ross, one of the contributors to the 1983 volume on Marxism and culture, is utterly scathing about any type of defence of high culture, seeing in this an affront to the values of democracy, and a hegemonic attempt by a dominant class to protect their privilege.

Both Fiske and Ross, wittingly or not, advocate quite vehemently the values of the free market, using the language of hegemony to attack any attempts to modify it. This type of phenomenon has been analysed by some of the most penetrating critics of cultural studies. Todd Gitlin (in ‘The Anti-Political Populism of Cultural Studies’, Dissent, Spring 1997) writes of how cultural studies simply inverted old hierarchies, so that popular taste became an automatic yardstick of quality, writing that ‘One purports to stand four-square for the people against capitalism, and comes to echo the logic of capitalism.’ Thomas Frank (in One Market Under God: Extreme Capitalism, Market Populism and the End of Economic Democracy (New York: Doubleday, 2000)) also writes scathingly about of how cultural studies flaunted the logic of the market, seen as expressing ‘the will of the people’ so that ‘virtually any criticism of business could be described as an act of despicable contempt for the common man’ and the language of class warfare could be deployed in support of corporate objectives, for which cultural studies was a cheerleader, ‘with stories of aesthetic hierarchies rudely overturned; with subversive shoppers dauntlessly using up the mall’s air conditioning; with heroic fans building their workers’ paradise right there in the Star Trek corpus’. Other relevant texts in this context include Chris Rojek and Bryan Turner, ‘Decorative sociology: towards a critique of the cultural turn’, The Sociological Review 48/4 (November 2000), pp. 629-48; Joseph Heath and Andrew Potter, The Rebel Sell: How the Counter Culture became Consumer Culture (Chichester: Capstone, 2006); Fran Tonkiss, ‘Kulturstudien und der “economic turn”’ (2007), in Karin Harrasser, Sylvia Riedmann and Alan Scott (eds.), Die Politik der Cultural Studies – Cultural Studies der Politik (Vienna: Turia + Kant, 2007), pp. 214-226; and Catherine Liu, American Idyll: Academic Antielitism as Cultural Critique (Iowa City: University of Iowa Press, 2011).

What can rarely be found explored in any remotely benevolent or even benign fashion in this type of cultural studies is the public sector. To a genuine social democrat, the public sector – and also the realms of the welfare state, regulation of capital and industry through democratically accountable bodies – acts as a corrective to the unfettered reign of capital, and offers realms of life, activity and indeed culture which maintain some degree of autonomy from the commodity principle. Marxists are often sceptical, and often draw attention to the difficulty of sustaining the public sector at times of economic slump, not to mention the role of global financial organisations in limiting the scope of individual governments to maintain the regulated and mixed economy. But that position comes not from an antipathy towards the public sector, but rather a belief that capitalism, in the sense of a society founded upon private property, needs to be hauled up by its roots in a wholesale structural revolution, rather than simply modified and reformed. A genuine Marxist revolutionary – and I am not arguing from that perspective – would want to end the private sector altogether. With this would be destroyed the cultural industries as we know them, for sure, hardly the position of many in the field of cultural studies. This is the primary reason why I cannot accept that the school of cultural studies bequeathed by Hall can be considered Marxist. On the contrary, through the relentless valorisation of commercial culture over that produced in other contexts in more-or-less social democratic societies (often expressed through kneejerk antipathy towards anything associated with ‘the state’), it should be clear where the cultural studies crowd’s sympathies lie, and how easily they revert to quite standard consumerist rhetoric.


Rethinking Contemporary Musicology: Panel at the Royal Musical Association 2019 – Part 2. Papers of Darla Crispin and Peter Tregear.

In my earlier post, I detailed the contents of first two papers at the important and well-attended session at the Royal Musical Association Annual Conference 2019 by Larson Powell and Darla Crispin. Here I will do the same with the third and fourth papers by Darla Crispin and Peter Tregear, and then append some wider thoughts of my own on the occasion.

 

Darla M. Crispin, ‘Artistic Research in Music: Brave New World – or Harbinger of Decline?’

Crispin’s paper focused on fundamental questions appertaining to the field of artistic research and the ways in which work in this field might be judged. She began by offering four fundamental questions:

  • How do we measure value in artistic research?
  • Have we really resolved how to do so in the separate cases of art and research?
  • Can artistic research offer fresh insights into our value systems for the separate worlds of art and scholarship, as well as its own hybrid world, or will its influence contribute to a free-for-all situation where all value is subjective?
  • Perhaps most fundamentally, how is artistic research in music to develop a more trenchant self-criticism, as the field moves toward maturity?

None of these are easy questions; Anglophone academics may be familiar with particular manifestations thereof in the debates about practice-as-research. Artistic research is a distinct concept, however, which has not yet gained the same currency in English-speaking academia as in parts of continental Europe. Fundamentally, this entails research into artistic practice, carried out by active practitioners, but generally presented in a written form (so the practice itself does not constitute the final output). Crispin argued that this paradigm ‘is more one of a fusion of artistic practice and research, leading to a third entity‘, in comparison to the UK model in which ‘the research retains its distinct identity as research‘ despite operating through the medium of practice, drawing upon concepts from Christopher Frayling’s influential essay 1993 essay ‘Research in art and design’.

Crispin, who has worked extensively at the centre of artistic research programmes in Ghent and Oslo, described how, when the field of artistic research was new, many sought a workable definition such as would facilitate the development of new work methods, courses and programmes and associated curricula, and could be used to validate new advanced degrees, in particular the PhD in artistic research. However, the co-existence of both the UK and continental models has created further complications and controversies, one response to which was the following 2015 statement from the Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC):

‘Artistic Research shares with other research focussing its study on the arts the aim of promoting the understanding, and thereby the development, of artistic practice; however, it is distinctive in the emphasis it places upon the integral role of the artist in its research processes. Artistic practice is the source from which it draws its questions and also the target towards which it addresses its answers.’

But, as Crispin observed, this statement, attempting to satisfy multiple factions, is ultimately rather bland, and stronger choices need to be made, not least with respect to the thorny question of value of such research. The complexities of the issues has resulted in a relative slow pace of development of a critical framework which, Crispin maintained, requires something ‘couched in terms of words’. Those who believe that the research element is located in the art itself (I am one of those who believe it can be) must look for a critical framework in non-verbal terms, and so existing scholarly concepts of critically need to be rethought.

Crispin alluded to the classic ‘holy trinity’ (my term rather than hers) of criteria for scholarship and research: originality – rigour – significance. The most problematic of these for many existing forms of artistic creation is rigour, and so Crispin asked how artistic self-reflexivity might be rethought as conducive to such rigour, rather than antithetical to it, not least through a reappraisal of traditional scholarly distrust of subjectivity. With this in mind, she produced the following chart:

Crispin chart

Very loosely, Crispin asked whether the left hand column tended to represent ‘Art’, the right hand one ‘Research’? But she refined this so that items 1-3 and 5 in the left hand column, and 1-2 in the right hand one could be considered ‘Art & Research’, No. 4 in the left possibly ‘Art only’ and the remaining 3-5 in the right possibly ‘Research only’. I am less convinced that No. 3 of the latter is so far from a good deal of artistic creation, whether the contrast between the first items in either column really amount to more than a caricature of either field, or whether No. 2 in the left amounts to more than romantic mythologisation of the artistic process, and so on, but sometimes stark contrasts between polarised conceptions can be useful in order to dramatise fundamental issues. The chart certainly speaks to me in terms of (sometimes reified) conceptions I have encountered, as for example when I was once told by a senior academic that the real criterion for scholarship is that it is ‘objective’, as if this were such a clear-cut thing (this was from an individual working in a field which in general is characterised by a good deal of speculative hermeneutics, and relatively unsubstantiated assertions). Ultimately, the right hand column says more about what those who police scholarship use as criteria for dismissing it rather than revealing much about what actually constitutes the richest work.

Crispin argued that there was a requirement for ‘the further development of clear methodological frameworks within which subjective enquiry can be carried out’ (I could not agree more and would add that all types of research, not just ‘artistic’, need these). She presented an interesting and productive dichotomy between ‘untrained subjectivity’ and ‘expert subjectivity’, recognising that subjective reflection can nonetheless reflect wider expertise and training.

There are major implications, however, for the manifestations of such considerations in terms of the possibilities of healthy and robust academic debate. To embrace subjectivity means, according to Crispin, ‘to narrow the distance between what one says and who one is’. This brings with it major dangers, whereby the distinction between a legitimate scholarly critique and a personalised attack becomes unclear. I have noticed how many who insist on dramatising their subjective presence in their work – including those who preface every paper with some ‘statement of positionality’ or the like – are quick to use the fact of this blurring of boundaries to avoid actually engaging with the substance of a critique and simply cry foul.* Crispin noted the relative lack of ‘the internal cut-and-thrust of polemical debate’ within artistic research, and called for more informed criticism, which can only come from peers.

Is this likely to happen? Crispin did not answer this wholly unequivocally: she noted how artistic research has been as likely to absorb the worst as the best aspects of more long-established disciplines, but had the potential to shape itself as an arena for addressing fundamental questions of art, and could reach out to wider musical or music-making communities as a result. These are strong ideals, though there is a long way to go. A tendency on the part of some artistic researchers to pepper their writings with the maximum number of references to jargon taken from various vogueish intellectuals (at present, Alain Badiou and Bruno Latour are very much in fashion), not always in order either to clarify arguments, nor situate them meaningfully within a wider theoretical context, but simply to add a ‘scholarly’ aura often to writings in which the findings relating to artistic practice are relatively modest, hardly encourages engagement with such texts on the part of wider communities of musicians.

But artistic researchers depend primarily for their existence on winning favour and prestige within narrow academic communities, and convincing sceptics (sometimes including university bureaucrats with little investment in artistic disciplines at all) that they deserve recognition comparable to their colleagues in STEM and other fields. Crispin’s clear-sighted awareness of these continuing problems was made manifest in her final quote, from Elin Angelo; Øyvind Varkøy and Eva Georgii-Hemming, ‘Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies’, Journal for Research in Arts and Sports Education Vol. 3, No. 1 (2019), pp. 78–100:

‘Overall, attitudes, hierarchies, positions, disciplines and profiles in performing programmes seem to be challenged by academisation processes.  This could be met by maintaining silence, or also by the will and interest to communicate and actively participate in dialogues.  ‘Publish or perish’ is a bad ideal for higher music education, unless one redefines what is meant by ‘publish’.  Unless classical performers engage in (verbal) discussions about who their peers should be and what norms classical music educators should follow, and why, then these judgments will be left to non-musicians.

A final conclusion in this article is, therefore, speak! Who is better qualified to say something about mandate, knowledge and research in and for higher music education than higher music educators themselves (teachers/leaders/researchers/students)?  Only by verbalising the challenges, inviting dialogue and questioning of the qualifications (or the lack thereof), might one facilitate the academisation processes to work for and not against higher music education.’

However, there is still a fair way to go in terms of combating anti-intellectualism on the part of many practical musicians (and indeed, some of the academics who idolise them) and the converse tendency of musicologists to pass judgement on musicians and others involved in the music business, but assume that no-one other than other academics are entitled to any judgement on them and their own work.

 

* A particularly egregious example of this was a comment from Georgina Born in a 2016 debate on music technology at my own institution, in which she insisted the critique by Björn Heile, in his 2004 essay ‘Darmstadt as Other: British and American Responses to Musical Modernism’ of her deeply problematic neo-liberal polemic Rationalising Culture: IRCAM, Boulez, and the Insitutionalization of the Musical Avant-Garde, could only be motivated by sexism. This article contained what was actually a relatively moderate critique on Heile’s part, focusing primarily on the fact that Born arrives at over-arching judgements on a whole body of musical work on the basis of reading associated statements rather than independent engagement with the sounding work.

 

Peter Tregear, ‘Telling Tales in (and out of) Music Schools’.

Perhaps the most hard-hitting and cogent paper in the session was the final one, by Peter Tregear, looking at fundamental questions of the role of empirical truth in musicology in the light of recent polemics. Tregear kindly provided me with an earlier, longer draft of his paper (which is currently under review for a special issue of Twentieth- Century Music edited by Wolfgang Marx, entitled ‘Music and Musicology in the Age of Post-Truth’, for publication in 2020) with important material I would like to reproduce here.

In this, Tregear recognised that the types of fact-finding and testing of propositions undertaken by musicologists are of a different nature to those of empirical scientists, while the traditionally important role of the untestable factor of aesthetic judgement takes the discipline away from empirical truth. However, he noted the now-familiar fact that ‘fake news’ and disinformation have come to undermine scientific findings when they better suit particular individual values or political agendas, and that a similar phenomenon is occurring in musicology:

‘It used to be considered a given of scholarly practice that when a musicologist proposed an idea it would be assessed primarily on the basis of the cogency, originality and rigour of the arguments that support it. The broader community of scholars would then assess the underlying validity of an argument by scrutinising both its inherent reasoning and by comparing it against a body of pre-existing knowledge. To this end, musicological discourse has traditionally held itself to account in ways comparable to scientific practice despite the fact that the musicologist does not only deal with empirical facts. However, with theoretical buttressing from ideas such as postmodernism and deconstructionism, it is possible at the same time to profess a profound scepticism of the very idea of truth in scholarship.’

Examples of this given by Tregear include the way in which even to make reference to immanent musical qualities is frequently interpreted as an expression of social biases on the part of the musicologist (Tregear alluded to Pierre Bourdieu, but this position reminds me more of the various Soviet strictures on ‘formalism’ in music, culminating in the 1948 Zhdanov decree), or that all choices of areas of research and teaching are portrayed merely as a means for particular social forces to exercise and protect their power. Tregear recognised positive dimensions to this, in terms of the potential to engender proper debates about musical value, but also pointed out that this requires levels of intellectual rigour and breadth of perspective such as would enable ‘specifically musicological interests and concerts’ to rise above ‘the general din of today’s opinion-saturated, post-truth culture’. He noted the difficulties of this in a culture which distrusts ‘experts’,  as diagnosed in such books as Susan Jacoby’s The Age of American Unreason (New York: Pantheon, 2008), Tom Nichols’ The Death of Expertise (New York: Oxford University Press, 2017) and others. With this comes a situation in which sustained thought is overshadowed by comment, opinion, and ironic refusals to commit to anything, and culture becomes, in the words of political scientist Patrick Deenen, ‘synonymous with hedonic titillation, visceral crudeness, and distraction, all oriented toward promotion consumption, appetite, and detachment’.

Such a situation both threatens and conditions musicology in particular ways, according to Tregear. His diagnosis of particular outcomes included ‘The elevation of feeling over thinking‘, especially in autoethnographic writing (the subject of a further round-table in which I participated later the same day). Quoting Brydie-Leigh Bartleet and Carolyn Ellis (from the introduction to their Making Autoethnography Sing/Making Music Personal (Bowen Hills: Australian Academic Press, 2009)) on how autoethnography supposedly encourages the conveying of ‘the meanings of vibrant musical experiences evocatively’ rather than ‘dry descriptions’, Treager echoed some of Crispin’s comments about the dangers of over-elevation of subjective experience per se, in his observation that ‘It quickly becomes more important to declare how one feels, than to show why one thinsk something, about a musical proposition or musical work.’ All that really matters is the ‘authenticity’ of one’s personal experiences, and there is less incentive for musicologists to look beyond the limits of these (one might add that this sort of academic narcissism is the very converse of the type of multi-perspectival approach which is surely a necessary condition for any meaningful commitment to diversity). All that remains is personal taste, and any conflicts in this respect can be about to little more than the manifestation of institutional power structures. Any possibility of generating some larger communal identity for the purposes of solidarity is lost behind ‘a cloud of authorial subjectivities’.

Especially perceptive was Tregear’s concomitant observation that when the self is everything, then this leads to a devaluing and deskilling of music teaching and scholarship, the disappearance of any type of critical consensus for the evaluation of work, and of knowledge systems such as those provided by music theory and historical narratives. Even peer review becomes relatively meaningless. The situation he describes is depressingly familiar, though many of the claims made about power structures seem to little bother some of their strongest advocates when it comes to their own positions within such structures, and claims to expertise (I was reminded of the furious reactions on social media to the semi-serious conclusion to my contribution to the 2016 debate ‘Are we all ethnomusicologists now?’)** Tregear was adamant of the vital role of universities in bolstering and defending ‘the possibility of objective truth’ (though it was clear this was conceived in a more contingent manner than that to which I alluded earlier), promoting and disseminating public knowledge rather than merely lived experience.

The second aspect of Tregear’s diagnosis, ‘An increasing aversion to the principles of scholarly writing‘, brought in the principal object of his critique, the book Just Vibrations: The Purpose of Sounding Good (Ann Arbor, MI: University of Michigan Press, 2016) (available to read in full online for free here), essentially an attack on the bulk of musicological writing. Cheng is a one-time pianist who now primarily writes ludomusicology (the study of music for video games). I will return to Tregear’s critique of Just Vibrations presently. Tregear cited as one sign of the breakdown of the scholarly values in musicology was the growth in APA (‘Harvard style’) referencing , enabling academics to present ideas as if they were established facts, in the manner of scientific discoveries (I have noticed how often Edward Said’s highly contentious and widely contested arguments, especially in Orientalism, are regularly used by new musicologists and ethnomusicologists in this respect – ‘We know (Said 1978) that Western writers portray the ‘Orient’ in order to exercise their power and domination over colonial subjects’, etc.). Tregear noted an acerbic critique of this from Russell Smith (‘Let’s stop pretending academic artspeak reflects actual research’, The Globe and Mail, 31 October 2017).

The third point of Tregear’s critique was ‘An over concern for utility‘, whereby musicologists are instructed by Cheng to direct their work towards specific social goals or goods (a simple rehash of very old utilitarian arguments which have traditionally been used to undermine academic autonomy, or those in music from the advocates of Gebrauchsmusik, and then the similar doctrines as enforced in fascist and communist regimes). Tregear asked who should determine what the appropriate types of goals or good should be, and continued (in a somewhat Adornian fashion) to note how this approach could not but help but shut out any sort of reasoned dissent. Cheng’s prognosis would lead to the situation in which institutions commission academics to write supposedly authoritative scholarly histories of themselves, but with the clear understanding that these must not highlight some of such institutions’ more unsavoury elements (this has been a major consideration in ‘official’ histories of institutions in post-1945 Germany which were also active prior to 1945, or in musical institutions with dark histories of abuse and bullying, all of who require Persilschein).

Following this, Tregear alluded briefly to the ‘grievance studies hoax’ carried out Helen Pluckrose, James A. Lindsay and Peter Boghossian, in which seven fabricated papers (one of them a rewriting of a chapter from Mein Kampf) were accepted by major academic journals. Tregear suggested that this happened primarily because such papers appealed to a sense of righteousness, and particular identity groups, and this type of authority took priority over any other form of reasoning or observation. Personal biases, once viewed as something to guard against and if necessary correct, have become a reigning scholarly principle. With the eschewal of any attempt at disinterest, what remains, according to Tregear, is what literary scholar David Palumbo-Lui calls (in the context of modern languages) ‘a morbid constellation of egotism, arrogance, self-enclosure, and normalized self-interest’, and also, as identified by Richard Arum and Josipa Roska, limited skills encountered in students in terms of analytical thought, reasoning and written expression. This situation will surely be familiar to many, and is sometimes replicated and perpetuated by other academics who were themselves schooled in institutions which devalued these types of qualities.

In the version of the paper presented at the RMA, Tregear began by paying tribute to Tamara Levitz’s keynote lecture the previous day, ‘Free Speech and Academic Freedom’ and her worries about the ‘implications for musicology of the age of democracy’s demise’, feeling his own work dealt with similar themes. Then he moved straight to Cheng’s book, placing this in the context of ‘a renewed identity crisis in musicology’, and noting Cheng’s claim the discipline might ‘renegotiate the means and purposes of careful labor, intellectual inquiry, and living soundly’. Tregear noted the primarily favourable reception this book has received, even in a mildly critical review-article by Kate Guthrie (‘Why we Can’t All Just Get Along’, Journal of the Royal Musical Association, vol. 143 (2018), pp. 473-482), and attributed its impact to a variety of factors: the authors association with influential US professional musicological networks, the decision of the publishers to make it available to read for free online, but also ‘its self-declared progressive and confessional style’, leading it to win the Philip Brett Award of the American Musicological Society in 2016.***

To Tregear, Cheng’s book, while rightly encouraging a broader consideration of what and who musicology is for, also ‘gives us a clear warning as to what is also now at stake’. Some of this was simply through over-reaching, as in the exaggerated claim that a ‘musicological ear’ could add depth to the analysis of the use of a siren sound to close a TV episode. But Tregear was also sceptical of Cheng’s definition of musicology as ‘all the activities, care, and caregiving of people who identify as members of the musicological community…’, believing that this makes the crisis of identity in musicology all the more acute.

Tregear did not deny the value of musicology which entailed advocacy, and noted how this was unavoidable in his own work on music history in Weimar Germany. At the same time, he recognised that his own training led him to attempt to identify particularly bias, and how this might distort research (and, by implication, one should try to correct this). He cited American Social Psychologist Lee Jussim and others’ pertinent observations on how when we are ‘motivated by high moral principles, such as combating global warming, or advancing egalitarianism, such motivations may lead to practices that threaten [research] integrity.’ (Lee Jussim, Jarret T. Crawford, Sean T. Stevens, Stephanie M. Anglin, and Jose L. Duarte, ‘Can High Moral Purposes Undermine Scientific Integrity?’, in The Social Psychology of Morality eds. Joseph P. Forgas, Lee Jussim, Paul A.M. Van Lange (London: Routledge, 2016), 190). Ultimately, Tregear believed that the scholarly nature of musicological research is the source of its ethical import, the detachment this requires making it possible to relate findings to the work of other scholars, wider bodies of knowledge, and society-at-large.

But in contrast to this, Cheng’s view is that most of the traditions of scholarly writing are simply designed to ‘impress people, win arguments, and elevate one’s status’, drawing upon the concept of ‘paranoid reading’ from Eve Kosofsky Sedgwick (in her Touching Feeling: Affect, Pedagogy, Performativity (Durham, NC: Duke University Press, 2003), an arch-example of the sort of tendencies identified in the longer version of Tregear’s paper). Against Cheng’s dismissive evocation of how musicologists are ‘trained to write in a manner that preemptively repels potential knocks against their work’, Tregear asked whether this wasn’t the precise thing which enables good academic writing ‘to justify its claim to be taken seriously as a public utterance’, rather than ‘a mere assertion of the taste, desires, beliefs, or caprice of the researcher’. The musicologist generates trust from their reader by justifying their claims on the basis of reasoned propositions or facts.

Cheng writes disparagingly about ‘aesthetic autonomy’, ‘academic freedom’, recommendations of ‘Let music be music’ or ‘Let scholars be scholars’, which all allegedly displace attention ‘from the role musicologists ought to be playing as “care givers and social agents”‘. I see no place for scholarly values of any type here, only political judgement on the part of Cheng (one wonders why he is particularly concerned about owning a university position, rather than working as a political activist?) Tregear presented the danger of a priori political values overriding other scholarly ones through the 2000 libel case launched by writer and holocaust denier David Irving against historian Deborah Lipstadt and Penguin Books. In the words of chief expert witnesses, Professor Richard J. Evans (whose expert report can be read here, an essential read for all concerned about questions of historical truth; a shorter version is to be found in Evans’ book Telling Lies about Hitler: The Holocaust, Hitler and the David Irving Trial (London: Verso, 2002)), the trial was about the ‘very creation of historical knowledge from the remains the past has left behind’. Whereas earlier commentators had often sought to dismiss Irving’s work on the basis of his politics, and others of a mainstream conservative position but little specific expertise in his area had erred to believing it had some historical value despite the politics, Evans’ approach to the texts was relentlessly forensic, involving fact-checking and various other types of scrutiny, revealing how Irving distorted sources, ignored them when they did not suit his purposes, read them deliberately out of context, or applied wildly different standards to different types of sources, for example requiring the highest standards of corroboration for anything said by Churchill, while taking Hitler’s words at face value. As Tregear put it, Evans was able to defeat Irving’s misreadings of the past (and his investigation has probably done far more to discredit Irving’s propaganda than anyone else had managed) ‘by being – indeed – rigorously paranoid‘.

Tregear charged that Cheng’s demands can lead to scholarly outcomes which are neither progressive nor innovative, because the lack of the traditional disciplinary tools and types of discourse undermine the rhetorical and moral authority of musicology (I suspect one reason Cheng is unable to see this has much to do with a in-group, out-group attitude which precludes any real constructive debate with anyone who does not already agree with him on the matters he believes to be important). Furthermore, when ‘research’ becomes overtly about advocacy, the systems of disciplinary accountability and peer review become relatively meaningless, and the result truly would be ‘a jostling for power and patronage’.

With this in mind, Tregear argued that musicology also needs ‘to undertake a serious system examination of the impact on musicology itself of the changing institutional context in which scholars like Cheng are flourishing’. He noted the damning findings of a 2017 University and College Union (UK) report (‘Academic Freedom in the UK: Legal and Normative Protection in a Comparative Context’) that despite the purported norms of academic freedom, the commonplace reality is one of ‘bullying, psychological pressure and self-censorship’, with university managements employing administrative tools, metrics, research exercises, student evaluations, and so on. The claim that empowering students to make consumer choices would, according to the UK Department of Education, ‘shine a light on poor quality teaching and ensure standards are driven upwards’ leads to the situation, as diagnosed by Nichols, by which ‘the layperson becomes accustomed to judging the expert’. Managers and administrators now call the shots, and require loyalty to them (and, I would add, often the uncollegiate requirement of loyalty to a specific institution and its own staff over and above any working elsewhere) over any loyalty to values immanent to a particular discipline. The following quote from Nichols, cited by Tregear in the longer version of his paper, is especially pertinent:

‘Emotion is an unassailable defence against expertise, a moat of anger and resentment in which reason and knowledge quickly drown. And when students learn that emotion trumps everything else, it is a lesson they will take with them for the rest of their lives.’

The important conclusion derived from this by Tregear in the longer paper is of an unholy alliance between ‘self-oriented’ scholarship, and the demands of managerial cultures in universities, citing the following chart from Marc A. Edwards and Siddharta Roy (in ‘Academic Research in the 21st Century: Maintaining Scientific Integrity in a Climate of Perverse Incentives and Hypercompetition’, Environmental Engineering Science, vol. 34, no. 1 (2017), pp. 51-61), demonstrating the pervasiveness of corporate language and values:

Perverse Incentives in Academia

Tregear recognises that academic and institutional autonomy have never been, and likely would never be, completely pure and unmediated concepts, and also that disciplinary standards change over time, sometimes radically, but the nature of the types of change he was describing, as spearheaded by Cheng and others, have little to do with the very nature or requirements of the discipline of musicology. He attributed this to the failure of music academics to hold their own administrative leaderships to any kind of account (in fairness, I would say that many such academics are struggling with precarity and fear of losing their positions, and so are forced to operate in a dog-eat-dog academic climate of fear, though Tregear does allude to this), and the removal of democratic structures such as used to allow academics to elect their own Vice-Chancellors. In this sense, I would argue that Cheng and others are essentially providing a new spin upon corporate academic ideals. It is no coincidence that such a view finds most currency in the USA, where the corporatisation of academia may me more advanced than anywhere else in the Western world.

In conclusion, Tregear maintained the view that universities and disciplines such as musicology can still teach a capacity to make ‘rigorous, sustained, reflective, truth claims’, while recognising that he belongs to a group that have traditionally been the chief subjects and beneficiaries of such a thing, and also that the traditional tools of scholarship do not guarantee that the findings will transcend limitations of class, ethnic origin, or other identity groups. Nonetheless, he still argued that one should attempt to think beyond particular allegiances and identities, and institutions should seek to bolster and defend rational enquiry and the possibility of objective truth rather than narrow forms of knowing which rely primarily upon lived experience. Musicology is unlikely to effect serious social change, but can at least, according to Tregear, ‘help us develop and refine the kinds of thinking and hearing that can make us more valiant for the pursuit of truth’ in the world.

 

**This was the following:

‘I will end with a reapplication of Marcel Mauss to this field of ethnomusicology itself. Its participants offer up endorsements for the right theorists, the right canonised and revered ethnomusicologists, the right political outlook, generally that sort of ‘consumerist multiculturalism’ which accords well with modern neo-liberalism, to those who are in a position of power above them, and are rewarded for this through promotion and research grants in a process of exchange. Collegiate relationships within hierarchical academic structures are made possible through this process of reciprocity. This may be an unfair caricature, but no more so than many of the analyses in this body of work.’

It was not clear whether those ethnomusicologists fulminating about those on social media, often in an ad hominem manner, realised the point being made in re-applying the type of unsubstantiated allegations routinely made by them to other bodies of individuals to ethnomusicologists themselves.

***Philip Brett was another writer who wrote dismissively of musicology as being anything other than ‘cultural politics’, and the very concept of ‘scholarship’ (in ‘Round Table VIII: Cultural Politics’, Acta Musicologica, vol. 69, fasc. 1 (Jan-June 1997), pp. 45-52). He called musicology ‘not a happy word’ which ‘attempts to give a sort of academic legitimacy to an activity which goes on in most cultures – thinking, talking, and gossiping about music and judging it.’ (‘Are You Musical?’, The Musical Times, vol. 135, no. 1816 (June 1994), pp. 370-376). This may be an apt description of Brett’s own work, but not that of plenty of others, and I would find it difficult to set much scholarly value in a prize named after someone who did not believe in scholarship.

 

Debate

The questions demonstrated a clearly positive and supportive attitude towards the papers, perhaps with a greater degree of general consensus than many of us on the panel had imagined would be likely to be the case. Just one suggested that while it may be easy to present this type of ‘conservationist’ view at a conference like that, things might be different at that of the American Musicological Society (though the implication that this latter should be afforded some primacy needs questioning, unless one takes a Trumpian view of the axiomatic superior importance of anything taking place in the United States of America).

The then outgoing President of the Society for Music Analysis (trustees from which, of whom I am one, were well-represented amongst the audience for the session), Julian Horton, opined that ‘our discipline has lost its object’. Rebecca Herrisone, from the University of Manchester, asked the fair question of whether a simple need to gain and maintain students, in the face of an increasingly ruthless marketplace, might be driving deskilling. How departments can survive in such an academic climate, without joining in a ‘race to the bottom’, is one of the major challenges today, though ome can cynically appropriate this situation to legitimise the sorts of dumbing-down they desire anyhow (not that Herrisone was remotely doing this). Roddy Hawkins, also from the University of Manchester, asked a question to Moreda Rodriguez relating to research-led teaching, the exact details of which I do not recall precisely. Another individual who I did not know wondered whether a renewed emphasis on notation would risk centering ‘the canon’ again at the expense of other composers, though did not necessarily give a reason why this would necessarily be a bad thing.

Nicholas Reyland (RNCM) asked us all what we believed to be the major threat to music education. Some responses to this were a little muted, though Moreda Rodriguez made clear that she believed the main danger was the loss of any common ground, vocabulary and set of references with which musicologists could talk to each other. I myself opined at this point that to me the primary danger was that it would simply become subsumed within other disciplines and cease to exist in its own right, and that this was a danger of an excessive focus upon interdisciplinarity, in which music and musicology are invariably the junior partners.

One of the 2019 RMA keynote speakers, Tamara Levitz, was especially positive about the session, and mentioned some of her own strong reservations about the work of Cheng, which has had a relatively unquestioning acceptance in much of the US (and in many reviews in academic journals other than that of Peter Tregear). There was also a productive exchange between Levitz and Powell on the role of theory in teaching.

Knowing of Levitz’s own pathbreaking work on the teaching of Busoni and the ideas of the Junge Klassizität in early Weimar Germany, and also of the related work by others on the panel (Tregear and I have worked extensively on this area, while Powell and Crispin have written on composers active during this time, and Moreda Rodriguez’s work deals with a similar historical period) I raised the question of whether attacks in recent decades on musical autonomy are really so new, considering how widespread similar positions were in Weimar Germany (from Ernst Krenek, Kurt Weill, Hans-Heinz Stuckenschmidt, Hanns Eisler, Heinrich Besseler and others, and fuelling the movements of Neue Sachlichkeit and Gebrauchsmusik). This generated further discussion which continued outside of the forum. There is always room for scepticism about any movements in academia, art or elsewhere which claim that their work constitutes a thoroughgoing break with practically all that has gone before, and makes claims for originality without necessarily sufficient historical knowledge to be in a position to make such claims, and the new musicology is no different in this respect.

 

Some Thoughts from the Session

As convenor and chair, I was extremely pleased with the session and the responses. Every speaker presented original, measured, but cogent arguments, unafraid to challenge some of the most malign tendencies in our discipline, even when propagated by individuals with significant institutional power. The seemingly less contentious thoughts of Crispin on subjectivity and the ways in which academics might engage with this while upholding scholarly values, took on a different flavour in contrast to the ideas of William Cheng as presented and critiqued by Tregear. Cheng’s position is not particularly new, just more explicit in its overt dismissal of scholarly truth than most of its postmodern predecessors. I take a somewhat more benevolent view towards the possibility of autoethnographic writing than Tregear, believing in the possibility of generating genuinely new knowledge through critical self-reflection on one’s own work and experiences, but nonetheless certainly recognise the self-obsessed type of writing which he identifies as laying claim to this concept.

Moreda Rodriguez’s paper was also sharp in many of its findings, not least the extent to which some of those laying claim to the rhetoric of the ‘global’ continue, say, to identify the whole of the ‘Americas’ with the United States, thus perpetuating an arch-imperialist view. But her paper and Powell’s may have contained some of the most positive messages for ways forward, in her case recognising the value of attempts to draw the boundaries of music history more broadly than hitherto. But at the same time, she does not underestimate the scale of this task, and notes the huge limitations of superficial work in this respect, especially that which appropriates such an important area of study in order simply to make petty virtue-signalling points about ‘West versus the rest’, and in the process practically ignore hugely influential (in a global sense) developments just because they happen to have occurred in the West.

Tregear’s paper entailed the most far-reaching critique of contemporary musicology or indeed wider academia. I would like to extend his points relating to the overlap between advocates of a self-focused approach to academic writing and the priorities of university managements. But I believe the neo-liberal meeting of minds goes further, in areas of musicology and cultural studies in particular. There is a long and distinguished tradition (coming from such distinct thinkers as Walter Lippmann, Theodor Adorno, Hans-Magnus Enzensberger, Richard Hofstadter, Noam Chomsky, Edward S. Herman, Jim McGuigan, Greg Philo and Naomi Klein; but in diametric opposition to cultural populists such as Stuart Hall, Dick Hebdige, John Fiske or Andrew Ross) which maintains that the meanings of culture and media and their effects upon consciousness are not always determined wholly by the immediate cultural producers (in the sense of the artists) nor by the recipients (listeners, viewers, readers, etc.) but can also reflect and propagate other priorities and agendas determined by the powerful industries behind such culture. It would be surprising if this were not the case, considering the vast sums of money such industries spend on marketing, market research, advertising, focus groups, and so on, or if this did not have some impact upon a wider cultural sphere, including that which is less big business. But this view is hard to square with the uncritical adulation of popular culture (and often, by extension, the ultra-commercialised sphere in which much of it exists), and the belief that such culture empowers both musicians and listeners (in contrast to much maligned ‘high culture’, the alleged hierarchies and hegemonic values of which are dissolved in a culture operating first and foremost in the marketplace). In the work of Susan McClary or Georgina Born, and their countless acolytes in academia, a ‘romancing of the marketplace’ has become so commonplace that it can be viewed as highly contentious even to question it. The links between this world view and the agenda of the neo-liberal university, equally concerned to portray the market as an empowering force, could at best be described as naive, at worst as wholly cynical.

Powell’s identification of the important distinction between semiotics and communication theory was new to me, and explains a good deal. His advocacy of a combination of semiotics/topics with reflective hermeneutics is extremely promising, as is his insistence on a properly dialectical rather than narrowly hierarchical approach to the relationship between different parameters within a film. It is disappointing, even shocking, to hear some of the outright misrepresentations and uninformed claims he identifies, not to mention the simplistic and often didactic strictures, but I know these are far from atypical, especially in popular and film music studies. Why is there such a cavalier disregard for basic factual accuracy or fair representation of sources? I believe this has something to do with a beleaguered and automatically defensive reaction on the part of members of certain sub-disciplines, believing their field to be disrespected but then acting in such a way as to make this into a self-fulfilling prophecy.

On the other hand, one might argue that there is a simpler explanation of why various others are hostile to fact-checking, scrutiny of arguments or any of the other processes which are used to discern the distinction between scholarly and other forms of writing. As I argued in a paper over a decade ago, and will return to in a future article, the renditions of the work of Carl Dahlhaus in particular by McClary, who lends her endorsement to Cheng’s book, entail a shocking number of flagrant misrepresentations, disregarding of material which does not suit her prior arguments, quoting out of context, and so on. While the stakes are obviously less serious than in the case of Irving, the scholarly practice is not much better. Only a few have been prepared to pursue such aspects of McClary’s work (one good example is Tim Carter’s ‘An American in…?’, Music & Letters, vol. 83, no. 2 (May 2002), pp. 274-8). Others simply reiterate her work without checking it against the sources it claims to represent, and – whether unwittingly or otherwise – help to consolidate such misrepresentations and render them ideology. This is the essence of how post-truth propaganda works, and it is disappointing to see this process prevalent in academia, and the ways in which it does indeed facilitate ascendancy within power structures. Only a properly ‘paranoid’ approach can serve as a corrective.

Without any conception of scholarly truth or value other than nebulous demands that work should do ‘social justice’, how is it ever possible that work can be marked, peer-reviewed or otherwise evaluated fairly by those adhering to the type of post-truth view expounded by Cheng and others (as found in some of Just Vibrations‘ more hagiographic reviews, such as that by Kyle Devine, writing in Music and Letters a large section of which was reproduced in one of the targets of Devine’s ire, the blog Slipped Disc, which ran a series of earlier blogs on Cheng’s book). Such processes may need be subject to vigorous scrutiny and if necessary appeal, because of the very real risk of censorship of all who do not adhere to a narrow political outlook. The grievance studies hoax is just the tip of the iceberg of a wider corrosion of academia, which is certainly not total (or else academics such as me, or the others in the panel, would not really be at liberty to critique it), but still a major force. It is also time to look at the working of academic power structures, as begun by Tregear, it to examine on what basis Cheng and others have been able to acquire institutional power, just as they malign others in this respect.

The reception of the book Rethinking Contemporary Musicology will be interesting to view, and is sure to include various significantly more negative responses than encountered in this forum. But, despite hearing privately a couple of rather petty responses which nitpicked a few small details rather than engage with the wider arguments, I was encouraged to find the number of people (as witnessed in subsequent discussions after the forum) who felt the importance of much of what was discussed, and indeed felt more at ease discussing such issues themselves as a result of this forum.

 

+ These and other issues are addressed in my three forthcoming essays ‘Ethnographic Approaches to the Study of Western Art Music: Questions of Context, Realism, Evidence, Description and Analysis’, and ‘When Ethnography becomes Hagiography: Uncritical Musical Perspectives’, both in Research and Writing about Contemporary Art and Artists, edited Christopher Wiley and Ian Pace (Basingstoke: Palgrave Macmillan, forthcoming 2020), and ‘The Ethnomusicology of Western Art Music: Territorial and Methodological Concerts’, in Rethinking Contemporary Musicology.


Rethinking Contemporary Musicology: Panel at the Royal Musical Association 2019 – Part 1. Papers of Larson Powell and Eva Moreda Rodriguez

At this year’s Royal Musical Association annual conference, at the University of Manchester/Royal Northern College of Music, I was very pleased to convene a panel on ‘Rethinking Contemporary Musicologies: Disciplinary Shifts and the Risks of Deskilling’ (12 September 2019). These featured the following speakers and papers:

Larson Powell (University of Missouri, Kansas City, USA): ‘Film-Music Studies between Disciplines’.

Eva Moreda Rodriguez (University of Glasgow): ‘Are We all Transnational Now? Global Approaches and Insularity in Music History’.

Darla M. Crispin (Norwegian Academy of Music, Oslo, Norway): ‘Artistic Research in Music: Brave New World – or Harbinger of Decline?’

Peter Tregear (University of Melbourne, Australia): ‘Telling Tales in (and out of) Music Schools’.

Below, I reproduce my Introduction to the panel in full, then give a detailed account of the first two papers (as some of these are drafts for chapters in the book, I prefer not to reproduce them verbatim). In the second part of this, I will do the same with the other two papers and also give some wider reflections of my own on the very well-attended and constructive event.

 

Ian Pace, Introduction

Twenty years ago, in 1999, Nicholas Cook and Mark Everist published the co-edited volume Rethinking Music. This followed in the wake of a series of publications now associated with the ‘New Musicology’ from the early 1990s, but the scale of this publication and its appearance from such a major publisher as Oxford University Press indicated how various tendencies had entered the musicological mainstream. Twenty years later, Peter Tregear and I are in the process of co-editing a new volume, Rethinking Contemporary Musicology: Perspectives on Interdisciplinarity, Skills and Deskilling, which will appear from Routledge in 2020. This brings together a range of leading scholars who all offer critical perspectives on both developments in English-speaking academia which were relatively new when Cook/Everist was published and the state of play in more long-established realms of research and teaching. Four of the contributors are here and will be giving papers, most of which relate to their chapters in the book.

I would emphasise that this book deals specifically with English-speaking academia. This is not because of any type of provinciality, let alone any assertion of centrality of Anglophone contributions to the disciplines. Rather, the editors simply feel that the issues at stake in the Anglosphere, while far from homogeneous, are somewhat distinct from those elsewhere, and as such warrant separate consideration.

Amongst the other chapters in the book – this is not an exhaustive list – are Paul Harper-Scott on musicology, the middlebrow and questions of demographics amongst academics, Christopher Wiley on popular music education and the question of specifically musical engagement, Mu-Xuan Lin on body politics and gendered orthodoxies relating to contemporary composition and the ‘New Discipline’, myself on the application of ethnomusicological approaches to the study of Western art music, then Michael Spitzer on the state of musical analysis, Alan Davison on that for music history, Nicole Grimes on neo-liberalism and the study of Western art music, and case studies relating to issues provoked by the work of Richard Taruskin, Nicholas Cook and Georgina Born, written by Frank Cox, me and Joan Arnau Pamiès respectively.

In general, the contributors can be said to share varying degrees of scepticism towards some aspects of such Anglophone musicology which can be said either to have become orthodoxies, or are sufficiently widespread as to be worthy of critical interrogation. In short, it is time to cast a critical eye on what the discipline has become. Key questions which recur in many essays have to do with the demands of interdisciplinarity, especially whether some allegedly interdisciplinary work entails more than a superficial injection of a handful of concepts or buzzwords from other disciplines (as has been argued by Giles Hooper, another contributor to the book) rather than more rigorous engagement, and the complementary issue of ‘deskilling’ of musicology.

The term ‘deskilling’ was coined by Marxist theorist Harry Braverman in his Labor and Monopoly Capital (New York: Monthly Review, 1974) to characterise the lowering of skill levels as part of a process of progressive estrangement and alienation of workers, relating to the division of labour, in the process increasing their dispensability. As musicology has supposedly become more diverse, many of us argue that various core skills and knowledge, not least relating to basic musicianship, notation, familiarity with history and repertoire, and especially theory and analysis, can no longer be assumed on the part of students, graduates, and indeed many academics themselves. This reduces the possibility of broader interactions between those working in different sub-disciplinary areas, and limits the ability of many to contribute to certain types of core curriculum.

What remains, at worst, is an atomised profession permeated by disputes and struggles for territory and power, in place of genuine quests for knowledge, however utopian such ideals might be. Such a situation is exacerbated and in some ways fuelled by neo-liberal reforms to higher education, pitting students as ‘consumers’, creating increased precarity for academics, and importing aspects of market culture as well as ever-growing strata of top-down management. Whilst many of the new musicological tendencies are advocated by those laying claim to ‘progressive’ political causes, at the same time they have often proved most amenable to the strictures of the commercialised university, not least through the post-modernist eschewal of conceptions of truth and knowledge with a degree of autonomy from their social function, in a capitalist society.*

Contributors to the book consider how his situation has come about, what are some of the ideological assumptions which underlie such a predicament, how this has been manifested in certain types of work, and what might be positive alternatives.

*This point may deserve more explanation than I gave in the introduction. My argument here is essentially that concepts of truth and scholarly autonomy and integrity serve as a brake on attempts to enlist academia in the service of the production of good capitalist functionaries. As such, post-modernists who jettison such things, or the likes of William Cheng and his acolytes (see the arguments of Peter Tregear below), facilitate such a process. It is no coincidence that many of these are strong advocates for heavily commercialised forms of music-making.

 

Larson Powell, ‘Film-Music Studies between Disciplines’.

Professor Powell began by identifying a growth in the field of film music studies in English since the publication of Claudia Gorbman’s Unheard Melodies (Bloomington: Indiana University Press, 1987), but noted the difficulty in defining the field. He cited David Neumeyer, in the introduction to The Oxford Handbook of Film Music Studies, edited Neumeyer (Oxford and New York: Oxford University Press, 2014), on how film music studies are ‘a node between disciplines’ and how scholars ‘have begun to bypass the modes requiring highly specialized musical knowledge and jargon by moving toward sound studies’. Whilst accepting the need for broadening of established musicological methodologies in light of this specific technological context, Powell argued that when links to musicology are loosened, the result is often ‘imprecision and methodological inconsistency’. He cited James Buhler’s discernment (in ‘Ontological, Formal, and Critical Theories of Music and Sound’, in the Oxford Handbook) of three phases in film music theory: (i) the ontological, prior to World War Two; (ii) the methodological, linked to institutionalisation of the discipline, and incorporating structuralism, semiotics and psychoanalysis; and (iii) the ‘field theory’, a looser conglomerate of approaches. Buhler notes that when the term ‘critical theory’ is employed in film music studies, it no longer refers to the hybrid of Marxism and psychoanalysis which characterised the work of the Frankfurt School, but also areas such as poststructuralism, gender and sexuality studies, postcolonialism and race studies, narrative and cultural studies, and so on, without recognising the incompatibility of some of these. Furthermore, the forms of interpretation employed are usually limited to ‘semantic content or associations’, which are notoriously ambiguous.

Powell gave quite a severe critique of Anahid Kassabian’s book Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music (New York and London: Routledge, 2000) (for another critique of a different piece of writing by Kassabian, see my contribution here), not least on account of her (mis-)characterisations of the work of Adorno, which he called ‘schoolbook examples of cultural studies misconceptions’. Kassabian claims that Adorno, Stravinsky and Irwin Bazelon ‘all seem to suggest that music is outside of social relations, pure in some fundamental, ontological way’, which Powell found absurd in light of Adorno’s work such as his Introduction to the Sociology of Music (New York: Seabury Press, 1976; translated by E.B. Ashton from Einleitung in der Musiksoziologie (Frankfurt: Suhrkamp, 1962)). Furthermore, he noted that Kassabian’s ideas of ‘meaning’ were unconstrained by any technical musical engagement, nor by any sociological theory, and amounted to little more than speculation, held up in opposition to a straw-man notion of ‘absolute music’.

Kassabian claims that the relationship between musics and social orders is something that Western society has attempted to repress since the Enlightenment, and in a similar manner, ‘film music constitutes society while being constituted by it’. Powell characterised this as typical of ‘the amateur sociology of cultural studies’ which ‘sees society as an undifferentiated totality’, and uses the simple concept of ‘repression’ to encompass all of the various ‘subsystems of art, economics, morality, politics and law, a central component of theories of modernity’ (I would add that in Marxist terms these constitute key elements of the superstructure). She assumes that her readers share her own prejudices and assumptions, such as that high culture is repressive by its nature, while popular music is an emancipatory force; Powell then demonstrated how some of her claims of ‘our’ identifications with certain music amount to little more than brand recognition, and so ‘scholarship’ becomes little more than registering one’s favourite top 40 tune.

Powell then looked at Emilio Audissino’s Film/Music Analysis: A Film Studies Approach (Basingstoke: Palgrave Macmillan, 2017), which he finds considerably more edifying than the work of Kassabian, but not without methodological problems. Audissino takes more of a neo-formalist approach (this is a school of film studies heavily indebted to the work of Noël Burch, David Bordwell and Kristin Thompson from the early 1980s onwards), and is sceptical towards ‘culturalist analysis’ without ‘some basic grasp and knowledge of the musical art’, though is vague on what the latter might amount to. Audissino rejects a ‘separatist’ view of the visual and aural aspects of a film, presenting as an alternative a view of a film as ‘as an integrated system of elements (say, a soup)’, whereby an analysis should ‘break down the single substance to its single ingredients (tomatoes, salt, oil, etc.)’ Powell was quite amazed by the idea that an integrated system of music and image (like a Wagnerian Gesamtkunstwerk) might be seen as a ‘soup’, and in contrast presented the view from Ludwig von Bertalanaffy’s General System Theory (New York: Braziller, 1968):

A system can be defined as a set of elements standing in interrelations.  Interrelation means that elements, p, stand in relations, R, so that the behavior of an element p in R is different from its behavior in another relation, R’.

In a film, a piece of music ‘behaves’ differently to how it would in another film, or a concert hall, argued Powell, but the concept of the system means that its identity is not wholly dissolved in the process, as the metaphor of the soup might imply.

Audissino cites an analysis by Frank Lehman of John Williams’ score to Raiders of the Lost Ark in which a cadence is coordinated with the discovery of the Ark, and is ‘exactly in synch with the sun rays’. But Powell subtly probed the use of the concept of ‘function’ for music in such a context, whereby it implies a teleological view by which a coupling of music and image is required to be ‘effective’ or ‘work’. In contrast to this, Powell suggested that function ought to be a comparison rather than a teleology, and pertinently observed that ‘If one only grasps film music in relation to the image, one cannot imagine what other kinds of music could have been used’. Williams’ music is able to be visually functional by ‘straining the boundaries of tonal functionality’, which Powell compared to the Rückung or harmonic shift identified by Adorno in Schubert or late Beethoven (as discussed in Michael Spitzer, Music as Philosophy: Beethoven’s Late Style (Bloomington and Indianapolis, IN: Indiana University Press, 2006)).

To Powell, Audissino employs a concept of ‘effectiveness’ which is wholly in the ear of the listener, and as such renders a particular acculturated response as something absolute, as does Kassabian when talking about responses to pop music heard on a car radio (which she thinks more ‘natural’ than those experienced in a concert hall). But Powell alluded to a standard practice in film studies of listening to a sequence with the sound turned off and then on, which demonstrates its distinctive role and codes. He maintained that perceived effect (or German Wirkung), while certainly an important consideration, should not be the only one, and called for greater understanding of the craft of writing film scores.

For an alternative approach to the audio-visual relation, Powell looked to semiotics, claiming that this had had relatively little impact upon cultural studies, and differentiating the ‘encoding/decoding’ model bequeathed by Stuart Hall, which Powell felt had more to do with communications theory (I am personally a little unsure about this claim about cultural studies and semiotics in light of the influence of Roland Barthes’ Mythologies (Paris, Editions du Seuil, 1957; translated Annette Lavers as Mythologies (London, Paladin, 1972)) on the former field, though this could be considered some of Barthes’ loosest and most journalistic work, in comparison to his almost exaggeratedly analytical approach to semiotics elsewhere). Drawing upon Christian Metz’s observation (in The Imaginary Signifier, trans. Celia Britton et al. (Bloomington: Indiana University Press, 1982)) that film language ‘possesses a grammar, up to a point, but no vocabulary’, Powell noted how neither Kassabian nor Audissino ‘clearly define the relation of sound to image‘, instead simply ‘leaping straight from music to larger narrative or cultural signification’. He related this problem back to Gorbman and her argument that ‘musical codes’ are always overridden by ‘cultural’ or ‘cinematic’ codes.

Musical semiotics, however, is a rich and pluralist tradition, often at best combined with rhetoric, hermeneutics or pragmatics, as detailed in Michael Spitzer’s Metaphor and Musical Thought (Chicago and London: University of Chicago Press, 2004) and Nicholas Cook’s A Guide to Musical Analysis (London: Dent, 1987). Powell drew various theses from this:

(i) it is very hard to pin down a ‘natural’ or unitary correlation between musical signifier and signified, as ‘Music does not simply ‘transmit’ a signal from sender to receiver’. To assume otherwise reflects the biases of communications studies, in departments of which film scholars are often employed.
(ii) this situation comes about because musical signification cannot exist without associated competencies, as argued by music semiotician Eero Tarasti in Signs of Music (Berlin: De Gruyter, 2002), and also by Kofi Agawu in the related field of topic theory (Playing with Signs: A Semiotic Interpretation of Classical Music (Princeton, NJ and Oxford: Princeton University Press, 1991).
(iii) musical signs cannot be analysed in isolation, as the minimal units of meanings are not simply sounds heard in isolation, but utterances. Scott Murphy (in ‘Transformational Theory and the Analysis of Film Music’, in the Oxford Handbook) has shown this for popular film music scores, using neo-Riemannian theory.
(iv) access to what Jean-Jacques Nattiez (in Music and Discourse: Toward a Semiology of Music, translated Carolyn Abbate (Princeton, NJ and London: Princeton University Press, 1990)) calls the ‘musical object’ is not provided by a naïve approach to listening, where the listener hears only what they want to hear. Kassabian and Audissino, in a similar fashion, hear only their own cultural and academic conventions.

Powell advocated recent dissertations by Juan Chattah (‘Semiotics, Pragmatics, and Metaphor in Film Music Analysis’ (Florida State University, 2006)) and Alex Newton (‘Semiotic of Music, Semiotics of Sound, and Film: Toward a Theory of Acousticons’ (University of Texas, 2015)). Newton’s ‘acousticon’ is a new semiotic audiovisual unit, investigated through a combination of musical and visual analysis, while he makes a link to the topic theories of Leonard Ratner, Agawu, and especially Robert Hatten and suggests that film music theory could learn from art-historical iconography and iconology. Powell argued that one might also draw further on Spitzer’s work on musical metaphor and associated scepticism about certain uses of semiotics (when they become ‘a kind of glorified motive-spotting’, like a similar criticism from Nicholas Cook), so as ‘not merely to produce another castle-in-the-sky of system-building that could risk its own problems’.

 

Eva Moreda Rodriguez, ‘Are We all Transnational Now? Global Approaches and Insularity in Music History’

Dr Moreda Rodriguez began by noting how for over 200 years many have been fascinated by the idea of a global history of music, and how in contemporary times this coincided with moves towards internationalisation in many Anglo-Saxon universities who wish to recruit more international students and also, ‘more recently, to develop broader, more diverse, “decolonized” curriculums’. In this context, she proceeded with a critical examination of three attempts at writing such a history: Mark Hijleh, Towards a Global Music History: Intercultural Convergence, Fusion, and Transformation in the Human Musical History (New York: Routledge, 2019); Philip V. Bohlman (ed.), The Cambridge History of World Music (Cambridge: Cambridge University Press, 2013); and the project ‘Towards a Global Music History’ led by Reinhard Strohm (Oxford University) under the auspices of the Balzan Prize for Musicology.

Moreda Rodriguez also alluded to her own experiences as an ‘international’ academic working at a British university, whose work focuses on her own country of origin, Spain, which is considered somewhat marginal within Western art music. This, she said, had shaped her perceptions of the ‘global’, not least when having to put together grant applications justifying the relevance of her research beyond the community of musicologists working on music in the same time and place. As such, she felt it necessary at least implicitly to engage with the questions underlying these ‘global music history’ projects. Moreda Rodriguez’s principal projects to date have related to music under the Franco regime, which led her towards history and political science, and the national and international nature of fascism; and on the early history of recording technologies, about which she noted that there are many localised non-Anglophone studies, but the more ‘global’ narrative is dominated by US or other English-language sources and issues without acknowledging this.

Hijleh’s book justifies the sole-author narrative by framing itself as a textbook as would be used in a US context, where students take a greater range of foundational, comprehensive courses than in British universities. He also claims that it should be viewed as a gateway for the development of musicianship, in light of which Moreda Rodriguez argued that it should be viewed as a companion to Hijleh’s earlier Towards a Global Music Theory: Practical Concepts and Methods for the Analysis of Music across Human Cultures (London: Routledge, 2016). She also noted the extent of Hijelh’s interest in music theory, manifested in investigations of the relative role of melody and harmony in different times and places, or issues of tuning and temperament, as well as the development of ‘global regions’ of influence and prominence at various periods in history. While these two axes suggested very promising results, Moreda Rodriguez felt the book to be let down by omissions and overgeneralizations. For example, he treats the Americas as a whole in the period from 1500 to 1920, but after then ‘the Americas’ becomes exclusively the United States. Also, he neglects the crucial years in the formation of a European canon (also the period which saw increased colonisation) with no mention of Bach, Handel, Mozart, Schumann or Schubert, while Hijleh does bring up Jordi Savall and a range of Spanish Renaissance composers, on the grounds of the musical exchanges between Spain and its American colonies in the early modern era. Moreda Rodriguez argued that an equally plausible case could be made for the global reach of Bach, Mozart or Italian opera.

She also hesitantly evoked the concept of ‘music history minus Beethoven’ as recently imagined by Leah Broad, in order to argue for the difficult place where this book is situated, neither wholly a textbook nor a research monograph. It would be unlikely to be of service to first year undergraduates who have only a partial knowledge of some of the musical traditions (though it was not entirely clear why Moreda Rodriguez thought so, though she acknowledge a sensitive tutor could use it productively). Instead, she thought it might have a more polemical aim: specifically to test, in front of other academics, ‘the viability of a single-authored, predominantly narrative music history’. In this, she thought he succeeded to a significant degree.

In contrast with Hijleh, who acknowledges that power in music and power in the real world do not simply mirror one another, Moreda Rodriguez noted how ‘power dynamics and otherness’ are central to the essays in Bohlman’s edited volume, many of which studiously disregard aesthetic and qualitative matters and avoid any engagement with musical detail. As such, the whole history of Western opera (itself undoubtedly something which has had global ramifications, as Moreda Rodriguez pointed out) is simply reduced to a perfunctory mention of its colonial aspects. While the introduction disavows narrative, the chronological ordering of the book – from non-European music during the Antiquity and Medieval Times, through ‘The Enlightenment and world music’s historical turn’, to ‘Music histories of the folk and nation’ – does imply something of the type. Despite various attempts to define ‘world music’, few try to ascertain how this might differ from a global history of music; any such venture is viewed as an academic exercise rather than something which could impact upon the regular work of musicologists. Chapters written from a position of great expertise, such as those of Peter Manuel (‘Musical cultures of mechanical reproduction’) or Bonnie C. Wade (‘Indian music history in the context of global encounters’) are nonetheless both rushed and founded upon too many assumptions to work as introductory texts, but contain too little critical or innovative detail to qualify as research chapters.

Strohm’s project has so far resulted in one edited volume (Strohm (ed.), Studies on a Global History of Music: A Balzan Musicology Project (London: Routledge, 2018)), while two more are in preparation. In his acceptance speech, Strohm expressed his motivation to ‘learn new things on the musical relations between geographical regions and chronological eras’, focusing less on narrative than attempts to ‘explore, through assembled case studies, parameters and terminologies that are suitable to describe a history of many different voices’. As Moreda Rodriguez, noted, at that stage such parameters and terminologies were not yet defined, but the publication and workshops suggest overlaps with the approaches of both Hijleh and Bohlman. She urged, as further outputs are published, investigation of whether these ends have been achieved more efficiently than in existing collections which relate single issues or questions to diverse cultures and contexts, but do not necessarily explore global or transnational issues.

In conclusion, Moreda Rodriguez anticipated the appearance of further such attempts at writing global music history, but also that the search for some ultimate such history will prove elusive. Many of them might reveal less about music history than about ‘the shared assumptions, values and trends embedded in the musicological community at particular moments in time’ as with the contributors to Bohlman’s volume in their ‘attempt to understand world music history under the now-fashionable lens of power dynamics’. As such, such works may be ‘less interesting as product than they are as process’.

 

[To be continued in Part 2]

 


23 world premieres at my 50th birthday concert, Friday 20 April, 18:30

For my 50th birthday this year, I was absolutely delighted to receive on the day a volume containing seventeen short piano pieces written for the occasion, and subsequently four other pieces for piano and one for electronics. I am performing all of these, together with a new piece of my own and three lesser-known early twentieth-century works, on Friday 20 April (tomorrow) at the Performance Space, College Building, City, University of London, St John Street, London EC1V 4PB. The concert will be live-streamed complete, and can be viewed from the FB page for City University Concerts from 18:30. The concert is free, but to reserve a place, please see this page.

I was incredibly touched by the collection, assembled by US composer Evan Johnson, who wrote that this collection was ‘in recognition of a career built around the persistent championing of young or unduly ignored composers, and of difficult or otherwise unreasonable music: the sort often thankless effort that can indelibly shape a nascent compositional career, build decades-long collaborations, and begin to change the face of a repertoire’.

The full programme is as follows, and below are a selection of excerpts from the scores (and in a few cases, complete piece). Earlier versions of the programme also included Roger Sessions First Piano Sonata, but for reasons of programme length I have decided to postpone this work to a later date. Further information about my own piece  auseinandergerissene Hälftenfrom which I will post a snippet later, are given at the bottom of this page.

Arthur Lourié, Deux poèmes op. 8 (1912)
Stefan Wolpe, Sonata for piano. Op. 1 (1925)
Frederic Mompou, Charmes (1920-21)

Interval

Christopher Fox, Fifty Points of Light (2017) (WP)
James Dillon, amethyst (2018) (WP)
Roddy Hawkins, Down-Time for Ian (2007, rev. 2017) (WP)
Lauren Redhead, nothing really changes (2017) (WP)
Mic Spencer, A Maze I(a)n (S)pace (Space [G]race) (2017) (WP)
Michael Finnissy, Were we born yesterday? (2017) (WP)
Sadie Harrison, gentle (2017) (WP)
Ben Smith, burnt (2017-18) (WP)
Patrícia Sucena de Almeida, Desperatio (piano piece no. 5) (2017-18) (WP)
Alwynne Pritchard, 50 is a magic number (2018) (WP)
Paul Obermayer, Fra (electronic music) (2018) (WP)
William A.P.M., Fragment aus einem gebrochenen Geist „kaum intakt“ (2018) (WP)
Walter Zimmermann, Stars for Ian (2017) (WP)
Ian Pace, auseinandergerissene Hälften (2018) (WP)
Jesse Ronneau, AGHB (2017) (WP)
Eleri Angharad Pound, pbh (2017-18) (WP)
Morgan Hayes, Comparison (2018) (WP of revised version)
Marc Yeats, exordium (2017) (WP)
Alannah Marie Halay, Progress always comes late (2017) (WP)
Nigel McBride, wide stare stared itself (2017-18) (WP)
Alistair Zaldua, Sylph Figures for Ian Pace (2017) (WP)
Wieland Hoban, Whiptail (2017) (WP)
Evan Johnson (2017) qu’en joye on vous demaine (2017) (WP)

Fox - Fifty Points of Light

Christopher Fox, Fifty Points of Light (2017)

 

Hawkins - Down-Time for Ian

Roddy Hawkins, Down-Time for Ian (2007, rev. 2017)

 

Redhead - Nothing really changes

Lauren Redhead, nothing really changes (2017)

 

Mic Spencer typeset

Mic Spencer, A Maze I(a)n (S)pace (Space [G]race) (2017)

 

Finnissy Were we born yesterday

Michael Finnissy, Were we born yesterday? (2017)

 

Harrison - Gentle

Sadie Harrison, gentle (2017)

 

Smith - burnt

Ben Smith, burnt (2017-18)

 

Pritchard - 50 is a magic number

Alwynne Pritchard, 50 is a magic number (2018)

 

Almedia - Desperatio

Patrícia Sucena de Almeida, Desperatio (Piano Piece No. 5) (2017-18)

 

Pritchard - 50 is a magic number

Alwynne Pritchard, 50 is a magic number (2018)

 

Miranda - Fragment

William A.P.M., Fragment aus einem gebrochenen Geist „kaum intakt“ (2018)

 

Zimmermann Stars

Walter Zimmermann, Stars for Ian (2017)

 

auseinander 1auseinander 2

Ian Pace, from auseinandergerissene Hälften (2018)

 

Pound, Eleri - snippet

Eleri Angharad Pound, pbh (2017-18)

 

Hayes, Morgan - Comparison

Morgan Hayes, Comparison (2018)

 

Yeats - Exordium

Marc Yeats, exordium (2017)

 

Halay Progress

Alannah Marie Halay, Progress always comes late (2017)

 

McBride - wide stare stared itself

Nigel McBride, wide stare stared itself (2017-18)

 

Zaldua - Sylph-Figures

Alistair Zaldua, Sylph-Figures for Ian Pace (2017)

 

Hoban, Whiptail

Wieland Hoban, Whiptail (2017)

 

Johnson - qu'en vous

Evan Johnson, qu’en joye on vous demaine (2017)

 

My own auseinandergerissene Hälften is a short work which nonetheless could be considered ‘mixed media’, to use the fashionable term, as it will consist playing as well as spoken and written text, and a small amount of theatre. The title comes from the notorious letter written by Theodor Adorno to Walter Benjamin on 18 March 1936, in the context of discussion of the latter’s ‘Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit’, first written the previous year. Adorno wrote to Benjamin on the subject of the dialectics of ‘high’ and ‘low’ culture:

‘Beide tragen die Wundmale des Kapitalismus, beide enthalten Elemente der Veränderung (freilich nie und nimmer das Mittlere zwischen Schönberg und dem amerikanischen Film); beide sind die auseinandergerissenen Hälften der ganzen Freiheit, die doch aus ihnen nicht sich zusammenaddieren läßt’ (‘Both bear the stigmata of capitalism, both contain elements of change (but never, of course, simply as a middle-term between Schönberg and the American film). Both are torn halves of an integral freedom, to which, however, they do not add up’).

My starting point for this piece is both this conception of the ‘torn halves’ of cultural freedom, but also my own ‘torn halves’, as both a pianist and a musicologist intensely engaged with the conflicting demands of both things – how one maintains scholarly distance and independence whilst still operating in an external musical world with its own pressures to conform, flatter, etc., how the criteria for deeming creative practice valuable ‘research’ might be quite different from other criteria of value, how my own interests as a performer are not synonymous with priorities as a historical musicologist – and indeed the music I choose to teach does not necessarily simply reflect my personal preferences. In the latter context, I return to the high/low culture question as it has informed my teaching of a former core module in music history, perhaps the most important teaching I have done. This attempted to navigate fairly between this ‘torn halves’ and their continuous co-presence, sometimes interacting, sometimes antagonistic, in Western musical history since 1848.

For this piece I have drawn upon the materials I used there to create a series of interconnected musical vignettes, each of which draw upon different species of music from a series of dates (including 1936, the date of Adorno’s letter to Benjamin). All of these are heavily modified, viewed from a contemporary perspective, but I attempt, inevitably unsuccessfully, to make them ‘add up’. The music is accompanied by slides with disembodied fragments of actual lecture slides, together with passages from radical modernist texts from the periods in question, material placed here on social media (a low culture of today in contrast to the supposedly elevated world of the lecture).


Nikolaus Harnoncourt and the limitations of all-purpose definitions of ‘beautiful’ music

The death of Nikolaus Harnoncourt (1929-2016) is a great loss for music. I am posting here a modified version of a comment originally placed on the Slipped Disc blog in response to a wonderful tribute to Harnoncourt.

 

No figure was more pivotal within post-1945 historically-informed performance than Harnoncourt (except possibly Gustav Leonhardt). Some of what he pioneered was already nascent (August Wenzinger had produced the first recording of the Brandenburgs on period instruments in the late-1940s/early-1950s), but it was Harnoncourt who spearheaded a performance revolution which could stand its own ground against what was more mainstream practice. Our understanding of Monteverdi, Purcell, Bach, Mozart – and then Beethoven, Schubert, Brahms, Johann Strauss II (in which he was incomparable) and others – have been massively enhanced by his work.


But I like to think of Harnoncourt as a political figure too. He strove as far as possible to find alternatives to the autocratic model of charismatic authority on the part of the conductor, which had been epitomised by Furtwängler, Karajan, or for that matter Toscanini – and which would be continued by many, including some themselves involved in HIP. There is an integration of and interplay between musicians in the work he conducted, and he demonstrated palpable alternatives to dictatorial Wagnerian models of the interpretative process. Harnoncourt’s performances, as much as his writings, exemplify his resistance to a form of orchestral playing which is always smooth, in which the Melos takes precedence over all else, with everything gauged so as to produce singular, overwhelming emotion. Instead he performed for intelligent and musically literate listeners, sensitive to so many possibilities of nuanced meaning, aware that music’s meaning does not stop when the audience begin to applaud. The music is by no means necessarily an organic whole ready to be ‘consumed’, nor a shiny, polished commodity; Harnoncourt’s work can be rugged, disconcerting, illuminating, though also beautiful where appropriate. It is not served up in a ‘culinary’ fashion (to use Adorno’s term), but that in no sense means it should be inaccessible to those with an open mind, looking for a music with which to actively engage.


In some ways Harnoncourt’s attitudes have been viewed as ‘aristocratic’, a throwback to a pre-bourgeois era, in particular before the French Revolution and the streamlining of professional musical training, separating out technique and a narrow conception of expression from a wider musical and other education, for which Harnoncourt blamed above all the foundation of the Paris Conservatoire. And Harnoncourt’s aristocratic ancestry is sometimes cited in support of this view. But I see things differently. This was music-making to stimulate thought, open up the mind, a type of musical sortie within a culture industry which works to generate the opposite reaction. Harnoncourt was, as a musician, a democrat rather than an aristocrat, for he treated listeners with dignity and respect, rather than trying to play down to them.


In a paper given in 2008, I began to explore the possibility of reconciling some of the ideas of Harnoncourt and Adorno, which might have been thought to be radically opposed, in light of Adorno’s explicit disdain for the historically-informed performance he encountered up until the early 1950s. I believe Harnoncourt was reacting as strongly against this particular school of performance as Adorno.

The following text from Harnoncourt I find remarkable, and should be read by all:

We find importance in other things than did the people of earlier times. How much strength and suffering and love they squandered in constructing their temples and cathedrals, how little they expended for the machinery of comfort and convenience! For people today, an automobile or an airplane is more valuable than a violin, the circuitry of the computer’s brain more important than a symphony. We pay all too dearly for what we regard as comfortable and essential,while we heedlessly discard the intensity of life in favor of the tinsel of creature comforts and what we have once truly lost, we will never be able to regain.

This fundamental change in the significance of music has taken place with increasing rapidity over the past two centuries. At the same time, a change has occurred in our attitude toward contemporary music as well as art in general: as long as music was an essential part of life, it could emanate only from the contemporary world. It was the living language for something which could not be said in words; it could be understood only by contemporary human beings. Music brought about changes in people, in listeners as well as in musicians. It had to be continually recreated, just as human beings had to keep on building new homes, in keeping with new patterns of living, new intellectual climates. Thus old music, the music of previous generations, could no longer be understood and used, although its great artistry was occasionally admired.

Since music is no longer found at the center of our lives, all this has changed: now that it is regarded as an ornament, it is felt that music should first and foremost be “beautiful.” Under no circumstances should it be allowed to disturb or startle us. The music of the present cannot fulfill this requirement because at the very least, like all art, it reflects the spiritual and intellectual situation of its time, and this is true of our present time as well. Yet honestly coming to terms with our spiritual and intellectual situation cannot be merely beautiful: it has an impact on our very lives and is therefore disturbing to us. This has resulted in the paradoxical situation that people have turned away from contemporary art because it is disturbing, perhaps necessarily so. Rather than confrontation, we sought only beauty, to help us to overcome the banality of everyday life. Thus art in general, and music in particular, became simply ornamental and people turned to historical art and to old music, for here they could find the beauty and harmony that they sought.

As I see it, this interest in old music – by which I mean music not written by our generation – could only occur as the result of a series of glaring misunderstandings. Thus we are able to use only “beautiful” music, which the present is unable to offer us. There has never been a kind of music that was merely “beautiful.” While “beauty” is a component of every type of music, we can make it into a determining factor only by disregarding all of music’s other components. Only since we have ceased to understand music as a whole, and perhaps no longer want to be able to understand it, has it been possible for us to reduce music to its beautiful aspect alone, to iron out all of its wrinkles. And because music has in general terms become simply a pleasant garnish for our everyday lives, we can no longer fully comprehend old music – that is, what we actually call music -, because we have not been able to reduce it to a purely aesthetic dimension and to iron it smooth.

[…]

There have been many periods throughout history during which attempts were made to simplify music and to confine it to the emotional sphere, so that it could be understood by anyone. Each of these attempts failed, resulting in new diversity and complexity. Music can be generally comprehensible only when it is reduced to a primitive level or when each individual person learns to understand the language of music.

 

From Nikolaus Harnoncourt, ‘Music in Our Lives’/’Die Musik in unserem Leben’ (1980), translated Mary O’Neill, in Baroque Music Today: Music as Speech. Towards a New Understanding of Music (Portland, OR: Amadeus Press, 1988), pp. 11-13.

And I would like to commend the following performances conducted or directed by Harnoncourt.

 

 


Musicological Observations 3: Multicultural Musicology for Monolingual Academics?

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The following is an expanded and more detailed version of a post submitted to the electronic discussion list of the American Musicological Society (AMS-L) as part of a thread about the decline of linguistic skills amongst students and musicologists, which grew out of an initial post about the removal of German from instruction in many French schools.

I believe passionately that we should consider whether the growth of certain areas of musicology have helped to accelerate a decline in foreign language skills amongst both students and musicologists. In particular, this applies to those various areas associated with increasing ‘diversity’ within the field of study. To even contemplate this possibility is sure to be controversial, but this should not deter serious consideration of the issues at stake.

To begin with, consider popular and film music studies: even a cursory glance at a cross-section of published English-language research in these areas shows a scarcity of any references to non-English scholarship or writing of any type. I have done a mini-study of two journals to consider these questions: first the Journal of Popular Music Studies, looking at all issues from March 2010 to March 2014. These include a total of 181 articles, including editorials and book reviews. Almost all of these have lists of ‘works cited’. Of these, just 12 showed regular use of foreign language sources – 6 of them in a special June 2013 issue devoted to German popular music [1]. Otherwise, one article cited a Peruvian musical anthology in Spanish; one Michael Jackson article referenced one article in Spanish; another Jackson article referenced one article in French [2]. Another article referenced one book in Portuguese, though the ethnographic nature of the article implies full fluency in this language [3]. Then one article references in Spanish two books, one article and one LP booklet (alongside, in English, 14 books or theses, and 15 articles or book chapters) [4]; another refers to a Dutch-Javanese dictionary; and another to two texts in French and one Toraja-Indonesian dictionary [5]. In total this amounts to just 18 articles employing any foreign-language sources at all (the extent to which articles in this journal rely upon journalistic and internet sources is also notable).

Whilst Anglophone popular music is the focus of the overwhelming majority of articles (and this fact itself deserves more critical scrutiny), many of these make wider claims relating to philosophy, aesthetics, sociology, gender and much more, but still from the limited perspective available through monolingual reading. Furthermore, whilst many claims are made for the global significance of this music, this is hardly testable without access to some of the languages of the music’s global listeners. A small few articles involve ethnographic work requiring language skills, but these are mostly accounted for above.

I also scrutinised the journal Music, Sound and the Moving Image over the same period, looking at issues from Spring 2010 to Spring 2014. This time I considered only the full articles, not the book reviews which are briefer and involve fewer references. There were 44 articles here. The proportion employing foreign language sources was significantly enhanced by a special issue (Vol. 4, No. 2 (2010)) dedicated to Spanish cinema, in which most contributors were from Spanish-speaking countries and naturally referenced plenty of Spanish sources. This accounted for 9 articles [6]; otherwise there was one article citing two theses in Norwegian (one of these in a little detail) [7], another referencing three Spanish sources [8], another some French sources (but not Arabic ones, rather ironically considering this was an article dealing with colonialism and orientalism) [9], whilst another was a translation of a 1937 Spanish article [10] (I am not counting an article which cites one French source which has clearly only been accessed through a secondary source in English [11]). So a total of 13 with any foreign-language references; the proportion would have been more like that for the Journal of Popular Music Studies without the Spanish issue.

Something of the same phenomenon can be found in parts of the fields of New Musicology and Critical Musicology, even when this work entails broad (and frequently stereotypical) characterisations of European cultures, as has been pointed out wittily by Tim Carter in a review of Susan McClary’s 2000 book Conventional Wisdom [12]. Looking through the references in Conventional Wisdom itself, I find just two not in English, one to a testo from Stradella’s La Susanna, as used by McClary herself in a music-theatre piece [13] the other text to a Petrarch sonnet given with translation [14]. McClary’s earlier book Feminine Endings had four non-English sources: a reference to Monteverdi’s foreword to the Madrigali guerrieri ed amorosi [15] and to Bellerofonte Castaldi’s Primo Mazzetto di fiori musicalmente colti dal giardino Bellerofonteo (1623) [16], Joachim Burmeister’s Musica poetica (1606) [17], and Arturo Graf’s “Una cortigiana fra mille’, in Attraverso il cinquecento (Turin: Chiantore, 1926) [18].

Lawrence Kramer’s Music as Cultural Practice 1800-1900 (Berkeley and Los Angeles: University of California Press, 1990) makes just four brief references to German texts (Hanslick’s Vom Musikalisch-Schönen (1854), Kant’s Kritik der Urteilskraft (1790), Schiller’s Über naive und sentimentalische Dichtung (1795), and poems of Goethe [19], for all of which English translations are also available) but never engages with any scholarly literature not either written or translated into English, nor a vast range of primary sources which have never been translated (for example, much of the writings, correspondence and diaries of Schumann, of which only small sub-sections have been translated, or for that matter the literature of Jean-Paul). Kramer’s 1995 Classical Music and Postmodern Knowledge contains one place in which the French original of a passage from Derrida is placed alongside a reference to the translation, a single reference to a passage from the second volume of Heinrich Schenker’s Das Meisterwerk in der Musik (at that time not yet available in English translation), one article in French by Guy Rosolato, and a juxtaposition of a few lines of Celan and Derrida in the original languages [20]. Kramer’s 2002 Musical Meaning: Toward a Critical History is a little better, with one translation and one modified one from short passages of Wagner, one reference to Schiller’s Über Matthissons Gedichte, another to Adolph Bernhard Marx’s Ludwig van Beethoven: Leben und Schaffen (1859), two to short passages from Heinrich Heine, and a modified translation of a passage Goethe’s Wilhelm Meister, a couple of references to Brecht in German, and one to a contemporary article by Horst Weber on Schoenberg [21], but this is in the context of over 95% references to English language sources. In none of these books is there almost any evidence of grappling with modern non-English scholarship on the many subjects addressed therein.

Of the 16 essays contained in the 1993 volume edited by Ruth Solie, Musicology and Difference: Gender and Sexuality in Music, four of these (by Leo Treitler, Gretchen A. Wheelock, Nancy B. Reich and Suzanne G. Cusick [22]) make regular reference to non-English texts, three others (by Ellen Koskoff, Carolyn Abbate and Lawrence Kramer [23]) very briefly to one or two texts, the other nine to none at all. Linguistic ‘difference’, and all that can be gained in terms of perceptions of difference by studying the work of scholars in other languages, is clearly not a major priority here.

Another collection supposedly celebrating ‘difference’, the 2000 volume edited by Georgina Born and David Hesmondhalgh, Western Music and Its Others, contains 11 articles and an extended introduction. Of these, those by Jann Pasler, Philip Bohlman and Martin Stokes regularly engage with foreign texts [24], Richard Middleton deals in some degree of detail with Joseph Riepel’s Grundregln zur Tonordnung insgemein (1755) [25], and Claudia Gorbman includes a few French references; the six articles making up the other half of the book only reference English-language sources; all others belong within its own ‘Others’.

Tia DeNora’s 2003 After Adorno: Rethinking Music Sociology quite incredibly only lists English translations of Adorno in its bibliography [26]. The other foreign texts cited in the bibliography are Joël-Marie Fauquet and Antonine Hennion’s 2002 La grandeur de Bach, Hennion’s 1992 La passion musicale [27] (alongside various texts of Hennion in English), and two Italian texts by Anna Lisa Tota [28]. However, these references are deceptive. Fauquet and Hennion is simply listed as a text which considers ‘the material and linguistic cultures that come to frame musical texts, that help to draw out particular meanings’ [29], and Hennion’s one cited text only in French is cited as an example of ‘a range of theorists who highlight the importance of theorising action as inhabiting and taking shape within a cultural matrix’ [30] Tota’s 1997 study is merely listed as an example of ethnographic studies [31], and the other not cited at all (unlike a text of Tota in English which is given very slightly more detailed engagement [32]). But this should not be surprising, as DeNora is also the author of Beethoven and the Construction of Genius, a potentially interesting subject which is thoroughly marred by the lack of any sustained engagement with German-language primary sources [33], even despite the fact that there is no real engagement with the music either [34]!

Certainly some of these scholars are able to read other languages (as demonstrated in McClary’s work on the Italian madrigal, for example [35]). But many of the very broad arguments presented in this work are, in my view, untenable and unscholarly when the frame of reference is so narrow. The New Musicology has enabled musicologists to dispense sweeping pronouncements on whole swathes of music without any obligation to familiarise themselves with the existing range of scholarship – in multiple languages – first. I could argue more harshly that this whole field of musicology very often amounts to an assertion of Anglo-American superiority and hegemony behind a smokescreen of rhetoric of diversity; this may be somewhat hyperbolic, but not without some truth.

Some fields featuring practice-as-research or practitioners writing scholarship exhibit similar issues. For example, I note that none of the four chapters relating to the Twentieth Century in The Cambridge History of Musical Performance [36] (to which I am also a contributor, but on the Nineteenth Century [37]) reference any non-English language texts at all, an option which would have been unacceptable for any chapters dealing with earlier periods.

I find it hard to avoid the conclusion that these fields of musicology have gained their popularity in part because it appears to be possible to produce work in them without language skills. This consideration might also be borne in mind with the growing fashionability of ‘ethnomusicology at home’ [38], often freeing its protagonists from the considerable linguistic skills required to do extended fieldwork in other musical cultures. All of these things are fruitful fields of endeavour for those who want to be productive without putting in the same amount of work as those in some other more traditional fields of study.

Furthermore, in some of the above cases, it is more than a little ironic when some fields eager to brandish their supposedly multicultural credentials end up contributing to a narrow monolingualism. It would not be inapt, in light of the above, to question the real agenda behind some varieties of musicological thought involving easy dismissals of many things ‘European’.

The historian Richard Evans, in his published series of lectures Cosmopolitan Islanders, draws attention to the remarkable range of historians from the UK and US who have produced pioneering and penetrating work on the history of many places beyond the English-speaking world, in sharp contrast to a large number of their European counterparts, some of who treat attempts by Anglosphere historians to trespass upon their countries with great suspicion [39]. Yet Evans feels that with the decline of language teaching, as well as other pressures (specifically in the UK) to do with requiring many students and academics to finish projects in a short period of time, this era is coming to an end, and he notes that the majority of his own PhD students are from outside of the English-speaking world.

There are still a significant (if dwindling) number of Anglophone academics researching music from a multilingual perspective. It would be tragic if these were allowed to dwindle to near-oblivion in the name of a narrow populist Anglocentric ideology dressed up as something ‘global’.


1. These six are Maria Stehle and Corinna Kahnke, ‘German Popular Music in the Twenty-First Century: Politics, Trends, and Trajectories’, Journal of Popular Music Studies, Vol. 25, Issue 2, pp. 123-126; Andrew W. Hurley, ”Jack of All Trades’ or ‘Double Agent?’ The German Popular Musician as Novelist’, ibid. pp. 127-153; Sean Nye, ‘Minimal Understandings: The Berlin Decade, The Minimal Continuum, and Debates on the Legacy of German Techno’, ibid. pp. 154-184; Corinna Kahnke, ‘Transnationale Teutonen: Rammstein Representing the Berlin Republic’, ibid. pp. 185-197; Priscilla Lane, ‘One Like No Other? Blaxploitation in the Performance of Afro-German Rapper Lisi’, ibid. pp. 198-221; Maria Stehle, ‘Pop-Feminist Music in Twenty-First Century Germany: Innovations, Provocations, and Failures’, ibid. pp. 222-239. The other six articles are Ulrich Adelt, ‘Stunde Null: Postwar German Identity in the Music of Michael Rother and Klaus Dinger’, Vol. 24, Issue 1 (March 2012), pp. 39-56; Pauwek Berkers, ‘Rock Against Gender Roles: Performing Femininities and Doing Feminism Among Women Punk Performers in the Netherlands, 1976–1982’, Vol. 24, Issue 2 (June 2012), pp. 155-175; Shannon Garland, ‘“The Space, the Gear, and Two Big Cans of Beer”: Fora do Eixo and the Debate over Circulation, Remuneration, and Aesthetics in the Brazilian Alternative Market’, Vol. 24, Issue 4 (December 2012), pp. 509–531; Falina Enriquez, ‘The Ins and Outs of Cultura: How Bands Voice Their Relationships to the State-Sponsored Music Scene in Recife, Brazil’, Vol. 24, Issue 4 (December 2012), pp. 532-553; Janice Protopapas, ‘Verses of Attack: Nāmdhārī Sikh Services of Halē dā divan as Sonic Weapons’, Vol. 24, Issue 4 (December 2012), pp. 554-577; and Magdelana Red, ‘Who are the “Emos” Anyway? Youth Violence in Mexico City and the Myth of the Revolution’, Vol. 26, Issue 1 (March 2014), pp. 101-120.

2. Kirstie A. Dorr, ‘The Andean Music Industry: World Music Geographies in the San Francisco Bay Area’, Journal of Popular Music Studies, Vol. 24, Issue 4 (December 2012), pp. 486-508, referencing Raul R. Romero, Sonidos Andinos: Una Antología de la Musica Campesina del Perú (Lima: Pontificia Universidad Católica del Peru, 2002). Tamara Roberts’ ‘Michael Jackson’s Kingdom: Music, Race, and the Sound of the Mainstream’, Vol. 23, Issue 1 (March 2011), pp. 19-39, references José Peñín’s ‘Música popular de masas, de medios, urbana o mesomúsica venezolana’, Latin American Music Review, Vol. 24, No. 1 (2003), pp. 62–94; while Tavia Nyong’o, in ‘Have You Seen His Childhood? Song, Screen, and the Queer Culture of the Child in Michael Jackson’s Music’, Vol. 23, Issue 1 (March 2011), pp. 40-57, references Amelie Dalmazzo’s “Michael Jackson, une figure de tous les temps”´, Charismes et Fascinations: L’ideal et le Monstre´, 7 July 2009.

3. Gregory Mitchell, ‘“Michael, eles não ligam pra gente!” Brazilian Rentboys, Queer Affinity, and the Michael Jackson Exception’, Journal of Popular Music Studies, Vol. 23, Issue 1 (March 2011), pp. 109-123, which cites Luiz R. B. Mott and Marcelo Ferreira de Cerqueira, Matei Porque Odeio Gay (Salvador, Brasil: Editora Grupo Gay da Bahia, 2003).

4. Heidi Carolyn Feldman, ‘Translation Acts: Afro-Peruvian Music in the United States’, Journal of Popular Music Studies, Vol. 22, Issue 2 (June 2010), pp. 139-165. The Spanish sources are Feldman, Ritmos negros del Peru: Reconstruyendo la herencia musical africana (Lima: Instituto de Estudios Peruanos and Instituto de Etnomusicología de la Pontíficia Universidad Catolica del Perú, 2009); Rosa Elena Vasquez Rodríguez (Chalena). La práctica musical de la población negra en Perú: La danza de negritos de El Carmen (Havana: Casa de las Americas, 1982); Diana Taylor, ‘Hacia una definicion de performance’, in Paolo Vignolo (ed), Ciudadanías en escena: Performance y derechos culturales en Colombia (Bogota:´Universidad Nacional de Colombia, 2009), pp. 29–35; Nicomedes Santa Cruz (Gamarra), Cumanana: Antología afroperuana (booklet to accompany LP) 3rd edition (Lima: El Virrey Industrias Musicales S.A. P6350 001/002, 1970).

5. R. Anderson Sutton, ‘Gamelan Encounters with Western Music in Indonesia: Hybridity/Hybridism’, Journal of Popular Music Studies, Vol. 22, Issue 2, pp. 180-197, cites Theodore Pigeaud, Javaans-Nederlands Handwoordenboek (Gronigen: J.B. Wolters, 1938). Andy Hicken, ‘”The Wishes of Your Parents”: Power Ballads in Tana Toraja, Indonesia’, Vol. 22, Issue 2 (June 2010), pp. 198-218 cites Dana Rappoport, Musiques rituelles des Toraja Sa’dan, musiques du Couchant, musiques du Levant (Célèbes-Sud, Indonésie) ´ . (Villeneuve d’Asq, France: Presses Universitaires du Septentrion, 1997); Rappoport, ‘Chanter sans etre ensemble: Des musiques juxtaposees pour un public invisible’, L’Homme 152 (1999), pp. 143–62; and J. Tammu and Hendrik Van Der Veen, Kamus Toradja-Indonesia (Rantepao, Indonesia: Jajasan Perguruan Kristen Toradja, 1972).

6. These are Teresa Fraile and Eduardo Viñuela, ‘Recent Approaches to Sound and Music in Spanish Audiovisual Media’, Music, Sound and the Moving Image, Vol. 2, Issue 2 (Autumn 2010), pp. 135-138; Julio Arce and Yolanda Acker, ‘The Sound of Silent Film in Spain: Heterogeneity and homeopatía escénica’, ibid. pp. 139-160; Laura Miranda and Dan Hamer, ‘The Spanish ‘Crusade Film’: Gender connotations during the conflict’, ibid. pp. 161-172; Philippe Roger, ‘Land Without Bread: A film that never stops ringing’, ibid. pp. 173-176; Karen Poe and Benedict Hoff, ‘The Bolero in the Cinema of Pedro Almodóvar’, ibid. pp. 177-195; Jaume Radigales, ‘Music and European Identity: Notes on Pere Portabella’s The Silence Before Bach’, ibid. pp. 213-224; Josep Lluís i Falcó and Dolores Gadler, ‘The Film Composer in Spain: The generation of ’89’, ibid. pp. 226-235; whilst Martin Barnier, ‘The Sound of Fear in Recent Spanish Films’, ibid. pp. 197-211 cites equal numbers of English and French sources (mostly by Michel Chion), but not Spanish ones.

7. Tina Rigby Hanssen, ‘The Whispering Voice: Materiality, aural qualities and the reconstruction of memories in the works of Janet Cardiff and George Bures Miller’, Music, Sound and the Moving Image, Vol. 4, Issue 1 (Spring 2010), pp. 39-54. This cites Anne-Karin Lundeby, ‘Elsker man livet, ‘Går man på kino’ – en studie av kinopublikumet i Ouagadougou, Burkina Faso’, (Master’s thesis: University of Oslo, 2002); and Arnt Maasø, ‘Se-hva-som-skjer!’: en studie av lyd som kommunikativt virkemiddel i TV’ (Doctoral thesis: University of Oslo, 2002).

8. Miguel Mera, ‘Outing the Score: Music, Narrative, and Collaborative Process in Little Ashes’, Music, Sound and the Moving Image, Vol. 6, Issue 1 (Spring 2012), pp. 93-108. This article on the composition of the music for a film on the romantic/sexual attraction between Federico Garcia Lorca and Salvador Dalí cites three biographical sources: Ian Gibson, Lorca-Dali. El Amor Que no Pudo Ser. La Apasionante y Trágiva Amistad de dos Colosos de la España del Siglo XX (Madrid: Nuevas Ediciones del Bolsillo, 2004); Andrés Sorel, Yo, García Lorca (Bilbao: Zero, 1977) and Rafael Santos Torroella, La miel es mãs dulce que la sangre: Las épocas lorgquiana y freudiana de Salvador Dali (Barcelona: Seix Barral, 1984), though not, most surprisingly, any of Lorca’s poetry or theatrical work, nor Dalí’s seven volume Obras completas, seven volumes (Barcelona: Fundació Gala-Salvador Dalí, 2003-2006).

9. Kathryn Lachman, ‘Music and the Gendering of Colonial Space in Karin Albou’s Le chant des mariées’, Music, Sound and the Moving Image, Vol. 7, Issue 1 (Spring 2013), pp. 1-17. Linguistic limitations to the study of orientalism are not new, however; as has been pointed out by various commentators, Said focused entirely on British and French orientalists, and neglected many German and Hungarian figures (from nations which did not have a foreign empire encompassing the ‘orient’ during the periods in question), such as Joseph Freiherr von Hammer-Purgstall (1774-1856), Johann Gottfried Eichhorn (1752-1827), Friedrich August Wolf (1759-1824),Gustav Weil (1808-89), Gustav Leberecht Flugel (1802-70), the Schlegel brothers, Franz Bopp (1791-1867), Christian Martin Frähn (1782-1851), Ignaz Goldziher (1850-1921) or Joseph Schacht (1902-1969). On, the other hand, Said made too much of Arthur de Gobineau (1816-82), who Said had probably only read through a secondary source. See Malcolm Kerr, review of Orientalism, International Journal of Middle Eastern Studies, vol. 12 (December 1980), pp. 544-547; Albert Hourani, ‘The Road to Morocco’, New York Review of Books, Vol. 26 (March 8th, 1979), pp. 27-30; Bernard Lewis, ‘The Question of Orientalism’, New York Review of Books, Vol. 29, No. 11, pp. 49-56; and Robert Irwin, For Lust of Knowing: The Orientalists and their enemies (London: Penguin/Allen Lane, 2006), pp. 150-158, 168-173, 249-250. Peter T. Daniels goes further, to question whether Said really had any ‘discernable qualifications to speak on the topic’. See Daniels, ‘The Decipherment of the Near East’ in Daniel C. Snell (ed), A Companion to the Ancient Near East (Blackwell Companions to the Ancient World) (Oxford: Blackwell, 2004), p. 427. Similar criticisms are made by veteran French scholar Maxime Rodinson in Nancy Elizabeth Gallagher (ed), Approaches to the History of the Middle East: Interviews with leading Middle East Historians (Reading: Ithaca Press, 1994), p. 124.

10. Marco Alunno, introduction to and translation of ‘Cinema and Music (1937) by Ignacio Isaza Martínez’, Music, Sound and the Moving Image, Vol. 8, Issue 1 (Spring 2014), pp. 87-91.

11. Lori Burns and Jada Watson, ‘Spectacle and Intimacy in Live Concert Film: Lyrics, Music, Staging, and Film Mediation in Pink’s Funhouse Tour (2009)’, Music, Sound and the Moving Image, Vol. 7, Issue 2 (Autumn 2013), pp. 103-140. This cites one French source (Michel Bernard, ‘Quelques réflexions sur le jeu de l’acteur contemporain’, Bulletin de psychologie, 38:370 (1985), 421-424) alongside 30 other English-language text sources, but even the Bernard appears only to have been accessed via a secondary source in English (Patrice Pavis, Analyzing Performance: Theater, Dance, and Film (Ann Arbor, MI: University of Michigan Press, 2003)).

12. Tim Carter, review of Susan McClary, Conventional Wisdom: The Content of Musical Form (Berkeley, Los Angeles & London: University of California Press, 2000), ‘An American
in…?’, Music & Letters, Vol. 83, No. 2 (May 2002), pp. 274-278. As Carter puts it, to McClary ‘The French are rational beings who dance a great deal; the Italians are exuberantly erotic and always ready to mix sex with religion; the Germans are bourgeois burghers with festering morbid sensibilities (I exaggerate only slightly)’ (p. 277).

13. McClary, Conventional Wisdom, p. 175 n. 19. ‘La bella Donna intanto sul’ verde pavimento movea le molli piante, Ambiano l’erbe di prostrarsi al sue piè, parea che ì fiori apostati del sole a la novella luce chi nassero idolatri le cervici odorose— […] Ivi tuffa nell’acque il petto ignudo e sirena del Ciel dentro il liquido gel così confonde crome di foco a l’armonia dell’ onde’.

14. Ibid. p. 122. The citation and translation are ‘i miei gravi sospir non vano in rime, il mio duro martir vince ogni stile’ (my deep sighs will not submit to rhyme, my harsh martyrdom
defeats all styles) (Petrarch, ‘Mia benigna fortuna’, Rime sparse 332).

15. Susan McClary, Feminine Endings: Music, Gender, & Sexuality, revised edition with new introduction (Minneapolis and London: University of Minnesota Press, 2002) (first published 1991), p. 176 n. 1.

16. Ibid. pp. 177-178 n. 7.

17. Ibid. p. 179 n. 15.

18. Ibid. p. 180 n. 23.

19. Lawrence Kramer, Music as Cultural Practice 1800-1900 (Berkeley and Los
Angeles: University of California Press, 1990), pp. 3-4, 27, 167-168.

20. Lawrence Kramer, Classical Music and Postmodern Knowledge (Berkeley and Los Angeles: University of California Press, 1995), pp. 240, 257 n. 24, 268-9 n. 12, 272 n. 48, 279 n. 9, 289 n. 14.

21. Lawrence Kramer, Musical Meaning: Toward a Critical History (Berkeley, Los Angeles & London; University of California Press, 2002), pp. 290 nn. 6, 9, 292 nn. 4, 16, 298 nn. 18-19, 300 n. 35, 316 n. 1, 317-8 nn. 12, 14, 319 n. 25. The Horst Weber article is ‘‘Melancholisch düstrer Walzer, kommst mir nimmer aus den Sinnen!’ Anmerkungen zum Schönbergs ‘soloistischer Instrumentation’ des Kaiserwalzers von Johann Strauss, Musik-Konzepte 36 (1984), pp. 86–100.

22. Leo Treitler, ‘Gender and Other Dualities of Music History’, in Ruth Solie (ed) Musicology and Difference: Gender and Sexuality in Music (Berkeley, Los Angeles and London: University of California Press, 1993), pp. 23-45; Gretchen A. Wheelock, ‘Schwarze Gredel and the Engendered Minor Mode in Mozart’s Operas’, ibid. pp. 201-221; Nancy B. Reich, ‘Women as Musicians: A Question of Class’, ibid. pp. 125-146; and Suzanne G. Cusick, ‘Of Women, Music, and Power: A Model from Seicento Florence’, ibid. pp. 281-304.

23. Ellen Koskoff, ‘Miriam Sings Her Song: The Self and the Other in Anthropological Discourse’, ibid. pp. 149-163; Carolyn Abbate, ‘Opera; or, the Envoicing of Women’, ibid. pp. 225-258; Lawrence Kramer, ‘Carnaval, Cross-Dressing, and the Woman in the Mirror’ ibid. pp. 305-325. Koskoff’s article draws upon ethnographic work amongst a Hasidic Jewish community in Brooklyn such as clearly betokens wider linguistic skills in Hebrew and Yiddish, but only uses a few non-English texts. Abbate (p. 232 n. 14) references a few articles on cinema in French, though these may only have been accessed via a secondary source in English; also (p. 238 n. 26) Sarah Kofman’s Quatre Romans analytiques (Paris: Éditions Galilée, 1973), and (p. 243 n. 34) an essay from Christian Metz’s Essais sémiotiques (Paris: Klincksieck, 1977). Kramer simply cites one Goethe text in German (p. 308 n. 6).

24. Jann Pasler, ‘Race, Orientalism, and Distinction in the Wake of the “Yellow Peril”’, in Georgina Born and David Hesmondhalgh (eds), Western Music and Its Others: Difference, Representation, and Appropriation in Music (Berkeley, Los Angeles & London: University of California Press, 2000), pp. 86-118; Philip V. Bohlman, ‘Composing the Cantorate: Westernizing Europe’s Other Within’, ibid. pp. 187-212; Martin Stokes, ‘East, West, and Arabesk’, ibid. pp. 213-233.

25. Richard Middleton, ‘Musical Belongings: Western Music and Its Low-Other’, ibid. pp. 59-85. The reference to Riepel is on p. 63.

26. Claudia Gorbman, ‘Scoring the Indian: Music in the Liberal Western’, ibid. pp. 234-253. Gorbman cites (p. 252 nn. 16, 18) two French texts: Yves Kovacs, Le Western (1963; reprint, Paris: Gallimard, 1993) and Georges-Henri Morin, Le Cercle brisé: L’Image de l’indien dans le western (Paris: Payot, 1977).

26. Tia DeNora, After Adorno: Rethinking Music Sociology (Cambridge: Cambridge University Press, 2003), p. 159.

27. Joël-Marie Fauquet and Antoine Hennion, La grandeur de Bach (Paris: Fayard, 2002); Antoine Hennion, La passion musicale (Paris: Metaille, 1992).

28. Anna Lisa Tota, Etnografia dell’arte: Per una sociologia dei contesti artistici (Rome: Logia University Press, 1997); La memoria contesa. Studi sulla comunicazione sociale del passato (Milan: Angeli, 2001).

29. DeNora, After Adorno, p. 27.

30. Ibid. p. 126.

31. Ibid. p. 91.

32. Ibid. pp. 75.

33. Tia DeNora, Beethoven and the Construction of Genius: Musical Politics in Vienna 1792-1803 (Berkeley, Los Angeles & London: University of California Press, 1995). In the bibliography, DeNora cites nine German sources: the Allgemeine Musicalische Zeitung from 1798 to 1806 (p. 209), Marthe Bigenwald’s Die Anfange der Leipziger Allgemeinen Musikalischen Zeitung, reprint (Hiversum: FAM Knuf, 1965) (originally published 1938); Eduard Hanslick’s Geschichte des Concertwesens in Wien, reprint (New York: Olms, 1979) (originally published 1869); Herbert Matis, Herbert. “Die Grafen von Fries”, Tradition: Zeitschrift für Firmengeschichte und Unternehmenbiographie, Vol, 12 No. 1 (1967), pp. 484-96; Ludwig Nohl, Beethoven’s Leben, four volumes (Leipzig: Günther, 1864); Gustav Nottebohm, Beethoven Studien 1 (Leipzig: Winterthur, 1873); Otto G. Schindler, ‘Das Publikum des Burgtheaters in der Josephinischen Ära: Versuch einer Strukturbestimmung’, in Das Burgtheater und sein Publikum, vol. 1. (Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 1976), pp. 11-96; J. Schönfeld, Jahrbuch der Tonkunst von Wien und Prag (facsimile), edited Otto Biba, reprint (Munich: Emil Katzbichler, 1976), (originally published 1796); Hannes Stekl, ‘Harmoniemusik und ‘turkische Banda’ des Furstenhauses Liechtenstein’, Haydn Yearbook 10 (1978), pp. 164-75; and Constantin Wurzbach, Biographisches Lexikon des Kaiserthums Oesterreich, 1750-1850 (Vienna: K. K. Hof- und Staatsdruckerie, 1856-91). But once again this is deceptive: most of the AmZ references come from secondary sources in English translation; Bigenwald is simply a ‘See also’ (p. 205 n. 11), Schindler and Matis are just sources mentioned in brackets alongside an English one (pp. 30, 47), Nohl is mentioned because cited by Maynard Solomon (p. 138), Nottebohm is cited briefly on errors in some manuscripts (p. 105, 135), whilst the references to Stekl (pp. 40-41, 51) come from a translation by Julia V. Moore (‘Beethoven and Musical Economics’ (PhD. dissertation: University of Illinois, Urbana-Champaign. 1987). Wurzbach is used for a description of Schönfeld (p. 167) and for compiling a list of Viennese patrons (pp. 21-23). Hanslick’s history gets one paragraph’s serious attention (pp. 37-38), whilst two sentences are translated from Schönfeld (p. 40), a few other phrases elsewhere (pp. 42, 106, 154) and he is alluded to briefly in several other places (pp. 43, 46, 87-89, 102, 113, 116, 167-8, 195 n. 13, 196); another citation comes from a translation of H.C. Robbins Landon (Beethoven: A Documentary Study (New York: Macmillan, 1970)) (p. 87). Else Radant Landon is thanked for providing information on the Schönfeld families (p. 204 n. 9) and it is possible most of this information may have come from this source.

34. A scathing but well-focused critique of this book is Charles Rosen, ‘Beethoven’s Career’, in Critical Entertainments: Music Old and New (Cambridge, MA: Yale University Press, 2002), pp. 105-124.

35. Susan McClary, Modal Subjectivities: Self-Fashioning in the Italian Madrigal (Berkeley, Los Angeles & London: University of California Press, 2004).

36. These are Stephen Cottrell, ‘Musical performance in the twentieth century: an overview’, in Colin Lawson and Robin Stowell (ed), The Cambridge History of Musical Performance (Cambridge: Cambridge University Press, 2012), pp. 725-751; Jane Manning and Anthony Payne, ‘Vocal performance in the twentieth century and beyond’ ibid. pp. 752-777; Roger Heaton, ‘Instrumental performance in the twentieth century and beyond’, ibid, pp. 778-797; William Mival, ‘Case study: Karlheinz Stockhausen: Gruppen für drei Orchester‘, ibid. pp. 798-814. The latter in particular devotes a disproportionate amount of attention to British performances of this work and their reception.

37. Ian Pace, ‘Instrumental performance in the nineteenth century’, ibid. pp. 643-695.

38. This is a field with its own ‘canon’ of works, often treated almost like scripture by members of this sub-culture. Time and space do not permit for a detailed examination of this here, but I intend to embark upon such a thing in some format in the future.

39. Richard J. Evans, Cosmopolitan Islanders: British Historians and the European Continent (Cambridge: Cambridge University Press, 2009).

40. Ibid. pp. 189-234.