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Charles Seeger and Twenty-First-Century Musicologies: a Critical Assessment of His Meta-Musicological Thinking

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Charles Seeger and Twenty-First-Century Musicologies: a Critical Assessment of His Meta-Musicological Thinking Charles Seeger and Twenty-First-Century Musicologies: A Critical Assessment of His Meta-Musicological Thinking PhD Thesis submitted by Mag. Malik Sharif, BA MA Study program: Scholarly PhD program; Musicology (V 094 316) Doctoral Committee: Univ.-Prof. Dr. Gerd Grupe (supervisor) Univ.-Prof. i.R. Mag. Dr. Regine Allgayer-Kaufmann (co-supervisor) PD MMag. Dr. Helmut Brenner (advisor) University of Music and Performing Arts Graz February 2017 Abstract The philosophy of musicology – or “meta-musicology” – is one of the main issues in Charles Seeger’s scholarly work. Over the course of more than sixty years, Seeger repeatedly ad- dressed topics such as: the relationship between music and language and its epistemological implications for an academic musicology; the epistemology of musicology as a social prac- tice; the basic dimensions and factors of musicological disciplinarity; musicology’s aims, ends and raison d’être, and its relationship to the rest of academia. Given the foundational quality of these issues, Seeger is still referenced in contemporary meta-musicological debates, though usually only selectively. He is often even only invoked as a mere authority without considering the views he actually held. In general, this study can be divided into two larger parts. The first part has a more his- torical orientation, while the second part is grounded in contemporary discourse. The histori- cal part reconstructs the development of Seeger’s meta-musicological thinking, puts it into historical context, and analyzes his arguments. As such, this part is a contribution to the body of scholarship on the intellectual history of modern musicology, especially existing studies focusing on the thoughts of meta-musicologically minded individuals such as Guido Adler, Hugo Riemann, Carl Dahlhaus, Georg Knepler, or the lesser known Arthur Wolfgang Cohn and Gustav Jacobsthal. Within the context of this study, though, the historical research also fulfils an instru- mental function: it is not only a contribution to the collective “archive” of reflexive under- standing of musicology’s past but also serves as an “arsenal”, as a resource of ideas and con- cepts ready for use in contemporary meta-musicological discourse. Accordingly, the second part feeds Seeger’s meta-musicological ideas back into contemporary discourse. In a first step, Seeger’s ideas are used to develop a contemporary “Seegerian” meta-musicological the- ory. The development of this theory is conducted both on an idealistic and on a practical level. The theory is not intended to be a mere abstract construct; it is rather supposed to be of use in guiding musicological practice under real-life conditions as a kind of concrete utopia in the sense of Ernst Bloch’s term. In a second step, this theory is confronted with contemporary meta-musicological discourse. Ideal-typical current positions in the debate on musicological disciplinarity (musicological unidisciplinarity, interdisciplinarity, post-/transdisciplinarity) and related meta-musicological questions are critically analyzed from the point of view of the Seegerian theory. ii Die Philosophie der Musikwissenschaft bzw. Metamusikologie ist eines der zentralen Themen in Charles Seegers wissenschaftlichem Oeuvre. Über einen Zeitraum von mehr als 60 Jahren hat sich Seeger wiederholt Themen wie den folgenden gewidmet: das Verhältnis zwischen Musik und Sprache und die erkenntnistheoretischen Implikationen dieses Verhältnisses für eine akademische Musikwissenschaft; die Erkenntnistheorie von Musikwissenschaft, verstan- den als soziale Praxis; die grundlegenden Dimensionen und Faktoren musikwissenschaftlicher Disziplinarität; die Daseinsberechtigung der Musikwissenschaft, ihre Ziele und Zwecke sowie ihr Verhältnis zu anderen wissenschaftlichen Bereichen. Da alle diese Themen einen grundle- genden Charakter haben, wird auf Seeger auch noch in heutigen metamusikologischen Debat- ten Bezug genommen, wenngleich dabei nur sehr selektiv vorgegangen wird. Oft wird auf ihn gar nur als bloße Autorität Bezug genommen, ohne dass seine tatsächlichen Ansichten und Meinungen eine besondere Beachtung erfahren würden. Die vorliegende Studie besteht aus zwei größeren Teilen. Der erste Teil hat eine eher historische Ausrichtung, wohingegen sich der zweite Teil auf den aktuellen Diskurs bezieht. Der historische Teil rekonstruiert die Entwicklung von Seegers meta-musikologischem Den- ken, setzt es in Bezug zu historischen Kontexten und analysiert seine Argumente. Insofern ist dieser Teil ein Beitrag zur Erforschung der Geschichte der modernen Musikwissenschaft und steht in einer Reihe mit anderen Studien zu Fachvertretern, die sich ebenfalls zu meta- musikologischen Themen geäußert haben, wie etwa Gudio Adler, Hugo Riemann, Carl Dahl- haus, Georg Knepler oder auch die weniger bekannten Arthur Wolfgang Cohn und Gustav Ja- cobsthal. Im Kontext der vorliegenden Untersuchung erfüllt die historische Forschung allerdings auch eine instrumentelle Funktion: Sie ist nicht nur ein Beitrag zum „Archiv“ der reflexiven Auseinandersetzung mit der Vergangenheit der Musikwissenschaft, sondern dient auch als „Arsenal“, als Quelle von Ideen und Begriffen, die im aktuellen meta-musikologischen Dis- kurs zur Anwendung kommen können. Dementsprechend werden Seegers metamusikologi- sche Vorstellungen im zweiten Teil mit dem gegenwärtigen Diskurs in Beziehung gesetzt. In einem ersten Schritt wird eine zeitgenössische Seeger’sche meta-musikologische Theorie entwickelt. Diese Entwicklung dieser Theorie findet sowohl auf einer idealistischen als auch auf einer praktischen Ebene statt. Die Theorie soll nicht allein ein abstraktes Konstrukt sein, sondern auch als Orientierungshilfe musikwissenschaftlichen Handelns unter realen Bedin- gungen dienen. Sie hat insofern die Funktion einer konkreten Utopie im Sinne Ernst Blochs. In einem zweiten Schritt wird diese Theorie mit dem aktuellen meta-musikologischen Diskurs gegenübergestellt. Idealtypische meta-musikologische Positionen aus der gegenwärtigen De- iii batte über die Disziplinarität der Musikwissenschaft (Unidisziplinarität, Interdisziplinarität, Post-/Transdisziplinarität) sowie damit verknüpfte Themen werden aus Sicht der zuvor entwi- ckelten Seeger’schen Theorie einer kritischen Analyse unterzogen. iv Table of Contents Abstract ...................................................................................................................................... ii Table of Contents ....................................................................................................................... v List of Figures .......................................................................................................................... vii List of Acronyms ..................................................................................................................... viii Acknowledgements ................................................................................................................... ix 1. Introduction ............................................................................................................................ 1 1.1 Situating the Author: An Exercise in Scholarly Reflexivity ................................... 1 1.2 Situating the Text: Why Write a Book on Charles Seeger? ................................... 2 1.3 The Scope, Aim, Approach, and Content of This Study ........................................ 5 1.4 Some Remarks on Central Concepts ...................................................................... 9 1.5 Objections and Replies ......................................................................................... 16 2. Charles Seeger’s Biography ................................................................................................. 22 2.1 Charles Seeger’s Early Life .................................................................................. 23 2.2 Professor of Music in Berkeley ............................................................................ 25 2.3 The New York Years ............................................................................................ 29 2.4 Work for National and International Agencies in Washington ............................ 35 2.4.1 New Deal Agencies ....................................................................................... 35 2.4.2 The Inter-American Music Center ................................................................. 37 2.4.3 Scholarly Work during the Washington Years .............................................. 41 2.5 Researcher in California ....................................................................................... 43 2.6 Final Years in New England ................................................................................. 44 3. The Development of Seeger’s Meta-Musicology ................................................................ 46 3.1 Early Meta-Musicology ........................................................................................ 46 3.1.1 Meta-Musicology in Berkeley ....................................................................... 46 3.1.2 The Linguocentric Predicament ..................................................................... 51 3.1.3 Outline of a Musicological Agenda ............................................................... 58 3.1.4 Musicological Disciplinarity .......................................................................... 65 3.1.5 Musicology’s Raison d’Être .........................................................................
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