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Critical Musicology, the Aesthetic Experience, and the Music Department David Gramit

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Critical Musicology, the Aesthetic Experience, and the Music Department David Gramit Document generated on 09/30/2021 4:11 a.m. Canadian University Music Review Revue de musique des universités canadiennes The Roaring Lion: Critical Musicology, the Aesthetic Experience, and the Music Department David Gramit Volume 19, Number 1, 1998 Article abstract This paper argues that a number of recent responses within North American URI: https://id.erudit.org/iderudit/1014603ar musicology to critical scholarship that has challenged disciplinary conventions DOI: https://doi.org/10.7202/1014603ar have in common a deep loyalty to the aesthetic experience of music as a supreme value. The vigour with which this value is defended has close See table of contents parallels in religion, and such defences have indeed sometimes resorted to explicitly religious terminology. The institutional situation of North American musicology in university music departments dominated by Western classical Publisher(s) music instruction strengthens this ideology, which continues to resist socially oriented study of music. Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Gramit, D. (1998). The Roaring Lion: Critical Musicology, the Aesthetic Experience, and the Music Department. Canadian University Music Review / Revue de musique des universités canadiennes, 19(1), 19–33. https://doi.org/10.7202/1014603ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1998 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ THE ROARING LION: CRITICAL MUSICOLOGY, THE AESTHETIC EXPERIENCE, AND THE MUSIC DEPARTMENT David Gramit Discipline yourselves, keep alert. Like a roaring lion your adversary the devil prowls around looking for someone to devour. Resist him, firm in your faith... lPeter5:8-9a(NRSV) To open with a biblical text, however time-honoured it may be for a sermon, runs counter enough to established norms for a musicological paper that it risks dismissal for a variety of reasons, ranging from mockery to affectation. By doing so, however, I am both acknowledging a text that sprang to my mind as uniquely relevant to the musicological phenomenon I will consider, and sug• gesting parallels between the religious discourse exemplified in the sermon and the musicological discourse that, I will argue, is a prominent feature of the discipline as institutionalized in North American universities. The method• ological disputes of the past decade, and in particular the sometimes vehement reaction encountered by socially-grounded discussions of art music, have given rise to a rhetoric reminiscent of that employed by the author of 1 Peter: the tone and persistence of such reactions would suggest that there is indeed an adver• sary seeking to devour, and resistance is based in unwavering adherence to a foundational faith.1 Before developing this analogy and seeking to identify the nature of the faith being advocated, I will clarify my topic in relation to the discipline of musi• cology. I will be discussing what I have termed "critical musicology," for want of a less ambiguous label, or, more precisely, the place of that enterprise in relation to musicology as a discipline. "Musicology" as I use it here is not the broadly inclusive term used by Philip Bohlman in an essay that provides a stimulating alternative perspective on many of the issues I will discuss.2 To use the term as he does, to refer to any scholarly study of a musical phenome• non, has historical precedents but marks the discipline as open to music and 1 An earlier version of this paper was read at the conference "Bordercrossings: New Directions in Music Studies/* Ottawa, March 1995. 2 Philip Bohlman, "Musicology as a Political Act,*' Journal of Musicology 11 (1993): 411-36. See Bohlman's discussion of his use of the term "musicology,*' 418-19. Although Bohlman's essay is now more than five years old, the standard practice of musicology continues to show little consideration of the issues he raises concerning the discipline's construction of music. The durability of that construction is what prompts me to investigate aspects of its motivation. 20 CUMR/RMUC enquiries of all sorts. As I use it, however, the term is more restrictive but also more representative of the activities most strongly associated with it: the discipline I am discussing is that which has made the European art music tradition its primary object of study, establishing strong but usually only implicit bounds not only to suitable repertoire, but also to appropriate approaches to that repertoire. My aim in what follows is to suggest an aspect of the ideological underpinning of this familiar disciplinary situation and to trace its influence on the development and reception of a critical musicology. What, then, is critical musicology? Despite the similarity of the name I have adopted, it is not to be equated with Joseph Kerman's influential vision of musicology as directed toward the ultimate goal of music criticism, the sym• pathetic discussion and evaluation of individual works of music. First explic• itly defined as a scholarly program in 1965, Kerman's agenda has had a substantial and continuing impact on the practice of musicology in North America, as both his own later overview of the field and the continued work of Kerman and those who have explicitly or implicitly adopted his program make clear.3 Still, despite substantial methodological and rhetorical differ• ences from the positivistic mainstream Kerman initially opposed, his program shares crucial common ground with that mainstream, maintaining and even strengthening both its traditional focus on the canonic Western tradition and the centrality of composers and their works that characterizes that tradition. As I will suggest below, however, this is also true of some important examples of what I would term "critical musicology." Indeed, it is precisely the pervasive• ness of a mode of discourse that situates the experience of listening to individ• ual works as the essential focal point of musicological study which lends that mode extraordinary significance. While I do not propose that critical musicol• ogy should banish either close readings of works or talk of musical experience, I will claim that it must remain aware of the ideological underpinnings of these approaches and draw attention to how they can either intentionally or inadver• tently limit the object of musicological inquiry in a way that excludes from the start much of what could fall within the scope of the discipline. An earlier usage of the term in a way similar to my own makes its ambiva• lence clear: I have drawn my formulation from Susan McClary, who writes that "the project of critical musicology (of which feminism would be an important branch) would be to examine ways in which different musics articulate the priorities and values of various communities." McClary herself begins with Kerman's call for music criticism, but I would argue that the context in which she reiterates it amounts to a productive appropriation of that call: to shift attention from "music as aesthetic experience" (Kerman's phrase; see below for its context) to "musics" in relation to "various communities," is 3 Joseph Kerman, "A Profile for American Musicology," Journal of the American Musicological Society 17 (1965): 61-69; Kerman's overview is Contemplating Music: Challenges to Musicology (Cambridge: Harvard University Press, 1985), esp. 113-54; for a more recent example of Kerman's approach in explicit comparison to recent methodological alternatives, see Kerman, "Close Readings of the Heard Kind," 19th-century Music 17 (1994): 209-19. 19/1 (1998) 21 to fundamentally realign the goal and attendant methodologies of that criti• cism.4 Such realignment, of course, is precisely what allows for critical musicology in the sense I am using it, and McClary's own writings offer perhaps the best-known and certainly the most frequently attacked examples of this devel• opment.5 But as McClary suggested it should, critical musicology has indeed come to encompass a rich variety of approaches. I can give only a few prominent examples here. Rose Rosengard Subotnik has consistently chal• lenged musicology to come to terms with the implications of leading thinkers of this century, from Adorno to Derrida and beyond.6 Gary Tomlinson has also explored recent critical thought in the context of a critique of musicological methodologies in the study of the Renaissance, while an extraordinary series of studies by Lawrence Kramer has explored the intersection of literary and critical theory and music.7 And Lydia Goehr's Imaginary Museum of Musical Works, although explicitly addressing issues in philosophical aesthetics, also reveals the extent to which musicology has itself overlooked the historicity and regulative function of the concept of the musical work itself.8 This questioning of tacit assumptions about the nature and impact of central practices or repertoire is a defining feature of critical musicology, a feature other authors have explored by drawing
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