You are mistaken if you think this applies generally MH
--- On Sat, 2/7/11, Christopher Wilke <chriswi...@yahoo.com> wrote:
From: Christopher Wilke <chriswi...@yahoo.com>
Subject: [LUTE] Re: What's the point to 'historical sound'
To: lute@cs.dartmouth.edu, "Ron Andrico" <praelu...@hotmail.com>,
"Martyn Hodgson" <hodgsonmar...@yahoo.co.uk>
Date: Saturday, 2 July, 2011, 19:29
Martyn,
--- On Sat, 7/2/11, Martyn Hodgson <[1]hodgsonmar...@yahoo.co.uk>
wrote:
>
> The whole effort of historical musicology
> for at least the past 50
> years has been to determine, in so far as
> the evidence exists and to
> the best of our ability, what the earlier
> composers (and thus their
> audiences) would have expected.
>
Really? I gathered that the whole point of historical musicology
involves adopting some all-embracing modern social thesis (usually
inherited from one's doctoral advisor and of a properly radical
persuasion) and then diligently applying oneself to creating a
decontextualized selective historiography demonstrating how all of the
"great ones" were secretly ardent adherents of the then-heretical
philosophy. I'm thinking of something like Susan McClary's hypothesis
that Schubert's instrumental music is really a thinly veiled homosexual
manifesto because he often used "girly" chords related by thirds.
Chris
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References
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