Music and Historical Critique provides a definitive collection of Gary Tomlinson's influential studies on critical musicology, with the watchword throughout being history. This collection gathers his most innovative essays and lectures, some of them published here for the first time, along with an introduction outlining the context of the contributions and commenting on their aims and significance. Music and Historical Critique provides a retrospective view of the author's achievements in bringing to the heart of musicological discourse both deep-seated experiences of the past and meditations on the historian's ways of understanding them.
Contents: Introduction; List of published writings; The web of culture: a context for musicology; Music and the claims of text: Monteverdi, Rinuccini and Marino; Opera and drame; Hugo, Donizetti and Verdi; Italian romanticism and Italian opera: an essay in their affinities; Pastoral and musical magic in the birth of opera; Musical pasts and postmodern musicologies: A Response to Lawrence Kramer and Tomlinson Responds; Giaches de Wert and the discourse of Petrarchism; Cultural dialogics and jazz: a white historian signifies; Unlearning the Aztec cantares (preliminaries to a postcolonial history); Finding ground to stand on; Self, other, and the emergence of musical modernity; Vico's songs: detours at the origins of (ethno)musicology; Ghosts in the machine; Hamlet and Poppea; Learning to curse at 67; Musicology, anthropology, history; 5 pictures of pathos; Il faut méditerraniser la musique: after Braudel; Index.
The titles in this series bring together a selection of previously published and some unpublished essays by leading authorities in the field of critical musicology. The essays are chosen from a wide range of publications and so make key works available in a more accessible form. The authors have all made a selection of their own work in one volume with an introduction which discusses the essays chosen and puts them into context. A full bibliography points the reader to other publications which might not be included in the volume for reasons of space. The previously published essays are published using the facsimile method of reproduction to retain their original pagination, so that students and scholars can easily reference the essays in their original form.