The Routledge Companion to Applied Musicology brings together academics, artist-researchers, and practitioners to provide readers with an extensive and authoritative overview of applied musicology.
Once a field that addressed music’s socio-political or performative contexts, applied musicology today encompasses study and practice in areas as diverse as psychology, ecomusicology, organology, forensic musicology, music therapy, health and well-being, and other public-oriented musicologies. These rapid advances have created a fast-changing field whose scholarship and activities tend to take place in isolation from each other. This volume addresses that shortcoming, bringing together a wide-ranging survey of current approaches.
Featuring 39 authors, The Routledge Companion to Applied Musicology falls into five parts—Defining and Theorising Applied Musicology; Public Engagement; New Approaches and Research Methods; Representation and Inclusion; and Musicology in/for Performance—that chronicle the subject’s rich history and consider the connections that will characterise its future. The book offers an essential resource for anyone exploring applied musicology.
List of Figures
List of Contributors
Introduction Chris Dromey
Part I. Defining and Theorising Applied Musicology
1. From Spitta to Seeger: Early Theories of Applied Musicology Malik Sharif
2. Musicology’s Applied Foundations (or, How Music was Musealised) Miloš Zapletal and
Chris Dromey
3. The Late Nineteenth-Century Concert as Applied Musicology Natasha Loges
4. “Applied” before Musicology? George Grove, Programme Notes, and the Dictionary
Bruno Bower
5. Phenomenology, Practice-led Research, and Applied Musicology Nancy November
6. The Locations of Musical Meaning and Subjectivity Alastair Williams
Part II. Public Engagement
7. Shaping the Narrative: Musicology for a Public Leah Broad
8. Exhibiting Ethnomusicology: Curation Across Cultures and Disciplines Frances Wilkins,
Barbara Alge and the Aanischaaukamikw Cree Cultural Institute
9. Club Inégales, Curation, and Processes of Public Musicology Helen Julia Minors
10. Cultural and Artistic Citizenship in Classical Music Constanze Wimmer and Chris
Dromey
11. Musicology and/as Knowledge Exchange Toby Young
12. ‘So wide is the field’: Edward Taylor’s Public Music Lectures Rachel Johnson
Part III. New Approaches and Research Methods
13. The Sound Commons and Applied Ecomusicologies Aaron S. Allen, Taylor Leapaldt,
Mark Pedelty and Jeff Todd Titon
14. Perceptions of Melodic Symmetry: A Priming Study Michael Thorpe
15. Opera Virgins at the Movies: Audience Research and the Ontology of Opera Cinema
Joe Attard
16. Towards an Applied Health Musicology: Aesthetic Music Therapy and Beyond Colin
Andrew Lee and Chris Dromey
17. “Parental Advisory”: Making Explicit the Value and Authenticity of a Music Degree
Paul Fleet
Part IV. Representation and Inclusion
18. Rethinking Representation in Music Education: Strategies to Integrate Pan-African Music
Karen Cyrus
19. Whose ‘Better World’? Reflections on Applied Music Interventions in the Andes
Xabier Etxeberria Adrien and Henry Stobart
20. Rethinking (Self-)Care in Musicology Klisala Harrison
21. The Legality and Morality of Rap at Court Lily E. Hirsch
22. Strategies for Using Music Theory to Inform Music Education, Psychology, and
Therapy Research Adam Ockelford
Part V. Musicology in/for Performance
23. “Mahler am Tisch”: Experimenting with Imagined and Emergent Audiences Ties van de
Werff, Veerle Spronck and Imogen Eve
24. On Organology: Taxonomy and Transdisciplinarity Rachael Durkin and Darryl Martin
25. Dialogues with Recordings: Digital Memory and the Archive Neil Heyde
26. Intersections Between Northern Irish Choral Practices and Community Music Principles
Sarah-Jane Gibson and Lee Higgins
27. Music for Buildings, Building for Music Neil Thomas Smith and Peter Peters
References
Index
Biography
Chris Dromey is Associate Professor of Music at Middlesex University, where he has led BA Music Business and Arts Management since 2006. He is co-editor of The Classical Music Industry (Routledge, 2018).
