Musical Biography in the Musicological Arena.
In one of the best accounts to have emerged recently of the history of biography, Hermione Lee's I Biography: A Very Short Introduction i , the opening chapter sets out ten rules for writing in this sometimes controversial genre.[1] Among these principles are the requirements for truth, comprehensiv...
| Published in: | Journal of Musicological Research Vol. 38; no. 3/4; pp. 187 - 193 |
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| Main Authors: | , |
| Format: | Editorial |
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Taylor & Francis Ltd
2019
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| Subjects: | |
| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=139313370&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 139313370 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01411896 7WF jtl: Journal of Musicological Research issn: 01411896 maglogo: N pubinfo: dt: 2019 vid: 38 iid: 3/4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 139313370 10.1080/01411896.2019.1644140 ppf: 187 ppct: 6 formats: fmt: – @attributes: type: T – @attributes: type: P size: 421KB tig: atl: Musical Biography in the Musicological Arena. aug: au: Wiley, Christopher Watt, Paul affil: Guest Editors su: History Music history Musical criticism sug: subj: History Music history Musical criticism ab: In one of the best accounts to have emerged recently of the history of biography, Hermione Lee's I Biography: A Very Short Introduction i , the opening chapter sets out ten rules for writing in this sometimes controversial genre.[1] Among these principles are the requirements for truth, comprehensiveness, accuracy of citation, and objectivity. Musical biography has historically held something of a problematized or, to borrow Philip Olleson's words, an "untidy" place within music history, because it "steps outside the specialist arena and addresses a wider public."[3] Indeed, musical biography has long stood outside the musicological arena. As early as 1857, H. Byerley Thomson's I The Choice of a Profession i proposed a tripartite paradigm of the music profession with the composer at the top of the hierarchal tree, and the music critic at the bottom - but with no mention of the biographer.[4] Musical biography was to fare only slightly better in later writings. [9] In relation to the connections between musical biography and psychology, we see all too clearly the resistance to this relationship played out in the reception of the field.[10] Arguably, it took the publication of Maynard Solomon's I Beethoven i biography in the late 1970s to establish the respectability of psychobiography in musicology.[11]. pubtype: Academic Journal doctype: Editorial src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of Musicological Research is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of Musicological Research holder: Taylor & Francis Ltd dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
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