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    This article introduces the convergence of two different fields: cultural history and music. It begins by discussing the revival of the cultural history of music and the theoretical synthesis that occurred within these two converging disciplines. It notes that both musicologists and historians are trying to not only return to the goal of capturing the complexity and texture of experience, communication, and understanding in the past, but also to do so by using a theoretically sophisticated approach. This article notes that cultural history and music are identifying the latter as a privileged point of entry into questions about past cultures.

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    Introduction Defining the New Cultural History of Music Its Origins Methodologies and Lines of Inquiry

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    This article introduces the convergence of two different fields: cultural history and music. It begins by discussing the revival of the cultural history of music and the theoretical synthesis that occurred within these two converging disciplines. It notes that both musicologists and historians are trying to not only return to the goal of capturing the complexity and texture of experience, communication, and understanding in the past, but also to do so by using a theoretically sophisticated approach. This article notes that cultural history and music are identifying the latter as a privileged point of entry into questions about past cultures.

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    © All Rights Reserved
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    50 views1 page

    Introduction Defining The New Cultural History of Music Its Origins Methodologies and Lines of Inquiry

    Uploaded by

    cocovein
    This article introduces the convergence of two different fields: cultural history and music. It begins by discussing the revival of the cultural history of music and the theoretical synthesis that occurred within these two converging disciplines. It notes that both musicologists and historians are trying to not only return to the goal of capturing the complexity and texture of experience, communication, and understanding in the past, but also to do so by using a theoretically sophisticated approach. This article notes that cultural history and music are identifying the latter as a privileged point of entry into questions about past cultures.

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    Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of

    Oxford Handbooks Online

    Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies,
    and Lines of Inquiry
    Jane F. Fulcher
    The Oxford Handbook of the New Cultural History of Music
    Print Publication Date: Aug 2011 Subject: Music, Musicology and Music History
    Online Publication Date: Sep 2012 DOI: 10.1093/oxfordhb/9780195341867.013.0001

    Abstract and Keywords

    This article introduces the convergence of two different fields: cultural history and music. It begins by discussing the revival of the cultural
    history of music and the theoretical synthesis that occurred within these two converging disciplines. It notes that both musicologists and
    historians are trying to not only return to the goal of capturing the complexity and texture of experience, communication, and
    understanding in the past, but also to do so by using a theoretically sophisticated approach. This article notes that cultural history and
    music are identifying the latter as a privileged point of entry into questions about past cultures.

    Keywords: cultural history, music, convergence, revival, theoretical synthesis, theoretically sophisticated approach, past cultures

    DOI:10.1093/oxfordhb/9780195341867.013.0001
    This article introduces the convergence of two different fields: cultural history and music. It begins by discussing the revival of the cultural
    history of music and the theoretical synthesis that occurred within these two converging disciplines. It notes that both musicologists and
    historians are trying to not only return to the goal of capturing the complexity and texture of experience, communication, and
    understanding in the past, but also to do so by using a theoretically sophisticated approach. This article notes that cultural history and
    music are identifying the latter as a privileged point of entry into questions about past cultures.

    Jane F. Fulcher
    Jane Fulcher is Professor of Musicology at the University of Michigan. She has received research awards in both the
    United States and Europe, including The American Council of Learned Societies, the National Endowment for the
    Humanities (two awards), the Wissenschaftskolleg zu Berlin, the National Humanities Center, the Institute for
    Advanced Study, Princeton, New Jersey (where she was the Edward T. Cone member in Music Studies for 2003-04).
    In addition, she has three times been invited to be visiting professor at the Ecole des Hautes Etudes en Sciences
    Sociales in Paris.

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    PRINTED FRO M O XFO RD HANDBO O KS O NLINE (www.oxfordhandbooks.com ). (c) O xford University Press, 2013. All Rights
    Reserved. Under the term s of the licence agreem ent, an individual user m ay print out a PDF of a single chapter of a title in
    O xford Handbooks O nline for personal use (for details see Privacy Policy).
    date: 04 Novem ber 2013

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