Chapter previewThis chapter asks wh

Chapter preview
This chapter asks what we mean by music history and why we study it. It
considers some of the different kinds of history that can be, and have been,
written, ranging from the stylistic history of musical works to the social
history of how those works came to be written. It looks at the different
strategies demanded by the study of music in different periods, in different
places, and for different audiences. It looks at some of the tools, methods, and
sources historians use to learn about musical practices in the past, and it
considers some of the conventional categories they employ in order to create
an order in history. They often refer to musical “traditions,” for example, and
they invoke period terms such as “Baroque” and “Classical.” The chapter also
addresses some of the overt and hidden agendas found in different types of
historical writing, it queries whether some aspects of music history have been
neglected in favor of others at different times, and it asks how much we can
learn by considering the reception of music through the centuries. It further
considers how the study of music history is supported by, and may in turn
illuminate, some of the other categories of musical study discussed in this book.

Hasil (Bahasa Indonesia) 1:

Chapter OverviewThis chapter Asks what we mean by music history and why we study it. It considers some of the different kinds of history that can be, and have been, written, ranging from stylistic history of musical works to the social history of how Reviews those works Came to be written. It looks at the different strategies DEMANDED by the study of music in different periods, in different places, and for different audiences. It looks at some of the tools, methods, and sources Historians use to learn about musical practices in the past, and it considers some of the conventional categories they employ in order to create an order in history. They Often refer to musical "traditions," for example, and they invoke period terms such as "Baroque" and "Classical." The chapter Also addresses some of the overt and hidden agendas found in different types of historical writing, it queries Whether some aspects of music history have been neglected in favor of others at different times, and it Asks how much we can learn by considering the reception of music through the Centuries. It further considers how the study of music history is supported by, and may in turn Illuminate, some of the other categories of musical study Discussed in this book.This chapter asks what we mean by music history and why we learn it. It was considering some kind of history that can, and has, written, starting from the historical style musical work of social history of the work of how people came to be written. It looks at the different strategies demanded by musical studies at different times, in different places and for different audiences. It seems some tools, methods, and uses sources historians to learn about the practices of the music in the past, and consider some of the conventional categories that they use to create a command in the history. they often refer to "the musical tradition," for example, and they call the period of terms such as "Baroque" and "Classic". Chapters also address some of the agenda openly or hidden are found in various types of history writing, it question whether some aspects of music history has neglected to support others at different times, and asked how much we can learn by considering the reception of music through the ages. Furthermore, consider how the study of the history of music is supported, and may in turn illuminate, some categories another musical studies discussed in this book.

Hasil (Bahasa Indonesia) 2:

Chapter preview chapter of this inquiry what we mean by music history and why we learn it. It is considering some kind of history that can, and has, written, ranging from the history of the style of a musical work with the social history of how to review the works comes to be written. It looks on various strategies REQUESTED by the study of music in different periods, in different places and for different audiences. it looks at some of the tools, methods, and sources Historians use to learn about the music practice in the past, and it is considering several conventional categories of their employ in order to create a command of history. they often refer to the music of "tradition," for example, and they begged it of the period as "Baroque" and "classic." this chapter also discusses some clear agenda and hidden are found in various types of historical writing, the request Either some aspects of music history has been neglected in favor of other people at different times, and it Ask how much we can learn by considering the reception of music through the centuries. this is to consider how the study of music history is supported by, and in turn Illuminate, several other categories of music studies discussed in this book.