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:

Bab TinjauanThis 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.Bab ini meminta apa yang kita maksud dengan sejarah musik dan mengapa kita belajar itu. Itumempertimbangkan beberapa jenis sejarah yang bisa, dan telah,ditulis, mulai dari gaya sejarah karya musik sosialSejarah karya bagaimana orang-orang datang untuk ditulis. It looks di yang berbedastrategi yang dituntut oleh studi musik pada masa yang berbeda, dalam berbagaitempat, dan untuk audiens yang berbeda. Kelihatannya beberapa alat, metode, danmenggunakan sumber sejarawan untuk belajar tentang praktek-praktek musik di masa lalu, danmempertimbangkan beberapa kategori konvensional yang mereka gunakan untuk menciptakanperintah dalam sejarah. Mereka sering merujuk kepada "tradisi musik," misalnya, danmereka memanggil periode istilah seperti "Baroque" dan "Klasik". Bab jugaAlamat beberapa agenda secara terbuka maupun tersembunyi yang ditemukan di berbagai jenisSejarah menulis, itu pertanyaan apakah beberapa aspek sejarah musik telahdiabaikan mendukung orang lain pada waktu yang berbeda, dan itu bertanya berapa banyak kita dapatbelajar dengan mempertimbangkan penerimaan musik melalui berabad-abad. Lebih lanjutmempertimbangkan bagaimana studi sejarah musik didukung, dan mungkin pada gilirannyamenerangi, beberapa kategori lain studi musik yang dibahas dalam buku ini.