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 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 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.