New musicology

New musicology is a wide body of musicology since the 1980s with a focus upon the cultural study, aesthetics, criticism, and hermeneutics of music. It began in part a reaction against the traditional positivist musicology (focused on primary research) of the early 20th century and postwar era. Many of the procedures of new musicology are now (2016) considered standard, although the name more often refers to the historical turn rather than to any single set of ideas or principles. Indeed, although it was notably influenced by feminism, gender studies, queer theory, postcolonial studies, and critical theory, new musicology has primarily been characterized by a wide-ranging eclecticism.

New musicology seeks to question the research methods of traditional musicology by displacing positivism, working in partnership with outside disciplines, including the humanities and social sciences, and by questioning accepted musical knowledge. New musicologists seek ways to employ anthropology, sociology, cultural studies, gender studies, feminism, history, and philosophy in the study of music.

In 1980 Joseph Kerman published the article "How We Got into Analysis, and How to Get Out," calling for a change in musicology. He asked for "a new breadth and flexibility in academic music criticism [musicology]" (Kerman, 1994, 30) that would extend to musical discourse, critical theory and analysis. In the words of Rose Rosengard Subotnik: "For me...the notion of an intimate relationship between music and society functions not as a distant goal but as a starting point of great immediacy...the goal of which is to articulate something essential about why any particular music is the way it is in particular, that is, to achieve insight into the character of its identity."

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