Musicology in the Garden

Dolan, Emily I.

doi:10.1525/rep.2015.132.1.88

Cited by 30 publications

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“…Genre theory and how it decentres the musical subject while retaining a focus on aesthetic and affective processes would be one fertile guide (Brackett 2005;Born 2011;Drott 2013;Brackett 2016). Novel approaches to aesthetics that encompass mediation (Born 1991;Born 2017), including 'pleasure in mediation' (Guillory 2010, 357) and 'aesthetic investments … directed far beyond the frame of the artwork' (Dolan 2015), would also be productive, as would engagement with ideas of affective objects (Navaro-Yashin 2009) and theories of musical affect predicated on the intimate bond between affect and mediation (Stirling 2019). Given that human actors' explanations are not infallible guides, since they may 'betray the workings of an ideology that has receded into the background of thought' (Piekut 2014, 210, fn 76), a concern with the articulation of subjectivity and ideology might also be fruitful.…”

Section: What Is To Be Learned?mentioning

confidence: 99%

Music, Mediation Theories and Actor-Network Theory

Born¹,

Barry²

2018

Contemporary Music Review

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Section: What Is To Be Learned?mentioning

confidence: 99%

Music, Mediation Theories and Actor-Network Theory

Born¹,

Barry²

2018

Contemporary Music Review

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“…The musicologist Emily I Dolan (2015). discussesLatour's (2004b) suggestion, as referenced byBarad (2012c), to consider in the "thing .…”

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“…matters of fact and matters of concern"(Latour 2004b, 233, emphasis removed). ForDolan (2015), the turn to materiality via Latour's work offers musicology "one path back to Adler's garden, whereby we can recast the loving adoration of musical culture as a new kind of worthy intellectual engagement" (91). Dolan sees Latour's notion of "concern" as (merely) a reminder of "the role aesthetics [played] in the birth of musicology" and the richness of "the discipline's foundational principles" as articulated by Guido Adler in the late 1800s (88).…”

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Music/ology: A Baradian Account

Pranger¹

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Curriculum vitaeThroughout my research and the writing of this dissertation I have received a great deal of support and assistance. I would first like to thank my supervisors, Prof. Dr. Karl Kügle and Prof. Dr. Iris van der Tuin, for the freedom they gave me to explore my ideas. Their expertise and trust in me were invaluable in the formulating of my research topic and in the fusing of my musicological research with my intuited knowledge of music-making as a singer.I would like to acknowledge Dr. Paul van Emmerik, who introduced me to Carolyn Abbate's work. I also want to thank my friend, physicist Dr. Rainer Gruber, for our discussions, which deepened my insights into Karen Barad's approach to physics. I also acknowledge and thank Dr. Rick Dolphijn for the Contemporary Cultural Theory seminar series (with Prof. Van der Tuin), which constituted my entrance into the intricacies of new materialisms. Further gratitude goes to the inspiring reading group, the "Barad Bond," with Alex Hebing, Freya de Mink, and Peta Hinton. The planning and outline of my research benefitted from our fine conversations and the exploration of challenging texts from our individual research areas.I also want to thank the various employees of Utrecht University, the Faculty of Humanities and the Department of Media and Culture, whom I met during my research and who made me feel very much at home. I wish to thank Sophie Chapple and Nina Bresser for supporting me in the final production of this dissertation, editing my text and providing crucial comments. I thank Tomoko Mukaiyama, Arda Risselada, Florine Wiebenga, and Peter van Bergen for staying with me, listening to my new materialist reports, whilst continuing to pose their artist's questions. Finally, I wish to thank Rom Gaastra, my artist, my love, for his everlasting support.Further deepening my exploration of the relationality of musical and musicological being and knowing, I subsequently turn to the work of the physicist and feminist theorist Karen Barad, who emphasises (and here I adhere to Abbate's terms) how knowing and being are both drastic, and that representational stabilisation is profoundly drastic as well-that is, material and temporal. explicates this through her metaphysics of an agential real-a performative account of how matter comes to matter (in its double meaning)-in which matter is considered an active, relational, and generative doing. Barad's thoughts on relationality and inseparability, involving the inseparability of being, knowing, and valuing, are inspired by the physicist Niels Bohr's (1958) question of how to give an unambiguous account of quantum experiments. Bohr observes how measurements of atomic and subatomic behaviour demonstrate that concept and material setup are entangled: To measure the position of a particle, the concept position is materialised in the apparatus with stable parts. Whilst measuring momentum, however, one finds that an apparatus with moving parts is needed. Starting from Bohr's materialised concept, defined thus by the material and ...

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Musicology and Dance

2020

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Musicology in the Garden

Abstract: This essay reflects on the role of aesthetics in the birth of musicology and asks to what extent musicology’s turn to materiality, via the work of Bruno Latour, might become a return to the discipline’s foundational principles.

Cited by 30 publications

References 0 publications

Music, Mediation Theories and Actor-Network Theory

Music, Mediation Theories and Actor-Network Theory

Music/ology: A Baradian Account

Musicology and Dance

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