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Divided choirs: Musicologists, musi...

Mangan, John Richard.

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Divided choirs: Musicologists, music performers, and the course of music study in American higher education.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Divided choirs: Musicologists, music performers, and the course of music study in American higher education./
Author:	Mangan, John Richard.
Description:	321 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1677.
Contained By:	Dissertation Abstracts International66-05A.
Subject:	Education, History of. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3174846
ISBN:	0542131617

Divided choirs: Musicologists, music performers, and the course of music study in American higher education.
Mangan, John Richard.

Divided choirs: Musicologists, music performers, and the course of music study in American higher education. - 321 p.

Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1677.

Thesis (Ph.D.)--Columbia University, 2005.

This dissertation examines the ethos of separatism between musicologists and music performers and the impact it has had on the development of music study in American higher education. Beginning in the 1930s, when musicology was established as a discipline on campus, and continuing up until about 1980, when the issue began to fade from the literature, the musicologist-performer dialectic is crucial to understanding the development of music education. Performance studies in conservatories, colleges, and universities were established by the 1930s when musicology, driven primarily by the migration of prominent European musicologists before and during World War II, began to take root in higher education. Tensions between performers and musicologists were immediately apparent: the farmer took issue with these scholars who talked and wrote about music, but did not perform it; the latter saw performers as unable or unwilling to embrace the humanistic, and thereby intellectual, riches of the music they performed. Debates ensued over the role of music in a liberal education, the function of the conservatory as an educative enterprise, and the place of musicology in higher education. In some cases, curricular and institutional strife resulted---Yale University added a department of music in 1940 separate from its existing school in part to accommodate the ideological gulf between musicological and performance studies. In other instances, however, the two sides found equanimity, and with the rise of the historical performance practice movement in the United States beginning in the 1950s, there is evidence of detente between the two groups as they collaborated in their study and performance of early music. The positive result for higher education was evident in the rise of collegia musica and performance practice programs, all of which multiplied the opportunities for collaboration between musicologists and performers. The dissertation seeks to synthesize writings on musicology, music performance, and music education; and, at its core, to set in relief the sometimes thinly acknowledged friction between musicologists and performers that has profoundly shaped their interaction in the context of American higher education.

ISBN: 0542131617Subjects--Topical Terms:

599244
Education, History of.

Divided choirs: Musicologists, music performers, and the course of music study in American higher education.
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100 1 $a Mangan, John Richard. $3 1906570
245 1 0 $a Divided choirs: Musicologists, music performers, and the course of music study in American higher education.
300 $a 321 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1677.
500 $a Adviser: Cally L. Waite.
502 $a Thesis (Ph.D.)--Columbia University, 2005.
520 $a This dissertation examines the ethos of separatism between musicologists and music performers and the impact it has had on the development of music study in American higher education. Beginning in the 1930s, when musicology was established as a discipline on campus, and continuing up until about 1980, when the issue began to fade from the literature, the musicologist-performer dialectic is crucial to understanding the development of music education. Performance studies in conservatories, colleges, and universities were established by the 1930s when musicology, driven primarily by the migration of prominent European musicologists before and during World War II, began to take root in higher education. Tensions between performers and musicologists were immediately apparent: the farmer took issue with these scholars who talked and wrote about music, but did not perform it; the latter saw performers as unable or unwilling to embrace the humanistic, and thereby intellectual, riches of the music they performed. Debates ensued over the role of music in a liberal education, the function of the conservatory as an educative enterprise, and the place of musicology in higher education. In some cases, curricular and institutional strife resulted---Yale University added a department of music in 1940 separate from its existing school in part to accommodate the ideological gulf between musicological and performance studies. In other instances, however, the two sides found equanimity, and with the rise of the historical performance practice movement in the United States beginning in the 1950s, there is evidence of detente between the two groups as they collaborated in their study and performance of early music. The positive result for higher education was evident in the rise of collegia musica and performance practice programs, all of which multiplied the opportunities for collaboration between musicologists and performers. The dissertation seeks to synthesize writings on musicology, music performance, and music education; and, at its core, to set in relief the sometimes thinly acknowledged friction between musicologists and performers that has profoundly shaped their interaction in the context of American higher education.
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