By Giles Hooper
In The Discourse of Musicology, Giles Hooper considers a few matters valuable to fresh debates concerning the nature and path of latest musicology. the 1st a part of the booklet seeks to situate and significantly reconsider the alleged 'postmodern' flip in musical scholarship. Then, in trying to conquer the various difficulties mostly linked to postmodern concept, Hooper attracts at the paintings of Jürgen Habermas so one can interpret musicology as a sort of institutionalized discourse and to suggest a normative framework for the type of wisdom during which it might legitimately factor. the second one a part of the booklet specializes in the ideas of 'mediation' and the 'music itself' and engages with the paintings of influential serious theorist, Theodor Adorno, and the modern musicologist, Lawrence Kramer. ultimately Hooper compares and contrasts a few assorted techniques to Mahler's 9th Symphony. The author's underlying objective all through is to question even if, and the way, it really is attainable to enhance a style of musicological enquiry that's either epistemologically powerful and while in a position to answering the call for that it show its social, political and moral relevance.
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