Musicology, the Stepchild of the Sciences
Abe Pepinsky · The Journal of the Acoustical Society of America · 1945
The musicologist wants the respect of both the musician and the scientist, but the musician frowns upon him because, although he is supposed to know all about music, he seems to derive no sensory pleasure from it, and the scientist looks askance at the sort of stuff the musicologist busies himself with and his methods of approach. The question might well be asked: “What is Musicology?” Briefly, it purports to be the scientific study of music. Musicology reaches into many fields and someone facetiously remarked that it includes practically everything that lies outside of the personality of the performer and the purely technical aspects of his performance. But why exclude the personality of the performer or even the consideration of the technical aspects of the performance? Surely the personality of the performer plays an important role in presenting the musical thought to an auditor Likewise, the technical aspects of performance lend conviction to the meaning of the music. It would seem therefore, in considering music, that every possible phase of the art should be subjected to scrutiny and, if this be accomplished by utilizing acceptable scientific procedures, the musicologist need not be apologetic for his field of endeavor. Some of the areas explored will be reviewed together with the tools at the musicologist's command. New fields to conquer and the advantages of novel treatment will also be suggested.