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The so-called "New Musicology" has largely been concerned with the personal, the political, the social. But in the early 1990s, when I was a doctoral student involved in some of the arguments in favor of its existence (that is to say, while editing the Newsletter of the Gay & Lesbian Study Group of the American Musicological Society, as well as working on various postmodern and post-structuralist theories in my master's and doctoral theses at UCLA), I had my own somewhat distinct research interests. Some of these interests, as represented in later writings, fell into line with the broader trends regarded as significant at the time. But others were more abstractly related, through a parallel but quite different line of argument, to breaking away from other self-enforcing assumptions about musicology's appropriate objects and methods.
Summary revue Filigrane n°11 - New Musicology (Perspectives critiques)
Lawrence Kramer
« La » New Musicology : une rétrospective en perspective
Paul Attinello
Against History: Defining, and Defending, Systematic Musicologies
Frédérick Duhautpas
Expressivité, modernité et musicologie critique. La modernité musicale au delà des discours formalistes
Fred Everett Maus
Musique classique instrumentale et récit
Joyce Shintani
New Musicology and the Composing Subject.
Theory-Métissage with a Look at Gerhard Stäbler
Danick Trottier
Déconstruire les mythes musicaux : Le moment Richard Taruskin dans les études stravinskiennes
Jonathan Goldman
La New Musicology.
Survol de la musicologie américaine des années 1990
Markos Tsetsos
Postmodern Musicology and the Subjectivity of Value
