{"id":528813,"date":"2025-08-24T09:28:00","date_gmt":"2025-08-24T07:28:00","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=528813"},"modified":"2025-08-24T09:28:04","modified_gmt":"2025-08-24T07:28:04","slug":"musicology-sectarianism","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/music\/musicology-sectarianism\/","title":{"rendered":"Musicology and sectarianism"},"content":{"rendered":"<p class=\"has-drop-cap\"><strong>French musicology, frozen in a certain dogmatism, is drifting away from the very essence of musical language. That, at least, is James Lyon's point of view. In this article, the music historian defends his resolutely personal reading of the discipline.<\/strong><\/p>\n\n\n\n<!--more-->\n\n\n\n<p>Is musicology a sectarian field? This is a question that needs to be explored in greater depth: what does this relatively recent discipline consist of? One of its aims is the scientific study of musical language. Contrary to popular belief, musicologists tend to distinguish themselves from music historians. The former prefers to analyze pure form to the detriment of an approach to thought.<\/p>\n\n\n\n<p>Nevertheless, it is important to avoid opening a Pandora's box by confusing French musicology with <em>Musikwissenschaft<\/em> and the <em>musicology<\/em> British. The first, quantitative, is mainly opposed to the imagination of the creative process, while the other two are usually concerned with putting pure creativity into perspective with the qualitative multiplicity of forms and their meaning.<\/p>\n\n\n\n<form method=\"post\" action=\"https:\/\/newsletter.infomaniak.com\/external\/submit\" class=\"inf-form\" target=\"_blank\"><input type=\"email\" name=\"email\" style=\"display:none\" \/><input type=\"hidden\" name=\"key\" value=\"eyJpdiI6IlZXRVJGMlRGQUU2alNqUE81bitIUk5adnNVa0c4MllFTStzOHdHT1FQZ3c9IiwidmFsdWUiOiJIYzhwMUVCK1pTNnlhY3MyMmhuZlhReWJqemEwNk93blMxTjFHc0s2VHZrPSIsIm1hYyI6ImVhYTQ5N2I1M2NiYWE4NzBmNjk2NzgzYjliM2Y5NmYzM2E2ZmU3NGQxNTU1ZDFkMTU1MzY5NTdjYjE3ZTJmNTUifQ==\"><input type=\"hidden\" name=\"webform_id\" value=\"7291\"><style> .inf-main_3000311ca56a1cb93397bc676c0b7fff{ background-color:#f5f5f5; padding:25px 20px; margin:25px auto; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-content { margin-top:13px;} .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff span, .inf-main_3000311ca56a1cb93397bc676c0b7fff label, .inf-main_3000311ca56a1cb93397bc676c0b7fff input, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-success p a { color:#555555; font-size:14px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4{ font-size:18px; margin:0px 0px 13px 0px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff label{ font-weight:bold; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input { margin-bottom:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff label { display:block;} .inf-main_3000311ca56a1cb93397bc676c0b7fff input{ height:35px; color:#999999; border: 1px solid #E9E9E9; border:none; padding-left:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error label, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message{ color: #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error input{ border: 1px solid #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input input { width:100%;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message { display: block; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit { text-align:right;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input{ background-color:#777777; color:#ffffff; border:none; font-weight: normal; height:auto; padding:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input.disabled{ opacity: 0.4; } .inf-btn { color: rgb(85, 85, 85); border: medium none; font-weight: normal; height: auto; padding: 7px; display: inline-block; background-color: white; box-shadow: 0px 1px 1px rgba(0, 0, 0, 0.24); border-radius: 2px; line-height: 1em; } .inf-rgpd { margin:25px 0px 15px 0px; color:#555555; } <\/style> <div class=\"inf-main_3000311ca56a1cb93397bc676c0b7fff\"> <h4>NEWSLETTER DU REGARD LIBRE<\/h4> <span>Receive our articles every Sunday.<\/span> <div class=\"inf-success\" style=\"display:none\"> <h4>Your subscription to our weekly newsletter has been successfully registered!<\/h4> <p> <a href=\"#\" class=\"inf-btn\">\u00ab<\/a> <\/p> <\/div> <div class=\"inf-content\"> <div class=\"inf-input inf-input-text\"> <input type=\"text\" name=\"inf[1]\" data-inf-meta = \"1\" data-inf-error = \"Merci de renseigner une adresse email\" required=\"required\" placeholder=\"Email\" > <\/div> <div class=\"inf-submit\"> <input type=\"submit\" name=\"\" value=\"Sign up\"> <\/div> <\/div> <\/div> <\/form>\n\n\n\n<p>More precisely, French representatives of musicology are distinguished by their ideological bias. Hymnology - so important to the Germans and the English - is dismissed out of hand. The \u00abscience of hymns\u00bb is of no interest to them whatsoever. As a result, they do not introduce the study of an original melody through the \u00abweaving\u00bb it elaborates from differentiated customs and folklore.<\/p>\n\n\n\n<p>Their narrow view of musicology is doctrinaire. By separating all the dimensions inherent in sound expression, they hinder balanced and stimulating research. At seminars and colloquia, for example, the French-speaking musicologist usually adopts a cold, sententious, doctoral tone.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-la-recherche-des-sources\">Searching for sources<\/h3>\n\n\n\n<p>The term \u00abmusicology\u00bb refers to <em>logos<\/em> on the <em>mousik\u0113<\/em>, music as a \u00absound myth\u00bb. This \u00abspeech\u00bb goes back to the dawn of time. And yet, the academic musicologist, as he or she has particularly manifested himself or herself in the course of the twentieth century, has never been able to speak about music.<sup>th<\/sup> century, deliberately ignores ancient sources. In particular, he forgets what characterizes the \u00abcouple\u00bb...\u00bb <em>Apollo-Dionysus<\/em> while ignoring the multiple forms of these two deities, for whom music is of undeniable hermeneutical importance. The conventional musicologist still neglects all Homeric musical references. The significant role of the aede is completely indifferent, if not alien, to him. Occasionally, he may refer to <em>Nietzche's Birth of Tragedy<\/em>, which is where he's going wrong.<\/p>\n\n\n\n<p>When he attempts to understand the symphony, he will ignore its roots in the <em>chor\u00f3s<\/em> of tragedy inspired by Aeschylus. Its members, the <em>choreutes<\/em>, were placed in a space precisely named <em>orchestra<\/em> where they sang and danced to the sound of the aulos. The symphonic form, as it was to develop more fundamentally from the <em>corpus<\/em> Mozart, inherited this source. To ignore such an essential heritage is to sacrifice oneself to sectarianism, insofar as it is an assumed restriction of knowledge.<\/p>\n\n\n\n<p>As far back as Greek antiquity, intellectuals - mathematicians, politicians, poets, pedagogues, etc. - were fascinated by the complexity of the musical universe. - were fascinated by the complexity of the musical universe. The modern musicologist, on the other hand, prefers formal complication to which he associates a jargon bordering on the unbearable. Pure genius eludes him. What's more, he annihilates it by drowning himself in improbable details.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-l-importance-de-la-philosophie\">The importance of philosophy<\/h3>\n\n\n\n<p>The music historian and the musicologist should respect and complement each other. This is rarely the case, as the musicologist is more concerned with aesthetics than ethics. Ideally, the music historian's vocation is not to separate the man from his thought and his work. In this respect, the help of philosophy is particularly valuable, as it is more inclined towards Spinoza than Descartes. When Leibniz advocated the reconciliation of sensibility and reason, he was charting a course that would promote a reassuring balance between the analogical mind and the logical intellect.<\/p>\n\n\n\n<p>In this way, the musicologist who is likely to come to his senses can restore knowledge of musical language, while taking account of its infinite characteristics. Insofar as, unfortunately, the official musicologist sacrifices himself to sectarianism, he cannot understand what should unite classicism and romanticism. He prefers to separate them, or even to oppose them in pseudo-historical categories. To avoid such a blunder, he should have studied the <em>Writings on music<\/em> by the imaginative Ernst Theodor Amadeus Hoffmann. In doing so, he would not have fallen into the trap of arbitrary classification. Hoffmann had truly understood that Romanticism is not strictly associated with one era.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"h-a-lire-aussi-la-melodie-fondement-du-langage-musical\">Read also | <a href=\"https:\/\/leregardlibre.com\/en\/music\/melody-harmony-analysis\/\">Melody, the foundation of musical language<\/a><\/h6>\n\n\n\n<p>In this respect, the Viennese theorist Eduard Hanslick's counter-example is quite convincing. A dogmatic spirit, he only perceived the notion of formal \u00abBeauty\u00bb in music, without any concern for sincere expression. For this reason, he understood nothing of Anton Bruckner's work, unilaterally preferring that of Brahms. He did not consider their complementarity, which was necessary for the development of a rich dialectic of sound. In fact, music is not just \u00abthe expression of feelings\u00bb. It develops a rich hermeneutic based on the trinomial \u00absense-feeling-sensation\u00bb.<\/p>\n\n\n\n<p>The confusion and contradictions were particularly acute when the opponents of Pythagorean musical ethics turned their attention to Damon and Plato. Democritus, Philodemus and Aristotle were the most committed figures. It is in this respect that they have many formidable heirs. Aristophanes rightly deplored the disappearance of the tragic chorus, a consequence of materialistic and hedonistic tendencies that rejected the metaphysical dimension of musical language. Aristotle considered that melodies and rhythms had no value in themselves. He was mistaken, and opened wide the doors to an anti-liberal pseudo-science of musicology, hostile to natural hierarchies. Aesthetics became <em>aesthetics<\/em>. The conductor and philosopher Ernest Ansermet understood this, and in his day faced criticism as virulent as it was unjustified.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-la-tache-de-l-historien-de-la-musique\">The task of the music historian<\/h3>\n\n\n\n<p>This profession becomes fascinating when it opens up fertile perspectives that are themselves related to an existential problem. The historian's work and lectures are intended to energize various relationships, sometimes the most unexpected ones. Some have done this with talent: Luigi Magnani, Walter Wiora and Enrico Fubini, for example. With authors such as these, the links between Beethoven's music and Schelling's philosophy cross indefinitely.<\/p>\n\n\n\n<p>To do this, there's no need to cut out sixteenth notes as far as the eye can see. The music historian is naturally interested in disciplines that are usually separated from one another: painting, architecture, literature, theology and politics. By linking them, he is keen to introduce all the contexts of culture and civilization, because he does not confuse them. His interest in the phylogenesis of musical language has led him to reconstitute a body of knowledge that is both scattered and neglected. He makes surprising comparisons when trying to understand how Stalinist communism might have influenced Shostakovich's orchestral work.<\/p>\n\n\n\n<p>The lucid Andr\u00e9 Pirro was right to point out that musical works \u00abhave been shaped by men, simply men\u00bb. Hence the indispensable knowledge of psychology. Professor Jacques Handschin expressed this again at the Basel Congress in 1950, when he reminded us that music is \u00aba work of man\u00bb, \u00aba thing made and being made by man\u00bb. With his concept of <em>Toncharakter<\/em>, He rightly differentiated between what he called \u00abtone character\u00bb, which is qualitative, and \u00abpitch\u00bb, which is quantitative.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"h-a-lire-aussi-si-monsieur-stravinsky-la-musique-est-porteuse-de-sens\">Read also | <a href=\"https:\/\/leregardlibre.com\/en\/music\/music-sense-analysis\/\">If, Monsieur Stravinsky, music carries meaning<\/a><\/h6>\n\n\n\n<p>The music historian can sometimes be confused with the musicologist, so difficult is it to untangle the inextricable web that has grown up over time. To avoid any misunderstanding, the example of German researcher Wilibald Gurlitt proves stimulating. His <em>Weltanschauung<\/em>, his worldview, inherited from Wilhelm Dilthey, takes into account the spiritual significance of music as a \u00abscience of culture\u00bb.<\/p>\n\n\n\n<p>Hans Heinrich Eggebrecht, professor of \u00abhistorical musicology\u00bb (an appreciable concept), rightly confirms the place of music \u00abin the individuality and subjectivity of man (of the people, of the time)\u00bb, which \u00abthus leads to a better knowledge and consolidation of the notions of historicity and particularity, originality, historical and geographical relativity of all musical thought, discovery and conception\u00bb. Eggebrecht offers us the most satisfying conclusion to such a debate, declaring that music history \u00abthus becomes the most important part of musicology, in continual connection with its systematic foundations and in full awareness of the problems raised by the encounter of music, ethnology and universal history\u00bb.<\/p>\n\n\n\n<p><em>Music historian,\u00a0<strong>James Lyon\u00a0<\/strong>is the author of\u00a0<\/em><a href=\"https:\/\/www.payot.ch\/Detail\/une_histoire_de_la_musique_en_suisse-james_lyon-9782051029384\">History of music in Switzerland<\/a><em>\u00a0(2023, Slatkine).<\/em><\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"h-vous-venez-de-lire-un-article-inedit-en-libre-acces-debats-analyses-actualites-culturelles-abonnez-vous-a-notre-media-de-reflexion-pour-nous-soutenir-et-avoir-acces-a-tous-nos-contenus\">You've just read an unpublished open-access article. Debates, analyses, cultural news:\u00a0<a href=\"https:\/\/leregardlibre.com\/en\/subscription\/\">subscribe<\/a>\u00a0to support us and access all our content.<\/h6>","protected":false},"excerpt":{"rendered":"<p>French musicology, frozen in a certain dogmatism, is drifting away from the very essence of musical language. That, at least, is James Lyon's point of view. In this article, the music historian defends his resolutely personal reading of the discipline.<\/p>","protected":false},"author":799,"featured_media":528815,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6460],"tags":[9472,131075,644356349],"class_list":["post-528813","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-musique","tag-analyses","tag-mythologie","tag-pluralisme"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v26.9 (Yoast SEO v26.9) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Musicologie et sectarisme<\/title>\n<meta name=\"description\" content=\"La musicologie fran\u00e7aise, fig\u00e9e dans un certain dogmatisme, s\u2019\u00e9loigne de l\u2019essence m\u00eame du langage musical. 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