Printing and Musical Power in the Spanish Renaissance.
Abstract
The theme of music and power is highly appropriate for a conference such as this one; firstly, because it transcends the boundaries dividing the historical, cultural, and systematic branches of musicology, allowing each of us—from our own particular vantage point—to subject our ideas to fresh analysis based on more diverse criteria. Secondly, this is a topic that has recently gained prominence within the musicological world. As an outsider, I would like to commend the organizers for their foresight in proposing a subject of such current relevance to international musicology. Despite my reservations regarding the excesses of certain musicologists—predominantly American—who employ "New Musicology" to champion their own social or personal agendas or to advocate for postmodern "polysexualities," those of us working in historical fields have nonetheless deepened our understanding of the contexts in which music flourished, thanks to studies focusing on patronage, musical reception, and other areas that lean toward a sociological perspective.
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Copyright (c) 1996 John Griffiths
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