Ve stopách Roberta Smetany aneb Třetí škola české hudební vědy by Jan Vičar

“…Smetana's department concentrated on the training of professional teachers of music education at secondary schools as well as on research and thus helped to produce publications of Czech musicologists. Research in music has been successful in producing individual monographs from the history of Czech music (monographs on composers, the work of Zdeněk Fibich, etc.), in the field of systematic musicology (organology, music theory, music aesthetics and criticism, study of folklore music), and in long-term research into the history of music in Moravia (Baroque music in Moravia, history of music in Olomouc, history of the German opera in Olomouc, music in the Olomouc Cathedral, etc.) …”
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Adorno in Czechoslovakia: Music, Theory, Aesthetics by Vladimír Fulka

“…The study offers an interesting perspective on Adorno’s relatively unknown lecture Form der neuen Musik (1965) and its related, although not identical, Czech version Formové princípy súčasnej hudby [Formal Principles of Contemporary Music] (1966) as well as on his discussion with some Slovak composers and musicologists published as Dnes je možné iba radikálne kritické myslenie [Today, Only Radical Critical Thinking is Possible] (1967). …”
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The sound of nonsense - on the function of nonsense words in pop songs by Lea Wierød Borčak

“…It has been pointed out by several musicologists that content analysis of texts, despite having had a long historical tradition, is nonetheless insufficient or even downright misleading as a methodological approach to interpreting songs. …”
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Mouvement revivaliste et patrimoine culturel immatériel : appropriation ou évitement ? by François Gasnault

“…Some answers could be found by looking at events such as the national convention for traditional music in 2007, the controversy amongst French ethno-musicologists in 2010 and the successful application for UNESCO listing of the Breton ‘fest-noz’.…”
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MITRAL STENOSIS IN THE LIFE AND MUSIC OF GUSTAV MALER OR THE COMPOSERʹS CONTRIBUTION ТО THE DEVELOPMENT OF RHEUMATOLOGY by Berezutsky V. I., Berezutskaya M. S.

“…The symphony No. 9 was recognized by Gustav Mahler's musicologists, biographers and psychoanalysts as farewell unanimously, therefore the use of sound manifestations of the disease associated in the composer's consciousness with a close death seems to be quite a logical creative method. …”
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Imagining the un-encoded: staging affect in Blondel de Nesle’s Mes cuers me fait conmencier by Leach, EE

“…Ultimately I propose that musicologists have no choice but to indulge in a serious exercise of the informed scholarly imagination when it comes to the performance possibilities offered by such a song. …”

Sound, voice, music: Editorial by Danijela Kulezic-Wilson, Christopher Morris, Jessica Shine

“…The multidisciplinary nature of film music studies was often cited as a possible reason for this state of affairs: film scholars felt they lacked sufficient musical education, or simply the terminology, to address the matter, while musicologists sniffed at what seemed to them a demeaning appropriation of music in the service of mere illustration or mood-setting. …”
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A New Approach: The Feminist Musicology Studies of Susan McClary and Marcia J. Citron by Kimberly Reitsma

“…Susan McClary and Marcia J. Citron are two musicologists who were influenced by these ideologies and have guided the musicological world in this direction of feminist musicology. …”
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The Hidden Programme of Mahler's Seventh Symphony by Niall O'Loughlin

“…The overall meaning of the Seventh Symphony of Gustav Mahler has consistently puzzled analysts and musicologists. While some parts have been understood and praised and others heavily criticised, much continues to hide its significance, a fact that hinders any real grasp of the whole work. …”
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Review of Jonathan Cross. 2000. Harrison Birtwistle: Man, Mind, Music. Ithaca: Cornell University Press; and Robert Adlington. 2000. The Music of Harrison Birtwistle. Cambridge: Ca... by Stephen Walsh

“…His manuscripts are housed in the archive set up in Basle by the late Paul Sacher, who commissioned his trumpet concerto Endless Parade in 1986; but the distinguished Franco-Swiss-German musicologists who now run the Sacher Stiftung are by no means unanimous in their admiration. …”
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Genius loci – Brno 2012 by Jiří Vysloužil

“…One important predecessor of the now traditional annual Brno musicological colloquiums, founded in 1966, was the International Musicological Congress Leoš Janáček and the Contemporary Music in 1958. Several musicologists from both parts of divided Europe, let alone America, Japan and South Africa, were able to meet. …”
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Brzmienie Blade Runnera 2049. O przenikaniu się muzyki i obrazu w filmie science fiction by Julia Brodowska

“…Based on the research of musicologists, the most representative examples of a combination of electronic and avant-garde music with a picture in science fiction cinema are chronologically discussed. …”
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“Baroque” in Early Musicology and Art History: Egon Welleszʼs Concept of an Austrian Tradition by Meike Wilfing-Albrecht

“…Wellesz was one of the first musicologists to systematically deal with the music of the seventeenth and eighteenth centuries, in his case with a particular emphasis on Vienna. …”
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From Myth to Reality: Stevan Stojanović Mokranjac and Serbian Church Music by Vesna Peno, Ivana Vesić

“…Since the prestigious status he reached among his contemporaries, as well as musicologists and music historians of the recent past, both as a melographer and expert in Serbian church chant of his time, has rarely been questioned or objectively approached, we decided to reconsider some of the dominant interpretations of his activities in this domain. …”
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ISME and the Twilight of History by Lorenzo Bianconi

“…To be sure, this ignorance, or suspicion, about the historical aspects of music production does not in any way facilitate the task of musicologists (or of ethnomusicologists), nor that of music education teachers.…”
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The Everyday Life Intersection of Translational Science and Music by Joseph A. Kotarba

“…The relationship between science and music has been of great interest to philosophers, historians, and musicologists for centuries. From a sociological perspective, we argue that science and music are closely linked at the level of everyday life in contemporary biomedical science. …”
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Genre and stylistic principle in the organisation of artistic education by Yulia Tarchynska

“…The paper analyses various interpretations of the concept of "style" by musicologists. Methods and approaches of teaching musical and practical disciplines are highlighted, including the method of stylistic generalisation, experimental methodology, historical and stylistic approach, concentric approach, genre approach, and the principle of generalisation. …”
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Music, archives, and colonial encounter in the Cold War: a case study from British Guiana by Bullivant, J

“…How did musical activity intersect with imperialism and colonialism in the Cold War period (1948–89)? While musicologists have started to explore this question, most current research has focused on the role of the U.S.A. rather than declining European powers, and has frequently foregrounded those efforts at engagement and exchange that Christina Klein has termed ‘Cold War Orientalism’. …”

La poésie orale féminine : des analogies entre la lyrique française du Moyen Âge et la tradition orale espagnole by Carmen Pérez Rodríguez

“…Through the many variations in topics and rhythms, these poetical forms present woman in the first person and constitute medieval women’s voice far away from courteous codes.Based on André Mary and Pierre Bec medieval French poetry anthologies, folk songs collected in the 20thcentury by the Spanish ethnographers and musicologists Maestro Haedo and Miguel Manzano, and some of the indispensable bibliographical references, having compared andanalysedthe different types of French female songs in themedieval periodwith oral poetry from the Northwest of Spain, we can see that besides structural similarities, topics and motifs typical of French “chanson de femme” remain in Spanish folklore.Immaterial patrimony transmitted in collective memory make us feel the “chanson de femme” as a complaint against submission to impositions and ideological pressures andan expression of relief and joy of being freed, without any feeling of jealousy and guilt. …”
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Post-factual music historiography: Legends of art-religion by Loos Helmut

“…However, a public discussion among musicologists as to whether such writings should belong to the field of theology rather than to historico-critical historiography (as a science in the strict sense) is non-existent. …”
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