PT Journal
AU Loos, H
TI GERMAN MUSICOLOGY BETWEEN PHILOSOPHY AND HISTORY
SO Musicologica Olomucensia
PY 1998
BP 51
EP 58
VL 4
IS 1
AB In spite of all the changes which have taken place during the 20th century, an odd sort of constant has remained with regard to the evaluation of German music, not only by popular German philosophers, but also by German musicologists. This is connected with musicology becoming a university subject in Germany and could be also influences by the lack of a broader look at the branch by those who belong to it. That the "great masters" of German music are particularly valued is not to be criticized at all, however the other side of this coin is, frequently, a rejection of the music of other European countries. If the competitiveness of Italian music, with some exceptions, is treated with respect, the same cannot be said of the positions of French music. The situation of northern European music is even worse, not to mention Eastern European music. The origin of this approach in the 19th century principal of the national state is all too obvious, which is why it is necessary to break away from artistic-philosophical presumptions and begin using a historical perspective which recognizes carefully defined cultural regions rather than national states.
ER