This book provides a first look at the ideological dilemmas and methodological anxieties that pervaded the discipline of musicology (in German, Musikwissenschaft, encompassing music theory, analysis, and the study of music history) at the time and place of its academic institutionalization. Engaging in close readings of key contributions by Eduard Hanslick, Heinrich Schenker, and Guido Adler, all leading pioneers in the field, it argues against the widely held assumption that German musicology of the period was characterized, first and foremost, by a positivist endeavor to transform the discip ... More

This book provides a first look at the ideological dilemmas and methodological anxieties that pervaded the discipline of musicology (in German, Musikwissenschaft, encompassing music theory, analysis, and the study of music history) at the time and place of its academic institutionalization. Engaging in close readings of key contributions by Eduard Hanslick, Heinrich Schenker, and Guido Adler, all leading pioneers in the field, it argues against the widely held assumption that German musicology of the period was characterized, first and foremost, by a positivist endeavor to transform the discipline after the model of the natural sciences. Instead, it suggests that the work of its three central figures was shaped not only by progressivist ideologies of scientific positivism but also, and just as profoundly, by the skeptical pronouncements of Richard Wagner, Friedrich Nietzsche, and other critical observers of modern culture. It furthermore suggests that some of the most pressing questions regarding musicology's disciplinary identities in the present day—about the relationship between musicology and criticism, the role of the subject in analysis and the narration of history, and the responsibilities of the scholar to the listening public—have points of origin in the discipline's conflicted and largely forgotten beginnings.