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Article ID: CBB001551435

A Third Note: Helmholtz, Palestrina, and the Early History of Musicology (2015)

Isis: International Review Devoted to the History of Science and Its Cultural Influences
Volume: 106, no. 2
Issue: 2
Pages: 353-366

DOI: 10.1086/682003

Publication Date: 2015
Edition Details: Part of a Series: The History of Humanities and the History of Science
Language: English

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Music Historiography Discipline formation 19th century Helmholtz, Hermann Ludwig Ferdinand von Palestrina, Giovanni Pierluigi da

This contribution focuses on Hermann von Helmholtz's work on Renaissance composer Giovanni Pierluigi da Palestrina. Helmholtz used his scientific concept of distortion to analyze this music and, reversely, to find corroboration for the concept in his musical analyses. In this, his work interlocked with nineteenth-century aesthetic and scholarly ideals. His eagerness to use the latest products of historical scholarship in early music reveals a specific view of music history. Historical documents of music provide the opportunity for the discovery of new experimental research topics and thereby also reveal insights into hearing under different conditions. The essay argues that this work occupies a peculiar position in the history of musicology; it falls under the header of “systematic musicology,” which eventually emerged as a discipline of musicology at the end of the nineteenth century. That this discipline has a history at all is easily overlooked, as many of its contributors were scientists with an interest in music. A history of musicology therefore must consider at least the following two caveats: parts of it take place outside the institutionalized field of musicology, and any history of musicology must, in the last instance, be embedded in a history of music.

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Article Bod, Rens; Kursell, Julia (2015) Introduction: The Humanities and the Sciences. Isis: International Review Devoted to the History of Science and Its Cultural Influences (pp. 337-340). unapi

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