On Thursday, a few colleagues and I will present a panel discussion on “public musicology” at the 2015 College Music Society meeting in Indianapolis. Here are my initial thoughts on what we might mean by “public musicology”:
I ended our panel abstract [see below] with a quote from the novelist E.M. Forster, “Only connect.” The phrase serves as an epigram to his novel Howard’s End (1910). In the novel, the characters living in the late Victorian era struggle with making and maintaining connections. The epigraph appears to place a positive value on making connections – at one point in the novel, Forster describes the phrase as a “sermon” to connect the prose of life with the passion so as to “live in fragments no longer.” However, the novel also explores the despair and difficulty of making such connections while the characters struggle with different issues of class, wealth, taste, and social convention. As we were discussing a potential theme for this panel, sponsored by the Ethnomusicology Advisory Council of the College Music Society, it seemed a fitting metaphor. All members of the society are doing creative outreach, diligently devoted to their performances, teaching, and other aspects of their work, and it is sometimes difficult to see where and the connections between the exceedingly rich and varied activities of our CMS can be made. We therefore wanted to join together some of the recent insights, from the Task Force on the Undergraduate Music Major, to the challenges of dialogue between the various disciplines that come together in CMS, and also to the currently vibrant work in public scholarship, including work happening at the National Endowment for the Humanities as well as others engaged in what some have described as “alt-ac” careers.
You may know that this is not unexplored territory, so the job of the panel is not to define what public musicology might be but rather to explore and elucidate various approaches that might fall within this rubric. Feedback and thoughts are welcome!
The panel is described as follows:
From folk festivals to orchestra concerts, music is inescapably a social and public phenomenon; and from music bloggers to popular performers, musicians are public figures. Yet, the voice of scholars and musicians has often not connected beyond the academy. This panel discussion will explore approaches to “public musicology” – that is, making musical knowledge open, accessible, and available beyond the academic and classroom spheres – from perspectives of scholars, performers, and teachers. Music is more present than ever – via digital delivery to personal music players; from greater diversity of musical styles and crossovers pushed by increasing global flows of culture, trade, and media; and through massive, open, online courses with lengthy menus of musical offerings. We consider the promise of these avenues while acknowledging some of the difficulties and accompanying challenges. We ask: How can we train our students to be active in more public spaces through engaging scholarship and performances? What is our role making musical knowledge, understanding, and appreciation more accessible and open to new audiences and what are the best techniques for doing so? What venues, formats, and spaces, including digital platforms, provide the most compelling “interfaces” for engagement? How can we make our music studies resonate with the musical and cultural realities beyond academia? We follow Forster’s injunction to “only connect” by bringing together these varied voices and encouraging dialogue among the audience to share related projects and commentary.