engleski

How Musicological Is the Psychology of Music? and How Far Does Our Knowledge Thereof Go?

Ever since its modern disciplinary beginnings in the 19th century, the study of psychological aspects of musical experience fails to give satisfactory answers to any of its fundamental Wh-questions: When was the discipline born as such? Who deserves the status of its founder? and Why is this person’s name missing from the textbooks? Who else is missing and why? Who was proclaimed competent to speak about music and psyche in the past? and Who is entitled to pursue research in the psychology of music today? Which questions does the discipline raise? and How to apply the answers? What theoretical frameworks does it employ? and To what extent can they be independent of speculative music theory? How do the exclusive historical paradigms perpetuate in contemporary research? and Why are they still not overruled as outdated? What is the Psychology of Music anyway? Is it a discipline per se? and How is it related to (Systematic) Musicology? Which other disciplines claim the right to the study of the psychology of music? Which “external” approaches and methods find their way to musical and musicological relevance and vice versa? What are the inevitable pitfalls of interdisciplinarity and methodological fallacies that come to light in this knowledge exchange? Who are the subjects (participants) of the empirical research in the field? and How musical are they? Which music is taken into account? and What is music in general? Whom does the whole body of mentioned research actually serve? Although fundamental, most of the above questions remain hitherto unanswered, even unaddressed, rejected as irrelevant or self-evident. Through an analysis of historical and contemporary literature the author will try to determine the current positions of and towards musicology within the domain of the psychology of music.

psychology of music, musicology, interdisciplinarity, method, knowledge, relevance

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