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EDITORIAL: HOW DO WE KNOW WHAT WE KNOW?
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Journal Article
EDITORIAL: HOW DO WE KNOW WHAT WE KNOW?
2020
Overview
Musical cultures are formed by tacit and solipsistic assumptions: we don't play this music because it doesn't exist; we know it doesn't exist because we don't play it. In April 2019 the Dutch musicologist Kees Vlaardigerbroek wrote an article in De Volkskrant in which he argued that the ‘enforced’ introduction of music by women composers into concert programmes will push out ‘Bach, Beethoven and Brahms’ and may even endanger the very survival of classical music.1 Vlaardigerbroek's argument is, it seems to me, a form of intellectual protectionism and, like all protectionism, is an atavistic reaction to a dynamically changing world. Perhaps a more vulnerable approach to listening needs to go beyond geographical coverage, beyond scores and recordings, beyond concerts and installations, beyond the market-place of new music networks.
Publisher
Cambridge University Press
Subject
