Ok so I read this in the NYT. A symposium in honor of Richard Taruskin. (With whom I mostly disagree). It seems that there is some gnashing of teeth over the "Barbarians at the gate."
I don't understand the correlation that new blood in the profession means the marginalization of the trained composer.
Why?
This seems to be two different issues; the story and who is telling it. Are Musicologists trapped by exclusive authenticity to create a party line? Or be single issue? Mr. Berger has a point (point of view) as does Ms. McClary (outreach). Still, like multiculturalism excluding the poor, something is left out here. Something remains hidden. Yet the end result is the same; trained composers and their work are marginalized.
In the past Musicologists presented the truth, now they only lead you to the truth.
I don't understand the correlation that new blood in the profession means the marginalization of the trained composer.
Why?
This seems to be two different issues; the story and who is telling it. Are Musicologists trapped by exclusive authenticity to create a party line? Or be single issue? Mr. Berger has a point (point of view) as does Ms. McClary (outreach). Still, like multiculturalism excluding the poor, something is left out here. Something remains hidden. Yet the end result is the same; trained composers and their work are marginalized.
In the past Musicologists presented the truth, now they only lead you to the truth.
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