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By Nakamura, Tachibana, Kobayashi

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57 His characterization of postmodern life seems peculiarly apt as a description of the state of musical research today; the same professional model that mandates increasing uniformity also mandates that scholars differentiate themselves from each other. Consider, for example, the institution of tenure. It is awarded only for original contributions to one’s field—or so the guidelines for tenure at most universities stipulate. Like the children of Garrison Keillor’s fictional Lake Wobegon, who are all above average, (presumably) all tenured humanists are original.

D. qualifying exams and the dissertation defense. These rites of passage are carefully choreographed by tradition, their roles precisely specified. They are framed by periods of suspenseful waiting, in which the candidate is asked to leave the room both before and after the exam while the committee discusses his or her case. They conclude with a ritual crossing of the threshold, as the candidate is invited back into the room; congratulatory handshakes signal the successful completion of the ordeal.

This is what Joseph Kerman did in  in his appeal to reorient musical research in the direction of criticism. He reverses the relative priorities that Bukofzer assigns to style versus the individual piece, and establishes a different hierarchy among the various subdisciplines. Each of the things we [musicologists] do—paleography, transcription, repertory studies, archival work, biography, bibliography, sociology, Aufführungspraxis, schools and influences, theory, style analysis, individual analysis—each of these things, which some scholar somewhere treats as an end in itself, is treated as a step on a ladder.

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Automatic music monitoring and boundary detection for broadcast using audio watermarking by Nakamura, Tachibana, Kobayashi


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