{"title":"音乐符号:南非指南","authors":"H. Hofmeyr","doi":"10.2989/18121004.2016.1267949","DOIUrl":null,"url":null,"abstract":"The sustained attack on music theory and analysis since the 1980s by the selfstyled ‘New Musicology’ has been amply documented (see Agawu 2004, for instance). As an adherent to the tenets of this movement, Christine Lucia has employed one of its primary strategies: a patently generalised misrepresentation of what is considered ‘old’, so as to show the ‘new’ to greatest advantage, to attack the teaching of music theory at South African universities:","PeriodicalId":41064,"journal":{"name":"Journal of the Musical Arts in Africa","volume":"78 1","pages":"103 - 99"},"PeriodicalIF":0.2000,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"4","resultStr":"{\"title\":\"Music Notation: A South African Guide\",\"authors\":\"H. Hofmeyr\",\"doi\":\"10.2989/18121004.2016.1267949\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The sustained attack on music theory and analysis since the 1980s by the selfstyled ‘New Musicology’ has been amply documented (see Agawu 2004, for instance). As an adherent to the tenets of this movement, Christine Lucia has employed one of its primary strategies: a patently generalised misrepresentation of what is considered ‘old’, so as to show the ‘new’ to greatest advantage, to attack the teaching of music theory at South African universities:\",\"PeriodicalId\":41064,\"journal\":{\"name\":\"Journal of the Musical Arts in Africa\",\"volume\":\"78 1\",\"pages\":\"103 - 99\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2016-07-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"4\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of the Musical Arts in Africa\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2989/18121004.2016.1267949\",\"RegionNum\":4,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of the Musical Arts in Africa","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2989/18121004.2016.1267949","RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
The sustained attack on music theory and analysis since the 1980s by the selfstyled ‘New Musicology’ has been amply documented (see Agawu 2004, for instance). As an adherent to the tenets of this movement, Christine Lucia has employed one of its primary strategies: a patently generalised misrepresentation of what is considered ‘old’, so as to show the ‘new’ to greatest advantage, to attack the teaching of music theory at South African universities:
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