Methodologies in Musicology - 1st semester


a) To offer conceptual and methodological tools, as well as developing high-level critical skills in the fields of Historical Musicology and Ethnomusicology;
b) To provide bibliographic/documentary guidance, as well as promoting skills in information retrieval and processing, according to standards of up-to-dateness and scientific relevance;
c) To develop the ability to conceptualize, problematize and elaborate any relevant topic of musicological research with an interdisciplinary outlook, in connection with the student’s specific doctoral dissertation topic and area of interest;
d) To develop skills in oral and written communication, in accord with international academic standards of clarity and rigour;
e) To provide detailed information about some of the most relevant contemporary tendencies in musicological research.

General characterization





Responsible teacher

Manuel Pedro Ferreira


Weekly - 2

Total - Available soon

Teaching language



Note: A good knowledge of written English is required.


Barz, G. & T. J. Cooley (Eds.) (2008). Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. Oxford: OUP.
Clayton, M., T. Herbert & R. Middleton (Eds.) (2012). The Cultural Study of Music. New York: Routledge.
Cook, N. & M. Everist (Eds.) (2001). Rethinking Music. Oxford: OUP.
Goehr, L. (2007). The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: OUP.
Hooper, G. (2006). The Discourse of Musicology. Aldershot: Ashgate.
Kramer, L. (1995). Classical Music and Postmodern Knowledge. Berkeley: UCP.
Monelle, R. (2000). The Sense of Music: Semiotic Essays. Princeton: PUP.
Nettl, B. (2006). The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana: University of Illinois Press.
Small, C. (1998). Musicking: The Meanings of Performing and Listening. Hanover: University Press of New England.
Williams, A. (2001). Constructing Musicology. Farnham: Ashgate.
Zbikowski, L. (2002). Conceptualizing Music. New York: OUP.

Teaching method

30% theoretical exposition and 70% practical work. Practical work consists mainly of oral presentations of individual work by students, followed by group discussion, including the regular participation of guest specialists (according to the relevant research areas).

Evaluation method

Assessment is based on the quality of the oral presentations and the participation in group discussions (30%) and at least one extended essay about a topic of particular relevance to the student’s dissertation project or research area (70%).

Subject matter

To be determined each year according to the students’ specific research areas, in connection with the extended reading programme established at the beginning of the semester.
Typical topics for discussion include the following:
Information retrieval and management in contemporary musicology
What is \"new musicology\" and what comes after?
The conceptualization of music
Issues of canon, value and ideology
The writing of music historiography
Problems of critical music editing
Analytical models and their uses
Historically informed performance: the debates on authenticity
Ethnomusicology between representation and experience
New perspectives on fieldwork: the evolving role of the ethnomusicologist
Musicology and difference
The ethics of musical scholarship


Programs where the course is taught: