found: Work cat: Routledge companion to applied musicology, 2023:ecip introduction ([This] volume, then, brings together academics, artist-researchers, and practitioners to offer an extensive and authoritative overview of applied musicology. As this aim suggests, the term has been used before, not least in German-speaking countries, where the appellation 'angewandte' is comparatively common. Yet, its appearances across the decades are strikingly sporadic and, therefore, inconsistent. As several chapters in the volume recall, Charles Seeger (1886--1979) invoked applied musicology as a plea to fellow musicologists to modernise their field by developing its socio-political utility. The term did not catch on; nor did it become the codified, world-changing activity Seeger hoped it would. Instead, applied musicology came to signify concerns of a far more intra-musicological nature, particularly in relation to performance practices. [...] Many of the scholars responsible for the recent flourishing of applied musicology contribute to the volume. More disciplinary areas than theirs are represented, however, because by casting our net even wider, we can ask where else applied musicology is either already happening or is reasonable to consider possible. Signs of such work are detectable in museology, community music, publishing, architectural design, and forensic musicology. The volume gives a platform to these perspectives and to others where probing how musical expertise is applied, or championing it in fresh settings, has the potential to generate new arguments and activities: opera cinema, music education, and music therapy are three such examples. The implications of applied musicology's processes, existing or putative, are also examined. The need to consider anew professional matters such as identity, precarity, self-care, and dissemination are just a few of the consequences of being a public or applied scholar. [...] [This] volume also acknowledges that what musicologists themselves conceive as "application" will vary, as will, therefore, their priorities and methods. Advocative scholars generally equate application with intervention, emboldening them to design, enact and evaluate action research. Public musicologists are likelier to accept application as being synonymous with mediation. Some researchers prefer to concentrate on the ethical issues raised by (forcibly?) applying expertise, or on the conceptual interfaces that arise when music is used as a stimulus (for example Lily E. Hirsch's work on music as a behavioural deterrent, where, unusually, these objectives overlap). Other musicologists, meanwhile, are driven to unearth musicology's storied past, including its applied foundations,). (DLC)2022060817
