ABSTRACT
This chapter proposes the broadening of the musicological spectrum to include the musical subject: the working musician, not as a biographical item, but as an historical subject defined in terms of his creative subjectivity. Since music, as such, seems to be largely the activity of the creative subject, it can readily be seen why musicology took flight to history and its “historical” personages. The “inner” meaning of music is thus music itself, stripped of the accoutrements of mere history of scientism, music appearing as the Muse of the creative subject, as the very source of history and theory. As with musical space and form, time has also been conceived in accord with visual, in this case with spatial metaphor. Music has always had its “theory.” But music theory, beginning in the medieval music treatises, became progressively alienated from musical practice. The phenomenologists are aware of the musical implications of philosophy, though far more extended studies are needed.
