https://dx.doi.org/10.34051/j/2026.57">
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Keywords

Richard Taruskin, Anna Dalos, Marina Ritzarev, Klára Móricz, Michael Beckerman, Christopher H. Gibbs, Scott Gleason, Uri Golomb, Alon Schab, David Josephson, Rose Rosengard Subotnik, Ralph P. Locke, Ronit Seter, Russian music, musicology, early music, period performance, period-performance practice, Historically Informed Performance, nationalism, national music, modernist music, modernism, Hungarian music, University of California (Berkeley), Columbia University, Oxford History of Western Music, Text and Act, Defining Russia Musically, The Danger of Music, Igor Stravinsky, Piotr Ilich Tchaikovsky, Alexander Skryabin, Dmitri Shostakovich, Modest Musorgsky, Renaissance music, Baroque music, viola da gamba, music and context, musical and social contexts, music and cultural contexts, Princeton University, Milton Babbitt, Roger Sessions, Benjamin Boretz, Joseph Kerman, Paul Henry Lang, Susan McClary, music and race, music criticism, music journalism, Israeli Musicological Society, Hebrew University of Jerusalem

Abstract

Richard Taruskin—the single most prominent and influential musicologist of the past half-century—died on July 1, 2022 at age 77. This Colloquy consists of extended versions of papers presented on July 2, 2023, at the annual meeting of the Israeli Musicological Society, and additional essays by scholars who knew Taruskin personally. The essays engage in critical reflections on his personality, ethics, teaching philosophy, methodologies, and massive and skillful literary output. Moreover, they illuminate developments in musicology over the past fifty years, from its positivistic roots and its focus on Western canonical works to challenges from ethnomusicological practices, feminist theory, and anti-racism/colonialism.

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