Surroundings, borders and peripheries: Towards a musicology of the margin
DOI:
https://doi.org/10.18537/tria.14.01.01Abstract
It is said that common sense is only common among people who have experienced the same things. In this assertion, as in so many others, periphery exists with respect to an imagined center and is constituted as a border of the normality of a group, of its types of thinking and, perhaps even, of its tastes and feelings.
However, as happens in art, it is usual for single verses and anomalies to provide us with more interesting cultural testimonies, with more nuances and greater symbolic load than other representatives of the norm.
In the same way, boundaries and contours have a much more dynamic and dramatic role in research than in everyday life, stirring and redefining inherited foundations, always in perpetual movement and, therefore, relentlessly eroding the idea of a single reference.
This work will review, in its broadest sense, some of the ontologies (the study of being and its properties), geographies (places in time), and epistemologies (research methodologies) of the margin as a relevant concept in musical cultures and, therefore, in the musicological research that attempts to interpret its complex manifestations.
Keywords: Musicology, margin, transdisciplinarity, intersectionality, emptiness.
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