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This article provides a review of two volumes that delve into the early history of musicology. The first volume focuses on the development of musicology in Germany and Austria, while the second volume explores its development in other countries. The articles in these volumes examine the historical and institutional factors that shaped the field of musicology, as well as the influence of German and Austrian musicology on other regions. The volumes offer valuable insights into the establishment of musicology within universities and the transfer of scholarly knowledge. [Extracted from the article]

The famous sequence depicting the sexually allusive reconciliation of Stanley and Stella in Elia Kazan's A Streetcar named Desire (1951) was heavily censored before the film was released. The motion picture production code forced the producers to remove also Alex North's jazz-inflected cue, which was replaced by a >symphonic< one. This article tries to reconstruct the musical and social discourse of jazz music which lies behind this singular case of musical censorship. A cultural and musical analysis of film scores until the early 1960s shows the importance of jazz-inflected music as a powerful instrument for the construction of sexual female behaviour in Hollywood films. The frequent use of jazz-inflected musical topoi as a sign of promiscuity and prostitution in these movies shows only apparently a change of mentality and reveals actually the same discoursive background of the censorship of North's score in 1951. [ABSTRACT FROM AUTHOR]

The essay tries to analyse the actual debate about the influence of the 'Kulturwissenschaften' on the German musicology, noticing at first that the opposition between 'innovative' and 'traditional' musicologists is more based on the objects (masterworks vs. popular music, men vs. women etc., classical vs. popular) than on the scholarly approach. Starting with Ludwig Finscher's survey of 1998, this article tries to show that German musicology has already had its 'turn' in the 70s and 80s, under the influence of Carl Dahlhaus' teaching and writings. Since his death there have been only a few critical reflections of his theory in Germany. A reading of Dahlhaus' "Foundations of Music History" reveals a theory of pluralism and eclecticism, which is sometimes strongly limited by the author's bias against sociology and social history. Many of Dahlhaus' ideas, as for instance the history as a 'construction' or the 'structure' as heuristic instrument according to "knowledge" and "interest", can be the starting point for a new critical musicology, particularly when his concepts of "work", "autonomy", "canon" and "aesthetic judgment" are put under scrutiny. [ABSTRACT FROM AUTHOR]

An introduction to the publication is presented, which discusses topics such as music in film, the academic study thereof, and film scholar Roy M. Prendergast,