Música y relictos de la historia. Artefactos ideológicos y positivismo en la historia de la música

Although in the last decades there has been a renewal of musicology, the main topics of positivism are still in the center of textbooks and curriculum of music history. This historiography has become hegemonic, showing great resistance compared to other historical disciplines. One of the usual explanations is that of a disciplinary delay : positivism has come late to an isolated musicology, concerned only in its problems. In this paper I will try an alternative explanation, appealing to the fact that this paradigm dwells in its own artifacts: in particular the work and style concepts. In this way I will propose the existence of a specifically musicological positivism, and also consider the possibility that its hegemony rests on ideological rather than methodological reasons.