By David Allen
Whether critics are interested in painting, sculpture, jazz, fiction, or any other art, they are, or at least can be, engaged in historical work. They root descriptions of, and judgments about, contemporary art in an understanding of the past. They might be more prone than professional historians to treating the past on the terms of the present, granted, but they do work that engages history all the same.
In the October 2015 issue of Perspectives on History, I wrote on historically informed performance of medieval, Renaissance, and baroque music. Musicians at the Folger and Newberry Consorts spoke to me about how history informed their music, and in turn how music could help transport listeners to a different time.
At the National Council on Public History annual meeting in Baltimore last month, I once again found myself at the intersection of music and history at a workshop called “Banjos in the Museum: Music as Public History.” Organized by the Stevenson University public history program, this workshop featured archivist and musicologist Greg Adams and instrumentalists Ken and Brad Kolodner.