Richard Taruskin’s review of the Cambridge Histories of nineteenth and twentieth-century music, “Speed Bumps,” in which he distinguishes ‘Romantic’ musicology, devoted to the ideal of the autonomous work of art, and the ‘Realist,’ which views music as an integral part of the ‘reality of world activities,’ is just one recent and particularly trenchant example.

Taruskin shows just how pervasive Germanocentricism remains in Anglophone musicology.