This article begins with a description of the essential features and current state of the social practice called art music, concluding that as recently as the late twentieth century it was in excellent shape, as documented by a series of canonic masterpieces. I continue with an outline of the principal questions pursued by, and the current state of, music history, demonstrating that it too was flourishing in the same period, producing work of enduring worth. In conclusion, I consider the main dangers that currently threaten a successful cultivation of music history. These include our inability to notice historical developments that really matter when we are blinded by thinking in terms of group identities, and the unfortunate confluence of two recent cultural trends: the flood of ever new products of the music (or entertainment) industry, combined with our inability and unwillingness to discriminate.
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