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New critical thinking in musicology has been new for at least thirty years and yet it is still opposed by many musicologists or composers or performers who Adorno-like (Theodor W. Adorno) remain devoted to the idea that the function of art in society is to be without a function. The fact is, however, that even today such an attitude is legitimate, just as much as interdisciplinary, critically oriented musicological research, which points out that music, like other arts, often hides some inappropriate reverse behind its sensuous seductiveness. Today musicologists can, based on their intellectual, educational, sensuous, class, ethical and other potentials choose the position from which to talk about music. Unlike traditional musicology which, according to some musicians, mostly addresses musicologists themselves, and only in ideal cases performers and listeners, today's interdisciplinary critical musicology, in its good examples, is indispensable to everybody: art financiers (patrons or taxpayers), composers who are often victims of the market or serve as masks behind which oligarchs hide today, performers who choose what musical works to play and affirm and how to do it, and all listeners who are not professional musicians, but they need to be informed about various aspects of music art.

New critical thinking in musicology: What ideologies do contemporary musicologists speak from and for whom do they speak