currentmusicology: A Pathfinder

This is a computer-generated pathfinder created against the Distant Reader study called currentmusicology.

Each Distant Reader study carrel is composed of many individual items. Each item is bibliographically described with author, title, date, summary, and keyword values. Below is a list of the items' most signficant keywords as well as lists of the items themselves. Purpusing the content of this pathfinder provides the student, researcher, or scholar with one way to get their heads around the scope of the carrel. The keywords include:

Work; Press; Musicology; Century; Time; York; Example; Sound; Performance; Book; History; Jazz; Chapter; Opera; Song; Musicians; Composer; World; Culture; Life; Art; Studies; Women; Theory; Way; Bach; Movement; Form; Voice; Works; German; Listening; Beethoven; State; Piece; Text; Style; Students; Rock; Major; Language; Race; Education; Sense; Musical; College; Composers; Film; People; Scene; War; Melody; Germany; Songs; Notes; London; Identity; Essay; Singing; Hop; Adorno; Society; Arts; Composition; Self; Second; Scholars; Schumann; Class; System; Act; Performer; Theater; Latin; Dissertation; Kind; Object; Process; Children; Handel; Ibid; Subject; Grainger; Cage; Genre; Noise; Bass; Che; English; Carpenter; Rhythm; Media; Harmony; Manuscripts; Instruments; Set; Bill; Robinson; Porter; Hughes; Source; Grocheo; Mark; Mexican; Del; Enlightenment; Motet; Row; Father; Breath; Understanding; Bibliographica; Bailey; Remembrance; Randall; Errata

Depending on how this pathfinder was created, many of the bibliographic sections will include elaborations on the meaning(s) of the given keywords. These elaborations were generated by feeding the items' summaries to a large langauge model and asking the model to address the question, "What is X?", where "X" is the keyword. The result will be a few sentences of elaboration. Be forewarned. The elaborations are often plausible, but they should not be take as truth. Instead, they should be taken as points for consideration.

• Wallace C. McKenzie, Jr. the Music of Anton Webern by Newlin, Dika (2019) - Naturally, in discussing the group of works now under considera- tion, McKenzie has to pay a great deal of attention to the importance of the individual intervals. And his name and work will not be misused for tendentious purposes which he would-in my belief-have been the first to repudiate. Keywords: mckenzie; music; schoenberg; webern; work
• The Musical Object by Carpenter, Patricia (2019) - And secondly, in thus abstracting from time, we can see the extent to which a piece of musical time depends upon the exploitation of simultane- ity. 20 Gisele Bre1et, in Le temps musical (Paris, 1949), has laid the groundwork for current studies of musical time. Keywords: art; change; distance; example; form; hearing; kind; melody; music; new; notion; object; perception; piece; point; sense; sound; space; thing; time; way; work; world
• What is a Composition? by Cone, Edward T. (2019) - At the other extreme, much l5th- and 16th-century polyphony, while primarily textual, achieves forms that are either satisfactory from a purely musical standpoint or at least independent enough to be listened to as musical compositions.) Grove says that the earliest use of the absolute term in English referred to the parts of a suite, but that the word is not generally applied to works in several movements, like a sonata, nor to the individual movements thereof-and further, that it is not used of vocal music. Keywords: art; composition; music; piece; word; work
• Commentary by Carpenter, Patricia (2019) - Let me then gloss my statement that curren.t controversies concerning musical form reflect in a specialized way currently changing conceptions of both 'form' and 'object.' The passage ftom Walter Pater, for example, was cited not so matter to be affirmed or denied, but rather as a matter of fact, as marking the limits beyond which the kind of musical form under question can no longer be conceived. Keywords: art; distinction; example; experience; form; matter; music; object; perception; work; world
• Tebaldini, Gnecchi, and Strauss by Horwath, Michael (2019) - It is known that Gnecchi sent Richard Strauss a score of Cassandra from Turin. Elektra was completed on September 22, 1908, in Garmisch, and received its first performance in Dresden on January 25, 1909; therefore Gnecchi's opera is without a doubt older than that of Richard Strauss. Keywords: cassandra; elektra; example; gnecchi; music; nos; opera; richard; strauss; tebaldini; volte; work
• Aubrey S. Garlington-The Concept of the Marvelous in French and German Opera by Freeman, James D. (2019) - His nearly complete abstinence from any discussion of Italian opera and its relationship to the North (Idomeneo and Don Giovanni are treated as ex- amples of Mozartean rather than Italian opera) is partly to be expected in a dissertation dealing specifically with France and Germany. Yet Italian opera was still flourishing in Paris, Vienna, Dresden, and Munich and was, thus, an influential part of the operatic scene in both French- and German-speak- ing countries. Keywords: garlington; music; opera; sonata; stage; work
• Bibliographical Sandtraps: The "Klavierschule," Pleyel or Dussek? by Zsako, Julius (2019) - Bibliographical Sandtraps: The Klavierschule, Pleyel or Dussek? This concerns entry number 816, Pleyel, Ignaz. Klavierschule, 3rd ed. Keywords: dussek; edition; hoffmeister; klavierschule; leipzig; pleyel; und; work
• Belá Bartók: A Portrait of His Personality Drawn from His Letters by Deri, Otto; Zaslaw, Neal (2019) - As this journal went to press, an English translation of Bartok's letters was published: Bela Bartok Letters, ed. The translations from Bartok's letters were made from two collections, where they may easily be located by date: Bartok Bela-Levelek, jel1ykepek, kriziratok, kottdk Keywords: bartok; budapest; folk; hungarian; hungary; letters; mother; music; new; time; work; years
• Joseph P. Ponte - Aureliani Reomensis, "Musica disciplina:" A Revised Text, Translation, and Commentary; Lawrence A. Gushee - The "Musica disciplina" of Aurelian of Réôme: A Critical Text and Commentary by Fisher, Stephen C. (2019) - Furthermore, if looked at as just a study in methodology, this dissertation will prove quite illuminating to almost every student who intends to do source work in the history of mUSIC. Unfortunately, there is no direct evidence to support this identification, since no surviving record shows that Archbishop Aurelian had at any time a particular interest in either music or the abbey of Reome, although he was once archdeacon for an adjacent region. Keywords: aurelian; gushee; ponte; treatise; work
• On the Spiritual in Music by Troller, Alois; Holloway, Christopher; Holloway, Irmgard (2019) - All the knowledge which several or many persons, or even nations, possess in common is objective spirit. The borders between such works of literature and art, which appear as common property, on the one hand, and as objective spirit on the other, are almost impossible to define, but this is hardly necessary for our argument. Keywords: creation; individual; mind; music; objective; spirit; spiritual; time; work
• Musicology and the Practice of Music: Thoughts from the Work of the Schola Cantorum Basiliensis by Arlt, Wulf (2019) - i.e., that which is common to all performances, (2) the musical sense, i.e., the aurally and intellectually perceivable relationship among the tones which make up the work, and (3) the aural realization which changes from 89 interpretation to interpretation, belong, themselves, to the essence of the musical work.5 But nowhere does the cooperation of musicology with the practice of music become more indispensable than in the performance of old music in the light of its historical background. Its mission was considered to be the exploration and practical testing of all questions relating to the revival of old music, old being defined as music dating from the Middle Ages through the middle of the 18th century.6 Keywords: fact; music; musicology; performance; practice; scholarship; work
• Enthnology and Music: A Philosophical Consideration by González-Zuleta, Fabio (2019) - For Arnold Schoenberg their importance derived more from the culture of the composer than from local ethnic values. Thus, we can understand that musical art consists of the ordering and clarification of its elements, which of course are manifold. Keywords: art; case; elements; music; work
• Toward a Unity of Performance and Musicology by Tureck, Rosalyn (2019) - I shall devote this article to (1) an examination of this relationship in the light of my own experience and observation of Bach studies and per- formance, (2) a brief analysis of the nature of each activity, and (3) a few remarks on the interaction of the two disciplines. The habit was formed early, therefore, of pursuing these studies as an integral part of my work in Bach performance. Keywords: bach; music; performance; performer; performing; studies; study; work
• Percy Grainger - Some Problems and Approaches by Josephson, David S. (2020) - Percy Grainger-Some Problems and Approaches David S. Josephson The second, a review of Thomas Carl Slattery's 1967 dissertation on the wind music of Grainger, is in Current Musicology 16 (1973): 79-91. Keywords: grainger; kipling; library; music; new; piece; power; rome; song; work; years
• Eric Zeisl's "American" Period by Cole, Malcolm S. (2020) - The gracious assistance of the composer's widow, Mrs. Gertrude Zeisl, has been invaluable in the preparation of this article. Viennese by birth, heritage, and training, Zeisl absorbed the legacy of 19th- and early 20th-century Austro-German Romanticism. Keywords: america; chorus; fugue; music; new; sonata; song; vienna; work; zeisl
• Louis Gruenberg: A Forgotten Figure of American Music by Nisbett, Robert F. (2020) - . Gruenberg spent two years of negotiations with O'Neill before finally securing his permission to convert the play into an opera. 1 Gruenberg was one of the first innovators in the use of jazz in serious music. Keywords: american; gruenberg; music; new; opera; work; years
• Review of Jonathan Cross. 2000. Harrison Birtwistle: Man, Mind, Music. Ithaca: Cornell University Press; and Robert Adlington. 2000. The Music of Harrison Birtwistle. Cambridge: Cambridge University Press by Walsh, Stephen (2000) - Reviewed by Stephen Walsh The more or less simultaneous appearance of these two substantial books on the music of Harrison Birtwistle by a pair of British academics is clinching evidence-if such a thing were required-of Birtwistle's stand­ ing as a major world figure, at least in the eyes of his British admirers. This is true in the sense that Birtwistle plunders distant epochs for his ritual forms, but untrue in the suggestion that they are culturally alien. Keywords: adlington; birtwistle; cross; music; myth; pastoral; sense; stravinsky; subject; time; work
• Review of Carol Oja. 2000. Making Music Modern: New York in the 1920s. New York: Oxford University Press by Hurwitt, Elliott S. (2000) - Next in Oja's chronology comes Edgard Varese (1883-1965), another crucial early modernist, who emigrated to New York in 1915 and spent the balance of his life there. None of this would be relevant to Oja's general argument if she did not, throughout her text, ably describe a nascent avant-garde in New York before the 1920s, one that included a wide variety of both native-born and immigrant talent. Keywords: 1920s; american; antheil; book; chapter; composers; copland; figures; music; new; new york; oja; period; time; work; york
• Experimental Music in Black and White: The AACM in New York, 1970-1985 by Lewis, George E. (2001) - The transcribed orature of musicians endorsing the importance of explo­ ration, discovery, and experiment is quite vast and easy to access; it spans virtually every era of jazz music, and includes nearly every improvisor of canonical stature before the rise of Wynton Marsalis in the mid-1980s. As early as 1968, the now-landmark series of Delmark and Nessa recordings of AACM music by Abrams, Jarman, Mitchell, and Bowie were becoming known in Europe (James 1968; Cooke 1968, 1968a; Harrison 1969; Press Release, 1969). Keywords: aacm; aacm members; aacm musicians; abrams; american; anthony; artists; baraka; black; bowie; braxton; chicago; composers; concert; cultural; culture; current; downtown; ensemble; european; george; giddins; group; jarman; jazz; john; joseph; kitchen; later; leo; lester; lewis; loft; members; mitchell; movement; mrican; muhal; music; musicians; musicology; new york; organization; paris; people; performance; press; richard; roscoe; smith; steve; time; tradition; university; voice; white; work; world
• Music Analysis and the Social Life of Jazz Recordings by Butterfield, Matthew W. (2001) - Technological ad­ vancements have thus altered the social meaning of jazz performance as it takes place in the recording studio. The recording economy, like analysis, has tended increasingly of late to work against the erotic social potential of jazz performance practice for a variety MATTHEW W. BUTTERFIELD 329 of reasons: it transforms the social relations of jazz music-making activities; it has had a significant impact on the way Americans value jazz and relate to jazz musicians; and it has had far-reaching effects on the social life of jazz performance events. Keywords: activities; analysis; butterfield; chicago; community; erotic; events; experience; jazz; jazz musicians; listeners; listening; music; musicians; new; performance; practice; press; radio; recording; social; sound; studies; time; university; way; work; york
• Other Planes of There: Critical Notice of Graham Lock's Blutopia by Anderson, Paul Allen (2001) - In earnest conversations with Lock throughout Forces in Motion, Braxton details the particularly frustrating accusation of betraying various overdetermined definitions of black music and jazz. Lock contends that the acknowledgement of the meta-real sets the writing of Mackey and Braxton, among others, apart from the majority of Western commentators on black music (173). Keywords: american; anthony; blutopia; braxton; critics; ellington; jazz; lock; mackey; mrican; music; musicians; negro; new; radano; space; sun; swing; work; world; writings
• Being Home: Jazz Authority and the Politics of Place by Iyer, Vijay (2001) - Ignoring Kirchner's opening quotation of Bill Evans that 'Jazz is not a 'what,' it's a 'how' (3), Youngren proceeds to dismiss notions of Mrican-derived aesthetic or structural elements in jazz, suggesting instead that jazz's origins lie purely in the what of tonal music. I was deeply dissatisfied with the throwaway fashion in which this issue is relegated to these two chapters, even if they do open the volume; it feels as though Kirchner fails to contend adequately with the sensitive status of race in the authoring of jazz history. Keywords: american; artists; book; community; history; jazz; kirchner; mrican; music; musicians; new; new york; oxford; point; press; tapscott; university; university press; work; york
• Review of Alyn Shipton. 2001. A New History of Jazz. London and New York: Continuum by Tirro, Frank (2001) - For a jazz history published in the first years of the twenty-first century-and this book is not a monograph on particular phases of jazz history but a general survey-this text suffers a se­ vere distortion of perspective. This problem is compounded by the nature of jazz history itself, for there were, in the beginning, a few jazz musicians and a little jazz music. Keywords: band; book; history; jazz; music; musicians; new; press; recordings; shipton; work; york
• Richard M. Sudhalter. Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945. New York: Oxford University Press, 1999. xxii, 890 pp. by Sager, David (2001) - This does not, however, nullify Sudhalter's comparison, which calls attention to the fact that black jazz musicians almost exclusively recorded original material in the 1920s. Sudhalter seems to want to show the reader that racial prejudice as it existed in the real world did not live in the world of jazz musicians, at least not to a high degree, perhaps in de­ fiance of social norms of the day. Keywords: band; chords; guitar; jazz; mole; musicians; new; paul; style; sudhalter; white; work
• Better the Puppet? by Currie, James Robert (2002) - Specifically, my concern had been to show that Mozart's late opera seria, La clemenza di Tito, tries to pass off, by means of the character Vitellia, an ideologically-constructed pejorative view of women as if it were nature, or even myth-at any rate, true. Such concerns were indeed very real in Europe after 1789, since with increasing frequency the crowned heads of Europe were being accused of incompe­ tence and immorality.3 The action of La Clemenza can be understood as motivated by a ten­ sion between Vitellia and the Roman Emperor Titus, whose father had murdered and dethroned Vitellius, Vitellia's father. Keywords: aesthetic; art; cambridge; century; che; clemenza; disenchantment; enlightenment; example; fact; james; kind; mozart; music; musicology; nature; new; object; opera; presence; press; puppet; real; sense; subject; surplus; university; vitellia; women; work; world
• The Role of Adele T. Katz in the Early Expansion of the New York "Schenker School" by Berry, David Carson (2002) - In short, New York has flourished as something of a capitol city for the American Schenker enterprise, in ways that are probably well known to most present-day Schenkerians.3 However, the precise role of one im­ portant participant in the emergence and development of New York's Schenker School has remained largely unknown, and without an under­ standing of her diverse activities, one has an incomplete picture of the true nature and extent of that School. The Role of Adele T. Katz in the Early Expansion of the New York Schenker School By David Carson Berry In 1927, Heinrich Schenker named New York as the first North American city in which his ideas were spreading, though he was not specific as to the means of transmission. Keywords: analysis; approach; article; bach; berry; book; carson; challenge; chord; course; david; der; figure; heinrich; holden; ideas; katz; mannes; music; music school; musical; musicology; new; new york; press; rand; salzer; schenker; schenkerian; school; sme; student; teacher; teaching; theory; time; university; weisse; women; work; years; york
• Review of Daniel Albright. 2000. Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. Chicago: University of Chicago Press by Longobardi, Ruth (2002) - What Albright does not state explicitly, but what is nevertheless implied, is that the consonance or dissonance of musical figures does not always define the work as mimetic or non-mimetic, as representational or abstract, but rather defines the kind of world-spiritual or non-spiritual, complete or empty-on which the work of art is modeled. Albright's illustration of an analytical method that is not founded on dramatic alignment between music and text is a welcome contribution to the study of music drama, as is the complete and wide-ranging examina­ tion of Parade that the author provides. Keywords: albright; chapter; figures; modernism; motives; music; parade; work
• Concerning the Ontological Status of the Notated Musical Work in the Fifteenth and Sixteenth Centuries by Perkins, Leeman L. (2003) - Strohm emphasizes the leading role of vocal music over the centuries in developing the expressive possibilities that came to be associated with instrumen­ tal music in the eighteenth and nineteenth centuries, observing that, although instrumental music, in the shape of musical works, became more 'emancipated' over the generations, this meant only that it caught up with vocal music in this respect (2000:139). In the Prologue to his treatise on counterpoint (in a passage much quoted because of its histori­ cal implications), he asserts that the preceding forty years had seen a re­ markable change in the quality of music composition. Keywords: art; centuries; century; collections; composers; composition; concept; current; der; form; goehr; josquin; leeman; listenius; loesch; music; musicology; new; notated; opus; period; perkins; pieces; practice; s.v; schlagel; sixteenth; sources; terms; texts; time; tinctoris; treatise; use; view; work
• Review of Kelly Askew. 2002. Performing the Nation: Swahili Music and Cultural Politics in Tanzania. Chicago and London: University of Chicago Press by Eisenberg, Andrew (2003) - Askew chooses to focus on the ways the Tanzanian nation has been (and continues to be) imagined through musical performance. Here I am referring to Askew's tendency uncritically to conflate music with performance, as if musical performance is no different than any other type of performance. Keywords: askew; music; nation; nationalism; performance; politics; state; swahili; taarab; work
• Notes on a Postcolonial Musicology: Kofi Agawu and the Critique of Cultural Difference [Agawu, Kofi. 2003. Representing African Music: Postcolonial Notes, Queries, Positions. New York and London: Routledge, 304 pp.] by Scherzinger, Martin (2003) - Consequently, Agawu is less concerned here with the problem of familiarizing African music by imposing on it Western categories of communication than he is with the problematic desire to persistently defamiliarize it or with the refusal to bring African music into the realm of Western discourse and its distinguished intellectual history and undeniable institutional power. By encouraging the hunt for sameness rather than difference in our approaches to African music, Agawu implies that we may indeed bring traditional European conceptual tools to bear on African music instead of insisting on an a priori incompatibility between traditions (64). Keywords: african; agawu; difference; discourse; example; hountondji; ing; invention; meter; mrican; mrican music; music; musicology; new; philosophy; representation; rhythm; studies; terms; way; west; work
• Varèse in Vitro: On Attention, Aurality, and the Laboratory by Steege, Benjamin (2003) - As Latour has emphasized the unmysterious quality of most lab settings, it is little surprise to find the setting for Varese home laboratory low-key and bourgeois, with a hint of the old downtown charm: Edgar and Louise Varese live on Sullivan Street, near Bleecker Street. Varese in vitro: On Attention, Aurality, and the Laboratory Benjamin Steege 1. Keywords: attention; bell; benjamin; composer; distance; fletcher; helmholtz; images; instrument; laboratory; listening; music; musicology; new; perception; research; science; sense; siren; sound; steege; tone; varese; von; work; world; york
• Sets and the City: Serial Analysis, Parisian Reception, and Pierre Boulez's Structures 1a by Parsons, Ben (2003) - , Boulez empha­ sized this crucial aspect of his serial experience, more often put into shadow by the famous capital letters in the previous sentence. (Boulez 1952d:1l9)! Keywords: american; analysis; boulez; carroll; des; dumur; eventuellement; experience; festival; leibowitz; les; music; musical; musicology; nabokov; new; paris; parsons; pierre; press; sartre; sense; stravinsky; structures; time; war; work
• Adolphe Appia, Les maîtres chanteurs de Nuremberg: An Introduction and Translation by Appia, Adolphe; Cox, Cathy (2004) - Adolphe Appia, Les maftres chanteurs de Nuremberg: An Introduction and Translation Translator's Introduction by Cathy Cox The Swiss scenery artist Adolphe Appia, born in Geneva in 1862, is thought by many in the theatrical community to be a forefather of modern theater, particularly for his radical ideas concerning stage lighting. For Appia, stage lighting achieves its expressive power most specifically through the creative shaping and con­ touring of shade and shadow. Keywords: act; actor; appia; audience; die; drama; expression; interior; life; lighting; meistersinger; music; order; poet; role; sachs; scene; spectacle; stage; stage production; wagner; way; work
• A View From Death: Ariadne auf Naxos as Failed Totality by Jenkins, Chadwick (2004) - Whereas in the 1912 version Hofmannsthal balanced scene i, focused on Ariadne, and scene ii, focused on the commedia, so as to create a sort of unity (the ironic equi­ poise achieved by having both groups interact) in scene iii, in the 1916 revi­ sion the Intermezzo serves as a comic adumbration of the heroic finale dem­ onstrating the ludicrous distance between the contrived nature of infidelity and the transcendental, authentic mode of being embodied by the ever­ faithful Ariadne. The work­ ing friendship of Hofmannsthal and Strauss was often vexed; if Ariadne can in some ways be seen to exemplify the virtues of mutual non-compre­ hension, then nowhere in real life was this virtue better enacted than within their difficult collaboration on this project. Keywords: ariadne; bacchus; commedia; composer; death; hofmannsthal; letter; life; love; motive; music; new; opera; past; poet; scene; strauss; totality; transformation; words; work; world; zerbinetta
• Review of Mike Heffley. 2005. Northern Sun, Southern Moon: Europe’s Reinvention of Jazz. New Haven: Yale University Press by Lewis, George E. (2004) - In particular, the lack of theorizing of the relation between first -generation American free jazz musicians and Ameri­ can black cultural nationalism (except as this is filtered either through Amiri Baraka, or through the work of European writers on jazz) makes it more difficult to see how European free jazz musicians actually drew upon the example of black cultural nationalism, aligning themselves with a comple­ mentary European nativism as part of their identity construction process. (2004:212)lD One of the more interesting aspects of the book concerns the alacrity with which European free jazz musicians asserted the Oedipal regarding their African American influences. Keywords: 2004; adorno; american; book; coltrane; culture; european; free; german; heffley; history; improvisation; jazz; music; musicians; new; press; race; time; university; work; york
• The German Musical Exile and the Course of American Musicology by Josephson, David (2005) - Perspec­ tives of New Music 5: 142-47. Palisca as well was uncomfortable: Very few American musicologists can have an easy conscience about the subject of American music ... Keywords: american; american musicology; ams; art; bach; berlin; cambridge; century; current; david; der; edition; emigres; europe; european; field; generation; german; grove; hans; history; josephson; music; musicological; musicology; new; new york; norton; palisca; press; sachs; schenker; scholars; scholarship; society; students; subotnik; time; university; work; years
• Disciplinary Movements, the Civil Rights Movement, and Charles Keil’s Urban Blues by Sakakeeny, Matt (2005) - Traditional yet modern, rooted in oral and aural transmission but often written out in musical notation, labeled popular but comparable in many ways to folk music of non-Western subjects, urban African American music was too exotic for musicologists and not exotic enough for ethnomusicologists. I will explore this pattern further in my conclusion, but I will first offer a limited overview of research on African American music prior to Urban Blues. Keywords: african; afro; american; anthropology; black; blues; chicago; culture; herskovits; jazz; keil; music; musicology; negro; new; press; race; studies; study; szwed; university; urban; white; work; york
• Curious Intersections, Uncommon Magic: Steve Reich’s It’s Gonna Rain by Scherzinger, Martin (2005) - Strikingly, Reich's emphasis on the uncommon magic of process music, its mysteries and its ability to put all within listening range into a state of ecstasy (2002:21, 35, 82), though seemingly at odds with the matter-of-fact immediacy of minimalism, also resonates with the moment of illumina­ tion and transcendence Michael Fried identifies in the work of minimalist artworks in 1966. Compare also Fried's juxtaposition of depersonalized directness and transcendence with Reich's description of performances of process music: the pleasure I get from playing is not the pleasure of expressing myself, but of subjugating myself to the music and experiencing the ecstasy that comes from being a part of it (Reich 2002:82). Keywords: african; art; canna; composer; context; drumming; essay; example; history; minimalism; music; new; non; phase; phasing; piece; process; rain; reich; tape; taruskin; time; voice; walter; western; words; work
• Hearing Emerson, Lake, and Palmer Anew: Progressive Rock as “Music of Attractions” by Hung, Eric (2005) - After all, progressive rock musicians diluted the influence of blues in rock music by incorporat­ ing elements of many other genres. It is, rather, the maintenance of this very tension between these two widely disparate styles that accounts for the compelling aesthetic effect of Close to the Edge; a reconciliation of these forces that would attempt to securely place the piece in either the world of rock music or that of art music would surely weaken the dynamic effect of the song. Keywords: art; blues; elp; emerson; movement; music; mussorgsky; new; original; pictures; progressive; rock; section; transcription; work
• The Foundations of Mozart Scholarship by Irvine, Thomas (2006) - Ideally, the formal goal of Mozart research would be interpretation and understanding, but the object of study itself demanded that the primary goal of Mozart scholarship should be the critical attention to and study of these materials. I would argue that one of the purposes of 27 28 Current Musicology this document, and of Plath's position paper and appearance at the congress, was to stimulate new avenues of Mozart research concentrated on primary sources, so that the weakened foundations of Mozart scholarship might be repaired as quickly as possible through falsification of previous research. Keywords: bach; cambridge; century; criticism; der; die; dilthey; discussion; facts; german; historian; historicism; history; interpretation; irvine; jahn; kind; methods; mozart; mozart research; mozart scholarship; mozart studies; music; music history; musicology; narrative; new; otto; oxford; performance; plath; popper; position; positivism; practice; press; ranke; research; salzburg; scholarship; sciences; sources; spitta; studies; study; thomas; und; university; von; work; writing; york
• The Idea of Transfiguration in the Early German Reception of Mozart’s Requiem by Kramer, Elizabeth (2006) - Raphael und Mozart. Beyde fuhlten die kalte Hand des Todes, die sie schon ergriff; beyde wollten sich erst noch Denkmahler fur die Ewigkeit stiften; Beyde wahlten die Verklarung-Raphael, des Erlosers, Mozart der Erloseten. Keywords: allgemeine; anon; auf; authenticity; beethoven; century; church; church music; composer; composition; das; death; dem; den; der; des; die; divine; elizabeth; essay; haydn; hoffmann; ideas; ist; kramer; kunstreligion; marx; mit; mozart; music; musicology; musikalische; new; nicht; press; raphael; reception; requiem; rochlitz; sein; sich; spirit; time; transfiguration; und; university; von; wackenroder; weber; wie; work; world; writings; zeitung
• Review of Robert Fink. 2005. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley and Los Angeles: University of California Press by Haskins, Rob (2006) - A discussion of a descending long-range linear bass pattern in Reich's Music for Eighteen Musicians explains the dramatic shift of tonality (to F# Minor) that occurs midway through the work and thus elucidates the special kind of teleology that occurs in minimal music (52-55). Minimal music forms only one thread Rob Haskins in this fabric, of course, and the compositional choices of Glass, Reich, and others respond both musically and culturally to other composers of their time as surely as they do to the repetitive culture that Fink considers. Keywords: cage; fink; glass; minimalism; music; process; reich; way; work
• Analysis, Performance, and Images of Musical Sound: Surfaces, Cyclical Relationships and the Musical Work by Gardiner, Michael; Latartara, John (2007) - As Stock bluntly states, much ethnomusicology is intimately concerned with issues of musical performance; some of it even refers quite explicitly to the Western art music tradition. More recent studies that utilize spectrographs for the analysis of musical performance in both Western and non-Western traditions include Huang (1998a, 1998b), Cogan (1998, 1999), Leech­ Wilkinson (2003), and Latartara (2004,2005). Keywords: analysis; bach; image; kempff; models; music; new; opening; performance; press; score; sherman; sound; spectrograph; surface; theory; university; work; york
• Don Giovanni at the Crossroads of Pleasure and Virtue by Goehring, Edmund J. (2007) - But this misreading nonetheless gets at a central, legitimate aim of Don Giovanni criticism-to identify an intelligible moral vision in a work of such bewildering moral ambiguity. (The main exception is Ingrid Rowland's discussion of religious ritual and the Don Juan legend before Mozart, Don Giovanni: 'And what communion hath light with darkness? Keywords: aesthetic; century; don; don giovanni; don juan; donna; example; giovanni; herwitz; juan; kierkegaard; moment; mozart; music; nineteenth; opera; time; work
• Operatic Texts: Ours, Yours, and Mine by Huebner, Steven (2007) - Parker's overarching concern rotates around the connected ideas of musical work( -concept), authenticity, inviolability of text, and the puta­ tively objective establishment of best versions-none of which he is very happy with. Parker also reflects on value judgment in his broader effort to query such notions as work, authenticity, and inviolability of text. Keywords: bizet; brook; carmen; history; mozart; music; opera; parker; text; work
• Review of Philip Brett. 2006. Music and Sexuality in Britten: Selected Essays, edited by George E. Haggerty. Berkeley and Los Angeles: University of California Press by Adams, Byron (2007) - How can such disparate musicolo­ gists as Robert Fink, Judith Peraino, Elisabeth Le Guin, and Mitchell Morris (to name only a few)-all of whom studied with Brett at the University of California, Berkeley-be pigeonholed as members of a putative School of Philip Brett? Sadly, the collection's author, Philip Brett, died of cancer in 2002, shortly after receiving a Guggenheim Fellowship Award for 2002-3 that would have aided him to complete a book on Britten's life and work. Keywords: brett; britten; gay; life; music; work
• Review of Michael Cherlin. 2007. Schoenberg’s Musical Imagination. Cambridge and New York: Cambridge University Press by Root, Gordon (2008) - Perhaps the most striking sonic contrast that Cherlin notes in Pelleas und Melisande is the one that corresponds to the dramatic conflict between Melisande and Golaud. The effect of this ending is indeed suspenseful, and the sense of incompletion that Cherlin notes is quite unexpected and tangible. Keywords: analysis; cherlin; conflict; melisande; music; schoenberg; trio; work
• Eisler’s Notes on Hollywood and the Film Music Project, 1935-42 by Bick, Sally M. A. (2008) - He would eventually assist Eisler on the Film Music Project; see letter from Harry Robin to Johannes Gall, New School of Social Research, Archive Files, Folder: Hanns Eisler; and Betz 1982: 172. 29. While Johnson offered Eisler opportunities for teaching at the New School, Eisler continued to explore other possibilities. Keywords: adorno; american; book; composer; copland; eisler; film; film music; foundation; hanns; hanns eisler; hollywood; industry; january; johnson; letter; marshall; music; music project; new; press; project; research; rockefeller; score; sound; university; work; york
• Producing Producers: Women and Electronic/Dance Music by Farrugia, Rebekah; Swiss, Thom (2008) - As the cultural environment changed and the scene's structure came to more closely resemble that of the mainstream popular music industry, it became even less likely to find women producers. Amber's case is fairly representative: her interest in teaching DJ classes but not producing music puts her in the category of many women who work in jobs that involve helping others or require strong interpersonal skills, such as the public relations departments that have come to be women's places in the music industry (Kruse 2003; Negus 1992). Keywords: culture; djs; farrugia; female; girls; industry; music; new; producers; production; record; sound; studio; technology; time; women; work
• Review of Peter Szendy. 2008. Listen: A History of Our Ears. Translated by Charlotte Mandell. New York: Fordham University Press by Kane, Brian (2008) - Sadly, we never get the opportunity to listen to Szendy listening. Chapter 2 works through the question of musical works from the perspective of transcription or arrangement. Keywords: adorno; arrangement; history; listener; listening; music; szendy; work
• Aida and the Empire of Emotions (Theodor W. Adorno, Edward Said, and Alexander Kluge) by Goehr, Lydia (2009) - His work has everything to do with opera and operas like Aida. A third way, which I develop here as the authorial thread of this essay, disrupts the explicit alli­ ances that are set up between opera and nationhood, especially to the extent that these alliances suggest a history of fated nations. Keywords: act; adorno; aida; counter; death; die; emotions; fate; kluge; music; new; opera; radames; said; society; sphere; terms; verdi; war; work
• Degenerate Religion and Masculinity in Parsifal Reception by Kennaway, James (2009) - In a 1919 edition of the German magazine Psychische Studien, Max Seiling described Wagner's occult powers, as recorded by eyewitnesses: After the final production of Parsifal Wagner had gathered his friends and colleagues to him one more time in order to say a few words of farewell to them. His first article on Wagner appeared in the Transactions of the London Lodge of the Theosophical Society under the title Theosophy in the Works of Richard Wagner. Keywords: anti; art; bayreuth; catholic; catholicism; century; christian; church; das; degenerate; degeneration; der; die; german; grail; homosexuality; james; kundry; london; music; mysticism; new; nietzsche; occult; opera; parsifal; press; protestant; religion; religiosity; richard; schopenhauer; self; und; university; von; wagner; work
• Music Smashed to Pieces: The Destructive Logic of Berlioz’s Roméo au tombeau by Rodgers, Stephen (2010) - Ian Kemp calls Romeo au tombeau the most extraordinary music [Berlioz] ever wrote and ascribes its impact to the precision of Berlioz's musical narrative, linking specific measures of music to specific lines of text throughout (Kemp 1992:76). In what follows, I explore Romeo au tombeau in detail, first situating the movement in the context of Berlioz's ideas about musical representation, then applying those ideas to an analysis of the piece, and finally comparing it with the Scene d'amour. Keywords: berlioz; example; imitation; juliet; major; minor; movement; music; new; physical; play; press; program; rodgers; romeo; romeo au; rushton; scene; section; symphony; theme; time; tombeau; university; work
• Solving Elgar’s Enigma by Santa, Charles Richard; Santa, Matthew (2010) - First Elgar writes that there is a dark saying involved; and second, he notes that the Theme goes throughout the piece but is not heard. Reed wrote, He (Elgar) was busy orchestrating the two Folk Songs of Eastern Europe (paraphrased by Pietro d'Alba and Edward Elgar) (1939:109). Keywords: circle; elgar; enigma; hint; music; penny; powell; santa; solution; theme; variations; work
• Review of Tara Rodgers. 2010. Pink Noises: Women on Electronic Music and Sound. Durham and London: Duke University Press by Keenan, Elizabeth K. (2010) - These vastly different styles, contexts, and practices come together in Tara Rodgers's book, a collection of twenty-four interviews with women composers, producers, and practitioners of electronic music. In her interview in Pink Noises, DJ Rekha Malhotra says, Electronic music is such a vast landscape (173). Keywords: feminist; interviews; morabito; music; rodgers; sound; women; work
• Here Be Dogs: Documenting the Visual Culture of the Czech Indie Scene by Nanoru, Michal (2011) - My focus will be the relationship of members of the 1990s and contemporary Czech independent music scenes to visual presentation of their own and others' musical objects and performances. While the purity of the original subcultural cores and their ability to isolate themselves from the dominant consumer culture must not be overstated and overly romanticized-as subcultures are never isolated from their media environment and the majority of people who frequent any traditional subculture are followers (Thornton 1996; Trowler and Riley 1985:157)-the story of alternative culture's constant struggle to retain its authenticity and opposition towards mainstreaming is here further complicated by the fact that the position on the global cultural periphery means that Czech indie scene is derivative from the start. Keywords: 1980s; access; album; alternative; american; art; artists; authenticity; bands; book; context; country; cultural; culture; current; czech; czech republic; dogs; fans; fashion; history; indie; life; london; mainstream; media; michal; music; musicians; musicology; nanoru; new; overstreet; people; performance; prague; presentation; republic; rock; scene; school; stage; style; sunshine; underground; visual; way; work; years; york
• From the Center in the Middle: Working Tambura Bands and the Construction of the In Between in Croatia and its Intimates by MacMillen, Ian (2011) - 14 Marko's simplification of the supply and marketing logic of a global music industry in which the Rolling Stones operate reflects, in part, the experiences of Croatian tambura bands such as his own that the Croatian Fraternal Union of North America (hereafter, the CFU) has brought on its annual tour of the United States and Canada. Work in these countries joins Croatian tambura bands and foreign patrons in imagining Croatia as an ethnic and musical center. Keywords: bands; brod; center; concert; croatia; ensembles; europe; fans; macmillen; music; musicians; musicology; national; new; osijek; performance; play; skoro; slavonski; songs; state; style; tambura; tambura bands; tambura music; tamburasi; war; work; yugoslavia; zagreb
• Review of Randall Sandke. 2010. Where the Dark and Light Folks Meet: Race and the Mythology, Politics, and Business of Jazz. Lanham, Maryland: The Scarecrow Press by Johnson, Aaron Joseph (2011) - Perhaps as a result, the book has an undercur­ rent of resentment; that, for example, black jazz and black jazz musicians had a virtual monopoly on opportunities to play real jazz. He downplays African rhythmic contributions, plays up the harmonic (that is, European) basis of bebop, and quotes black jazz musicians on their often strained relations with Africa and African audiences. Keywords: african; american; black; book; history; jazz; music; musicians; new; press; race; sandke; university; white; work; writers; york
• Review of Theodore Gracyk and Andrew Kania, eds. 2011. The Routledge Companion to Philosophy and Music. Abingdon, UK, and New York, NY: Routledge. by Gleason, Scott (2012) - 50–2, 229–30, and 264–70) All of this suggests certain disciplinary alignments: music theory and cognition seem to align easily with analytic philosophy, whereas ethnomusi- cology and historical musicology seem to align with continental philosophy. Speaking from my own disciplinary position and primary training as a music theorist, although I would argue that, as before, music theory associates easily with analytic philosophy, music theorists are in fact still committed to grand systems, often at the expense of actual musical experiences of listeners or performers. Keywords: chapter; companion; music; musicology; philosophy; work
• Editor’s Note by Gutkin, David (2013) - This may partly stem from the “conceptual” drift of much music from the last half– century or so, but seminal earlier examples should be recalled: Schumann’s adoption of semi–imaginary personae (with names like Florestan and Eusebius) in his work as a music critic, or Wagner’s voluminous corpus of socio–aesthetic writings. Thus we have the pleasure of learning about an important body of new music through the questions and instigations of an especially perceptive interlocutor. Keywords: century; essay; form; issue; language; music; narrative; pieces; style; text; work; writing
• Correspondences by Ouzounian, Gascia; Papalexandri–Alexandri, Marianthi (2013) - organ (n.) fusion of late O.E. organe, and O.Fr. orgene (12c.), both meaning “musical instrument,” both from L. organa, plural of organum “a musical instrument,” from Gk. organon “implement, tool for making or doing; musical instrument; organ of sense, organ of the body,” lit. Untitled I uses prepared acoustic instruments (bass flute, alto and soprano flute head joint) and mechanised sound devices created in collaboration with Pe Lang, which function both as preparations and as independent musical instruments. Keywords: instrument; marianthi; music; papalexandri; performer; sound; way; work
• A Picture is Worth a Thousand Words: Road Maps as Analytical Tools by Alegant, Brian (2013) - © 2013 by the Trustees of Columbia University in the City of New York A Picture is Worth a Thousand Words: Road Maps as Analytical Tools Brian Alegant I. Initial Considerations My experience with road maps began fifteen years ago, when I was teach- ing an upper–division course on 20th–century music. Over the years my students have created road maps of compositions by Ablinger, Ades, Aperghis, Babbitt, Bartok, Berg, Cage, Carter, Cassidy, Chopin, Crumb, Debussy, Eckhart, Feldman, Ferneyhough, Glass, Gubaidulina, Harbison, Harvey, Hurel, Lang, Messiaen, Merzbow, Reich, Riley, Saunders, Schoenberg, Scelsi, Sciarrino, Stravinsky, Xenakis, Webern, Wolpe, and Yi among others. Keywords: alegant; brian; maps; music; musicology; road; stakes; students; work
• A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition by Huron, David (2013) - As we have seen, habituation arises more quickly when stimulus repetition occurs in rapid succession. Using the psychological concepts as premises, we will derive a series of repetition strategies that, from a theoretical perspective, successively improve the overall hedonic effect. Keywords: effect; exposure; fluency; habituation; huron; listener; music; passage; patterns; pleasure; processing; repetition; research; stimuli; stimulus; strategy; theory; work
• Review of Charles M. Joseph. 2011. Stravinsky’s Ballets. New Haven: Yale University Press. by Sterbenz, Maeve (2013) - At the same time, Joseph positions Stravinsky as a kind of visionary whose col- laboration with other artists created difficulties in rehearsals when dancers and orchestra alike were left “baffled” by his score (54). In pulling together such a wide range of primary sources and providing an in–depth and comprehensive study of Stravinsky’s ballets, Joseph’s book presents an important resource in Stravinsky scholarship. Keywords: ballet; chapter; joseph; music; stravinsky; work
• Editor’s Note by Fogg, Thomas (2014) - With an impressive range of reference, Jonathan De Souza, in his “Voice and Instrument at the Origins of Music,” engages histories and philosophies of technology, paleoanthropology, and psychology to revisit perennial speculations surrounding the prehistorical precedence of the voice over the instrument. Three articles—those by Murray Dineen (former editor of this journal; welcome back!), Jonathan De Souza, and Carmel Raz—arrived via this route; however, after a lot of back and forth, only Dineen’s retains its original Cornell title. Keywords: editor; music; note; work
• The Musical Work Reconsidered, In Hindsight by Steingo, Gavin (2014) - The term “imaginary” immedi- ately disqualifies one common interpretation of her thinking, namely the assertion that for Goehr works are equivalent to scores.15 The importance of notation and scores notwithstanding, for Goehr musical works are reducible neither to their performances nor their scores (nor, in fact, to anything and everything else). Several scholars of Baroque music have argued that musical works existed in the seventeenth century (although not before) while several scholars of the Renaissance have argued that the musical work emerged during that era (although not earlier).3 Indeed, there have been attempts—although somewhat muted—to locate the advent of the musical work in the Medieval period.4 In particular, the question of whether J. S. Bach composed musical works has received a great deal of attention. Keywords: argument; bach; concept; example; goehr; history; material; money; museum; music; performance; point; press; question; time; university; work; yuran
• Erik Satie’s Socrate (1918), Myths of Marsyas, and un style dépouillé by Dorf, Samuel N. (2014) - Satie begins work on Vie de Socrate. Scholars have defined Socrate’s clear, unadorned mu- sical lines as modernist, abstract, and even quasi–socialist and minimalist (see Danuser 2004, 261–62; Keywords: aesthetic; cousin; death; french; jankélévitch; les; libretto; marsyas; movement; music; nous; pas; performance; phaedo; plato; press; que; satie; socrate; style; text; translation; university; work
• Toward A Rupture in the Sensus Communis: On Sound Studies and the Politics of Knowledge Production by Kheshti, Roshanak (2017) - But can we also think about a disciplinary sensus communis forming within sound studies, about the disciplining of sound studies knowledges through institution- alization? Kim’s insightful narrative reflection upon the structuring ideologic of proper sonic decorum for not only a deaf child but her immigrant parents is a jumping off point for exploring the problem of theorizing sound in sound studies and the function of what Kant called the sensus communis. Keywords: communis; field; hurston; kim; knowledge; new; perception; political; sense; sensus; sound; studies; work
• Ethnography, Sound Studies and the Black Atlantic: A Conversation Between Michael Veal and Whitney Slaten by Veal, Michael; Slaten, Whitney (2017) - Drawing from the current research of Veal and Slaten, as well as the recent work in sound studies, this discussion explores the status of the human in black popular music studies. In the wake of oppressive histories that have associated black musical expression to the permanent objectifications of slavery, the dis- course about Fred Moten’s important analysis of Aunt Hester’s scream as the supposed object’s resistance, and sound studies’ new turn to decenter social categories in favor of foregrounding sounds and sonic phenomena as objects, the second section asks the following question: how does post- humanism juxtapose with scholarship on black music? Keywords: african; engineers; human; jazz; music; musicians; people; sound; studies; way; work
• African Afro-futurism: Allegories and Speculations by Steingo, Gavin (2017) - I would also like to express my appreciation to Shirley Taylor and Jamilla Deria at the Apollo The- ater for inviting me to moderate a panel on South African music—the panel was an excel- lent opportunity to think through some of the issues I write about in the current article. Such is certainly the case in “Ndiredi,” a video produced as a 60 Current Musicology collaboration between Dana and director Andrew Wessels, and whose “basic concept was of African futurism and of creating a futurism based on African principles. Keywords: african; afro; aliens; allegory; apartheid; black; credo; dana; eshun; future; futurism; gavin; human; icke; music; mutwa; new; press; song; south; south africa; space; speculation; steingo; university; video; work; zulu
• Review of Eidsheim, Nina Sun. 2015. Sensing Sound: Singing and Lis-tening as Vibrational Practice. by Vágnerová, Lucie (2017) - Chapter 3, “Music as Action: Singing Happens before Sound,” takes on the place of the signifier in theories of the voice, a topic with a colossal history in and out of music studies. The book speaks to a number of growing areas of music studies, such as literature on music, sound, and violence, work on the body that takes into account questions of pleasure, disability, embodiment, and technol- ogy, and critical histories of vocal pedagogy. Keywords: body; eidsheim; music; sound; studies; voice; work
• Cosmopolitanism and Race in Percy Grainger’s American “Delius Campaign” by Kirby, Sarah (2017) - (Delius 1983, 286)1 Composer Frederick Delius (1862–1934) wrote this to Percy Grainger (1882–1961) on January 23, 1924 in acknowledgement of the significance of their friendship and Grainger’s work on his behalf. This same lack of concrete alignment made Delius a par- ticularly suitable vessel through which Percy Grainger could exploit and transplant his own developing racist ideologies, as will be discussed below. Keywords: american; campaign; composers; cosmopolitanism; delius; english; example; frederick; grainger; letter; music; new; pear; percy; percy grainger; press; race; sarah; saxon; university; work; york
• Black Labor and the Deep South in Hurston’s The Great Day and Ellington’s Black, Brown, and Beige by Kibbee, Brendan (2017) - The Great Day, which premiered in 1932, chronicles a day in the life of a group of Florida railroad workers, and much of the first act fea- tured a company of dancers singing work songs while simulating the labor of “lining” and “spiking” railroad tracks. Ellington, in the context of this or- chestral composition, thus combines multiple details of work songs’ body- coordinating capabilities into a single phrase. Keywords: american; beige; black; ellington; example; halpert; hurston; labor; music; negro; new; song; work; workers; york
• Power and Equity in the Academy: Change from Within by Hisama, Ellie M. (2018) - This is an open access article distributed under the terms of the Creative Commons-Attribution-NonCommercial-NoDerivatives License (CC BY-NC-ND). 81 Power and Equity in the Academy: Change from Within Ellie M. Hisama As an undergraduate music major interested in graduate study in music theory, I asked Joseph Straus, with whom I was taking an independent study in music theory and feminism, if he knew of any published work in feminist music theory. Going on the job market in music theory with a dissertation that en- gages with music outside of the canon using new methods of analysis can be a very stressful process, and being a person of color and a woman in fields that remain stubbornly male-dominated and very white compounds the already challenging experience of a campus interview.3 A recently launched graduate student-led initiative, Project Spectrum, aims to address problems of diversity in music studies, to “explore why many people mar- ginalized by their race/ethnicity, gender, and/or sexuality continue to have difficulty in finishing graduate degrees, attaining gainful employment, and receiving tenure within all fields of music studies” and “to develop concrete tools to inspire systematic change within these fields” through conferences and other activities (Project Spectrum 2018)4. Keywords: american; gender; graduate; hisama; music; new; students; studies; theory; university; women; work; york
• Academic Labor and Music Curricula by Vágnerová, Lucie; García Molina, Andrés (2018) - 93 Academic Labor and Music Curricula Lucie Vágnerová and Andrés García Molina In this paper we parse recent initiatives rethinking music curricula—in particular, those critiquing the enduring centrality of the Western art music canon—in connection to questions of academic labor and service. Although our disciplines have changed dramat- ically throughout the twentieth and twenty-first centuries, music curricula continue to express old conventional wisdoms of what is considered com- mon knowledge in the humanities and social sciences (Natvig 2002, x–xii). Keywords: american; canon; columbia; current; curricula; faculty; gender; history; humanities; labor; music; music curricula; music history; musical; musicology; new; press; service; students; teaching; university; women; work; york
• Mary I. Ingraham, Joseph K. So, and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge by Forner, Jane (2018) - It strikes me as a practical issue as well as a methodologi- cal one: opera scholarship needs a far greater critical mass of studies that offer such “alternative histories,” alongside theoretical and critical work on key concepts such as the multicultural or the colonial, and alongside eth- nographic studies and performance studies. Perhaps new formats are needed for opera scholarship that explicitly seeks to place diverse voices in dialogue. Keywords: approaches; book; clarke; opera; studies; volume; work; world
• Telling Tales: A Survey of Narratological Approaches to Music by Millard, Russell (2018) - In a series of articles that since have become classics in the field of musical narrative, Anthony Newcomb (1984; 1987; 1992) adapted Propp’s 8 Current Musicology insights for music by drawing an analogy between functional sequences and plot archetypes in literature, on the one hand, and formal types in music, on the other, explaining that both can be thought of as “a standard series of functional events in a prescribed order” (1987, 165). If one is tempted to speak of musical narrative it is due, not to its intrinsic and immanent content, but because of the effects of syntactic organization of music, the narrative course that orders the music thanks to the games of implications and realizations that [Leonard] Meyer has described so well. Keywords: almén; analysis; approaches; discourse; example; ibid; level; mcclary; mccreless; millard; movement; music; musicology; narrative; new; newcomb; press; reyland; story; structure; theory; university; work
• Through the Fabric of My Own: Louise Alenius and Embodied Interrelationality by Buffington, Adam (2018) - This amusingly wry remark from Danish composer Louise Alenius, 46 Current Musicology who perpetrated these staged acts of violence upon the performers, not only reflects an unforeseen prolonged aftereffect of the performance itself, but also encapsulates the extreme measures that Alenius, Öhman (or, in another performance, cellist Lea Emilie Brøndal) and violist Mina Fred were willing to enact and endure. Intertwined with this invitation into Alenius’ experience, to in some sense inhabit her skin, is an impulse to deepen performers’ engagement, to “wake them up” and “have them be as into it as I am” (Alenius 2017a), with Alenius expressing: “I almost ‘fall in love’ with the people I work with, but I also hate them in a way, because I have such high expectations, and no one can live up to them” (2017b). Keywords: alenius; audience; birkenfeldt; composer; groth; levinas; merleau; music; performance; ponty; porøset; self; space; work
• Ricardo Lorenz: A Post-Colonial/Modern Latin(o) American Composer by Hudde, Hermann (2018) - This is an outcome of the implied dialectics in Western art music between periphery and hegemonic center in which Latin American art music composers are positioned outside of the Western art music tradition; because of the exter- nal status of “non-Western” composers, Latin American composers must negotiate their musical identity within a Western-dominated culture—they have had to construct themselves as the Self inside the domain of the Other. In fact, Ernesto Nazareth is an excellent example about how transculturation flows and has impacted European art music composers. Keywords: 2000a; american; art; art music; center; composers; cultural; culture; european; history; latin; lorenz; music; musical; musicology; new; press; ricardo; salas; states; united; university; venezuela; vol; work; world
• “It’s Awfully Important to Listen”: Ella Jenkins and Musical Multiculturalism by Wald, Gayle (2019) - It cemented the reputation of Jenkins, then in her early seventies, as the most prolific and influential American children’s musician of the late twentieth century, and spurred the release of a follow-up, More Multicultural Children’s Songs from Ella Jenkins, in 2014. Rhythm was an early preoccupation of Jenkins, pursued through an in- terest in the theatrics of entertainers Danny Kaye and Cab Calloway, the latter of whom she saw perform at Chicago’s Regal Theater, and a passion for table tennis (she beat out a white competitor to win the 1948 women’s Chicagoland championship; see “Ella Jenkins. . .” 1948). Keywords: african; album; american; asch; chicago; children; ella; folkways; group; jenkins; liner; music; new; notes; recordings; records; response; school; singing; smithsonian; song; work
• Brahms, Autodidacticism, and the Curious Case of the Gavotte by Ennis, Martin (2019) - In repurposing his A major Gavotte, Brahms used C meter but dis- pensed with the dance’s traditional metrical arrangement of two quarter- Example 1: Johannes Brahms, Gavotte in A minor, WoO. 3 However, Riemann’s version Example 4: Johannes Brahms, “Immer leiser wird mein Schlummer,” Op. 105 Keywords: arrangement; baroque; beats; brahms; century; clara; composer; den; der; die; downbeat; ein; ennis; example; gavotte; jenner; joachim; johannes; johannes brahms; kalbeck; letter; major; martin; marxsen; material; measure; meter; minor; music; musical; musicology; press; riemann; robert; schumann; study; time; und; version; von; work
• Iverson, Jennifer. 2018. Electronic Inspirations: Technologies of the Cold-War Musical Avant Garde. New York: Oxford University Press. by Gordon, Ted (2019) - This chapter traces the translation of concepts from information theory into elektronische Musik through the affordances of specific instruments in WDR studio, which WDR composers described as creating “statistical” and “probabilistic” form in their compositions (128–132). For WDR studio musicians, this network extended far beyond Cologne, and included the American musicians John Cage and David Tudor. Keywords: composers; iverson; music; new; studio; wdr; work
• Emcee Ethnographies: A Brief Sketch of U.S. Hip-Hop Ethnography by Holt, Kevin C. (2020) - As H. Samy Alim 7 Kevin C. Holt asserts in the epigraph to this article, the omission of diligent ethnography molds the ways in which critical discourse surrounding hip-hop takes shape; in essence, the dominant methodologies reinforce the positional- ity many hip-hop scholars hold academically, politically, and personally in debates surrounding hip-hop. One of the most basic concerns when approaching a sociomusical phenomenon critically is understanding the parameters of the subject one wishes to engage; many hip-hop scholars emphasize the work hip-hop does (or should do) without clearly defining what hip-hop encompasses. Keywords: black; community; culture; ethnography; hip; hop; language; music; new; scholars; studies; ways; work; youth
• The Politics of Music: Women’s Music Education in the United States in the late 18th Century by Evans, Christa Pehl (2020) - These questions are still central in the debates about music education today. While educational reformers and the general public debated the value of ornamentals for American women at the time, our contemporary ten- dency to undervalue the cultural capital and social values of the ornamen- tals in the 1790s illuminates our perspective on what skills are valuable in our society.5 Succinctly put, we dismiss skills that do not or did not make much money.6 Keywords: american; book; education; female; john; ladies; life; music; music education; new; philadelphia; reading; rush; swanwick; time; women; work
• Music and Queered Temporality in Slave Play by Wilson, Imogen (2020) - As Elizabeth Grosz says in The Nick of Time, even though time has no being or presence, “we can think of it only in passing moments, through ruptures, nicks, cuts, in instances of dislocation” (2005, 5). [implying] that our sense of lived time is aligned with the intentional and teleological processes of life” (2005, 174). Keywords: audience; body; characters; dream; experience; gary; harris; kaneisha; music; play; queer; slave; song; theatre; time; work
• Queer Theory, Ethno/Musicology, and the Disorientation of the Field by Moon, Steven (2020) - By examining the disciplinary conditions that gave rise to queer studies within specific fields and not others, the expansion of ethno- musicological theory and method comes into greater relief. To do queer work is to be queer in a way, and to be queer is worse yet, especially during these periods of development. Keywords: body; ethnomusicology; field; gay; gender; identity; lesbian; music; music studies; new; performance; queer; sex; social; studies; theory; trans; women; work
• Julius Eastman: The Sonority of Blackness Otherwise by Jean-Francois, Isaac (2020) - Recent examples of work related to reinterpreting Eastman, like the Otolith Group’s 2017 The Third Part of the Third Measure or Dustin Hurt and Tionna Nekkia McClodden’s 2017 curated show Julius Eastman: [Eastman] told them what a badge of honor it was, but they did not get it, so we didn’t print the titles which caused a bigger ruckus, because then it hit the school newspapers.43 In his Foreword to Gay Guerrilla: Julius Eastman and His Music, Lewis contextualizes the students’ response by noting that the black members of the Northwestern community “were beset with their own issues of campus racism and thus were not quite ready to fully support Eastman’s invocation and exegesis of the word.”44 Keywords: american; black; blackness; eastman; gay; george; julius; julius eastman; life; music; new; nigger; northwestern; performance; piece; press; queer; sound; university; work; york
• The Ninth Symphony of Beethoven, Its Rich History by Shiflett, Campbell (2021) - Though in a reply to van den Toorn, Ruth Solie did briefly return Adrienne Rich to the conversation surrounding McClary’s work: Referencing Rich’s theory of “compulsory heterosexuality” (according to which a woman’s sexuality, under patriarchal rule, can only be thought in terms of her relation to a male partner), she defends McClary’s book from accusations that it reduces gender to sexuality alone.3 Solie’s engagement with Rich’s writings here allows Rich’s voice to come to the aid of McClary’s scholarship more substantially than in the “Beanstalk” essay. With this remarkable comparison, McClary suggests a meaningful difference between her perspective on the symphony and Rich’s, which has subtle but significant implications for her revised text. Keywords: beethoven; criticism; essay; feminist; mcclary; music; musicology; poem; rich; symphony; text; violence; work
• Robinson, Dylan. 2020. Hungry Listening: Resonant Theory for Indigenous Sound Studies. Minneapolis: University of Minnesota Press. by Baron, Derek (2021) - 145 Music’s affective power, he argues, is often coded to create a sense of resolution and reconciliation that, in the context of intercultural performances involving Indigenous musics or performers, aims to provide the listener with a fantasy of peaceful reconciliation and “settlement” that covers over the ongoing structures of dispossession in the present (229). An alternative to this harmful mystification is proposed in the concept of “empathetic unsettlement,” a rubric for music composition that would refuse the conciliatory engulfment of Indigenous music into settler structures, requiring the listener to dwell in the discomfort of this refusal. Keywords: chapter; colonial; listening; music; robinson; settler; song; sound; text; work
• De Assis, Paulo. 2018. Logic of Experimentation: Rethinking Music Performance Through Artistic Research. Leuven: Leuven University Press. by Windleburn, Maurice (2021) - The idea of the experimental system allows Assis to justify his own approach to artistic research, where the strata of musical works are rearranged into novel orders, leading to the construction of new “things” (such as recordings, performances, essays). Assis’s book is pivotal for the field of artistic research in music, containing an in-depth transdisciplinary exploration of numerous complex concepts, avoiding the auto-ethnographic solipsism that artistic research studies risk falling into (given that the artist can be both the subject and object of their own research). Keywords: assemblage; assis; music; musicologists; musicology; new; performance; performers; research; things; work
• Resisting Usefulness: Music and the Political Imagination by Ritchey, Marianna (2021) - This “autonomous ideal” became one of the foundational values of European and American musicology; and indeed, in many respects, these nineteenth-century ideas became what “art,” including “art music,” is. It is thus no surprise that anarchists tend not to be interested in the kind of “art music” that musicology is often focused on. Keywords: adorno; art; arts; collective; difference; example; gautier; individual; means; music; new; people; power; press; society; state; university; value; way; work
• A Loose Affiliation of Alleluias: Tracing Genealogies of Technique and Power in Creative Practice by Oram, Celeste; GoGwilt, Keir (2021) - In a similar manner, there is an imperative for a modern listener to try to hear in historical music what has been discursively concealed and excluded—what the music itself has been leveraged to filiate and naturalize. Our compositional process and post-hoc reflection for a loose affiliation is one example of a citational approach — though other approaches might not necessarily adapt historical musical sources (as in a loose affiliation) and might necessitate methods other than the text-centric terms of a scholarly bibliography. Keywords: adorno; affiliation; century; concerto; culture; knowledge; materials; music; ornamentation; power; practice; spatz; technique; university; violin; work
• Valuing Whiteness: The Presumed Innocence of Musical Truth by Johnson-Williams, Erin (2023) - As Juliett Hess points out, received musical standards are set according to “specific Western constructs for expressing meter, dynamics, and articulations,” so that even when so-called “diverse” examples are added to repertoire lists, “Western music in music education [still] acts as a colonizer” (2015, 337). Without the commodification of the idea of absolutism, absolute music as a concept would not have been so pervasive—and one wonders whether the idea that western music possesses aesthetic values that are above and beyond contextualization (racial, financial or otherwise) would have become so prevalent. Keywords: 2020; century; colonial; decolonization; decolonizing; education; history; idea; innocence; land; moves; music; music education; musicology; new; press; race; settler; studies; truth; tuck; university; white; work; yang
• Opera, Sound Recording, and Critical Race Theory: Making a Sub-Field Audible by Timmermans, Matthew (2021) - The field-altering work that Mackey and Moten have each executed by way of issuing what amounts to a series of poetically rendered correctives—about, for instance, the presumed “legibility” and tenacious resonances of Black sound—are crucial to any study of modern sonic culture because their work forces us to confront with, among other things, the long historical arc of Black phonic meaning that precedes, rivals, and runs parallel to the characters whose acts are “really happening” in Marcus’s study. [(1992)] have made such dazzling inroads in Black sound studies by altogether pushing the language that we use to talk about the prodigious complexity of Black music, the magnitude of its weight and depth. Keywords: american; bess; blackness; bodies; experience; history; listening; met; music; new; opera; performance; porgy; press; race; recording; scholars; sound; spillers; thought; university; work

• Music and Song in Plays Acted by Children's Companies during the English Renaissance by Shapiro, Michael (2019) - In addition to the earlier studies of Naylor, Noble, and Cowling, we are now fortunate to have John H. Long's and Frederick Sternfeld's more specialized studies of the uses of music and song in the comedies and tragedies respectively, Peter Seng's useful compendium of information on the songs, and John Cutts's edition of songs used in the later plays. Cutts and Andrew J. Sabol have unearthed several settings for songs from plays acted by children's troupes, and W. R. Bowden in The English Dramatic Lyric: 1603-1641 has investigated the use of song in plays acted in both pub- lic and private theaters by both adult and boy companies. Keywords: adult; children; companies; music; paul; plays; press; shakespeare; song; troupes; university; use; vol
• Musical Style and Experience in a Brooklyn Pentecostal Church: An “Insider’s” Perspective by Butler, Melvin L. (2000) - In order to appreciate more fullly how Emmanuel Temple has been able to absorb West Indian musical styles, it may be helpful to locate the MELVIN L. BUTLER 47 church within the broader history of gospel music in America. I think Sanders's no­ tion of exile might also be applied to Mrican American churches con­ taining West Indian minorities-not to mention West Indian churches in the U.S.-where it seems her notion of an exilic existence would be fur­ ther enriched. Keywords: american; black; caribbean; church; churches; city; cultural; emmanuel; emmanuel temple; experience; gospel; indian; mrican; music; new; new york; pentecostal; press; study; styles; temple; university; west; worship; york
• Review of Derek B. Scott, ed. 2000. Music, Culture, and Society: A Reader. New York: Oxford University Press by Taylor, Timothy D. (2000) - Music, Culture, and Society: A Reader. There are entire selections that never address the subject of society or culture at all, confining themselves to music as text, music as structure-for example, most of the excerpts in the section Music and Language, even though language, as Mikhail Bakhtin and others have taught us, is deeply social. Keywords: culture; music; musicology; new; press; society
• Review of Thomas Turino. 2000. Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. Chicago: University of Chicago Press by Emoff, Ron (2000) - Turino defines musical nationalism, which becomes a prime medium or venue of cosmopolitanism, as the conscious use of any preexisting or newly created music in the service of a political nationalist movement (190). He is critical of a model of musical nationalism based on folk or vernacular elements simply be­ ing incorporated to form cosmopolitan musical styles, a model that does not adequately distinguish between nationalist movements and nationalist sentiment.3 Instead, Turino advocates a focus on musical nationalism in re­ lation to political nationalist movements and state nationalist projects (190).4 In his discussion of nationalism, as elsewhere, Turino draws upon theoretical frameworks commonly outside the scope of much musicologi­ cal writing. Keywords: cosmopolitanism; music; nationalism; press; turino; university; world; zimbabwe
• “King Porter Stomp” and the Jazz Tradition by Magee, Jeffrey (2001) - Armstrong's trademarks permeate the solo, including the syncopated leaps of a fourth at the opening, characteristic of Armstrong's solos with Henderson three 36 CURRENT MUSICOLOGY Example 2: King Porter Stomp, introduction, trumpet solo by Bobby Stark (Fletcher Henderson and His Orchestra, 1928). four days later- JEFFREY MAGEE 37 Example 3: King Porter Stomp, final strain, beginning (Fletcher Henderson and His Orchestra, 1928) Keywords: arrangement; band; dapogny; fletcher; goodman; henderson; jazz; jelly; king; king porter; magee; morton; music; new; orchestra; piece; porter; porter stomp; press; recording; roll; solo; stomp; strain; swing; trio; york
• Come on in North Side, you're just in time: Musical-Verbal Performance and the Negotiation of Ethnically Segregated Social Space by Scruggs, T. M. (2001) - -Sterling Plumpp Every Monday night in the 1970s and well into the 1980s jazz tenor sax­ ophonist Von Freeman led his quartet, and a later open jam session, at the Enterprise Lounge on Chicago's Mrican American South Side. Thus, too narrow of a focus on the musical text denies the import of the social context that informed the music as well as the full performance of Von Freeman, a 186 CURRENT MUSICOLOGY display that not only encompassed musical skill but verbal skill as well. Keywords: american; audience; band; black; chicago; club; community; enterprise; evening; half; jazz; music; musicians; new; performance; place; press; social; time; von; white
• Musical Literacy and Jazz Musicians in the 1910s and 1920s by Chevan, David (2001) - The responsibilities of the local pit orchestra included playing music before and after the show as well as ac­ companying movies, vaudeville acts, and other traveling performers. I had been working under the assump­ tion that Marable would have hired New Orleans musicians because of their skills at playing hot solos. Keywords: american; arrangements; band; bernhardt; bushell; dance; david; dodds; foster; humphrey; jazz; jazz musicians; king; louis; musicians; new; new orleans; orchestra; orleans; parts; play; playing; press; reading; skills; university; white; york
• Big Ears: Listening for Gender in Jazz Studies by Tucker, Sherrie (2001) - What makes it possible to ignore women jazz musicians as his- SHERRIE TUCKER 387 torical subjects when so many women musicians have participated and excelled injazz throughout the music's history? Her own interpretations often surprised me, as did the interpretations of many women jazz musicians I have interviewed, and I imagine these interpretations would surprise other jazz historians. Keywords: american; analysis; bands; beat; cultural; culture; current; davis; discourse; dominant; female; gender; history; jazz; jazz discourse; jazz history; jazz musicians; jazz studies; male; masculinity; music; musicians; musicology; new; power; press; race; university; ways; white; women; women musicians; york
• Latin Jazz: The Other Jazz by Washburne, Christopher (2001) - The Peanut Vendor served to further entrench Latin music in the jazz scene and provided groundwork for what would become known as Latin jazz. Latin Jazz in Today's New York Scene: Prestige and Omission Within the last ten years there has been a growing Latino presence in the New York jazz scene, due in part to a recent influx of Cuban musi­ cians; to the 'prominence of musicians like Panamanian pianist Danilo Perez and Brazilian trumpeter Claudio Roditi, who have attained high re­ gard among the mainstream jazz community; and to the continued inter­ nationalization of the jazz economy, with burgeoning scenes thriving in CHRISTOPHER WASHBURNE 415 Latin American and Caribbean countries. This has re­ sulted in the publication of two Latin jazz histories (Roberts 1999; Delannoy 2001); the release of Calle 54, a documentary film on Latin jazz; and an exhibition constructed by the Smithsonian Institute, Latin Jazz: la combinaci6n perfecta, which will be touring in the United States in the fall of 2002. Keywords: african; american; art; canon; caribbean; dance; gillespie; history; jazz; latin; mrican; music; musicians; new; new york; pozo; press; scene; styles; tradition; university; york
• Review of Uta G. Poiger. 2000. Jazz, Rock, and Rebels: Cold War Politics and American Culture in a Divided Germany. Berkeley: University of California Press by Jackson, Jeffrey H. (2001) - Jazz scholars may find this book less interesting since the focus is on Germany, not on jazz, and only one chapter really treats jazz itself in detail. Reviewed by Jeffrey H. Jackson Over the last several years, cultural historians have looked to jazz music as a way of talking about national identity. Keywords: culture; german; jazz; music; poiger; press; university
• Review of Simon P. Keefe. 2001. Mozart’s Piano Concertos: Dramatic Dialogue in the Age of Enlightenment. Woodbridge: The Boydell Press by Will, Richard (2002) - Koch would be perplexed, though, by Keefe's reluctance to discuss what Sulzer called the rendering of passions, whose purported absence from concertos inspired Koch to mount his defense. It is evident above all in first movements: Keywords: concertos; dialogue; keefe; koch; movement; mozart; orchestra; piano; press; solo; soloist
• Review of David Charlton. 2000. French Opera 1730-1830: Meaning and Media. Aldershot: Ashgate by Rushton, Julian (2002) - Grand opera is an arena in which musicologists outside France have been vigorously engaged in recent years.2 I have be­ come aware of at least four recently completed Enghsh-Ianguage disserta­ tions concerning grand opera; the statistical probability is that there must be more. The Romance and its Cognates: Narrative, Irony, and Vraisemblance in Early opera comique (1997) II. Keywords: cambridge; century; charlton; comique; eighteenth; essay; music; new; opera; press; university
• Are My Ears On Wrong?: Hearing Polyphony, ca.1375-ca. 1450 by Sanders, Ernest H. (2003) - And, for that matter, theorists of the eighteenth and early nineteenth centuries are not usually not too helpful to a student eager to get inside a Beethoven score. It was this particular aural disposition, which caused English compos­ ers of the later fourteenth and early fifteenth centuries to engage in their extravagant manipulations of the cantus firmus (in the middle voice, mi­ grant, and in various transpositions23), that proves their lack of concern for the perceptions and conceptions mandated by Dahlhaus. Keywords: american; bent; cadence; century; chord; composer; composition; contratenor; counterpoint; dahlhaus; dufay; fact; fifteenth; fourth; matter; medieval; music; musicology; new; octave; pitch; polyphony; press; s.v; sachs; sanders; tenor; term; tonality; university; voices
• Writing Under the Influence? Salieri and Schubert’s Early Opinion of Beethoven by Gibbs, Christopher H. (2003) - Salieri and Schubert's Early Opinion of Beethoven Christopher H. Gibbs To Ludwig van Beethoven From his worshipper and admirer Franz Schubert In 1822, Schubert dedicated his Variations on a French Theme for Piano Four-Hands, Op. Salieri's letter of recommendation, written in Italian, may not come across as a ringing endorsement, but it was intended simply to convey that after interviewing the candidates he considered Schubert the best among them, and therefore found it unnecessary to administer an examination confirming his musical abilities: I, the undersigned, assert that I support the application of Franz Schubert (Deutsch 1946:54) .17 Keywords: beethoven; christopher; composer; composition; der; deutsch; diary; entry; franz; german; gibbs; instruction; italian; life; mozart; music; new; press; salieri; schubert; spaun; time; university; vienna; von; works; years; york
• Rumph, Stephen. 2004. Beethoven After Napoleon: Political Romanticism in the Late Works. Berkeley and Los Angeles: University of California Press. by Mathew, Nicholas (2004) - Of course, any periodization is susceptible to revision, but Beethoven scholars would do well to explore the potential of Rumph's paradigm. The uncanny moments of self-awareness so common in late Beethoven-the musical swerves that seem to take place outside of the prevailing narrative space-acquire, in Rumph's narrative, a broadly political significance. Keywords: beethoven; discussion; eroica; history; hoffmann; music; new; ninth; politics; press; rumph; style; sublime; symphony
• Review of Daniel Fischlin and Ajay Heblin, eds. 2004. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Middletown, CT: Wesleyan University Press; and Robert O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffith, eds. 2004. by Higgins, Niko (2004) - Uptown Conversations and The Other Side of Nowhere continue this trajectory by moving away from jazz as a static object to be stylistically described, explained, and celebrated through the heroic and larger-than-life individual towards an understanding of jazz as a music in continual dialogue with the historical, social, political, racial, and gendered processes governing its creation.2 No article in either collection articulates these goals more clearly than George Lipsitz's essay, Songs of the Unsung: The Darby Hicks History of Jazz, which appears in Uptown Conversations. As Mangin's essay reminds us, other cultures may view jazz as just an­ other form of world music: Jazz for Senegalese becomes an international music that can be appropri­ ated, commodified, and used to express their modern voice among Francophone countries as well as a pan-Mrican imaginary that includes French West Africa, America, and Europe. Keywords: american; art; conversations; essay; improvisation; jazz; lewis; music; musicians; new; press; studies; university; uptown
• A Voice Like Thunder: Corsican Women's Lament as Cultural Work by Rosenberg, Ruth Emily (2004) - Though many outsiders have depicted Corsican women as pitiful and powerless creatures, traditional Corsican society afforded women access social spaces outside the home and certain other rights that do not fit the stereotypical view of women's roles in Mediterranean societies. Despite the disapproval of some male singers, Corsican women have been participating in and forming polyphony groups. Keywords: caninu; century; conflict; context; corsican; death; deceased; funeral; gender; grief; island; lament; male; mourners; music; press; rocchi; singing; sister; song; tradition; viale; voceru; women; world
• Review of Andrew Dell’Antonio, ed. 2004. Beyond Structural Listening? Postmodern Modes of Hearing. Berkeley and Los Angeles: University of California Press by Horton, Julian (2004) - As he sen­ sibly observes, the abandonment of structural analysis in favor of social, cultural, and political investigation cannot of itself guarantee the obviation of concealed ideology that much new-musicological commentary urges. And if the materials of tonality are present in popular music, then they are susceptible to structural analysis. Keywords: analysis; analytical; dubiel; form; kind; listening; material; music; musicology; new; press; subotnik; university
• Review of Eric Clarke and Nicholas Cook, eds. 2004. Empirical Musicology: Methods, Aims, Prospects. Oxford and New York: Oxford University Press by Devaney, Johanna (2005) - Reviewed by Johanna Devaney Empirical Musicology is a collection of articles exploring the potential for a greater integration of empirical methods into musicology and music theory. More specifically, the stated aims of the book are to systematically document the areas of musicology in which empirical methods may be most useful, discuss issues related to the applications of these methods, cite studies that have already made use of the methods, and consider the theoretical consequences of employing such methods (9). Keywords: analysis; chapter; data; empirical; methods; music; musicology; new; press; qualitative; theory; university
• Disruptive Spatiality and the Experience of Recordings of Bach’s Solo Cello Suites by Waltham-Smith, Naomi (2006) - They carry more than vague spatial associations and the listeners' memories of other spaces once filled with the same music. The overwhelming majority of studies focus on issues relating to performance style, whether to questions of historical developments, tempo, or expressivity; work on Bach recordings is no exception. Keywords: acoustic; bach; bull; cambridge; cello; church; experience; film; heidegger; listener; listening; music; musicology; new; performance; press; recordings; smith; solo; sound; space; suites; university; world
• Corpo-Realities: Keepin’ It Real in “Music and Embodiment” Scholarship by McMullen, Tracy (2006) - 3. Sherrie Tucker's research into gender and sexuality in jazz has unearthed many examples of women jazz musicians depicted as borderline transvestites. A similar claim was made regarding women jazz musicians by a recent online commentator. Keywords: body; communities; conant; embodiment; experience; jazz; music; new; orchestra; performance; philharmonic; playing; pleasure; practice; press; scholars; sound; trombone; university; women
• Music of the Gods: Solo Song and effetti meravigliosi in the Interludes for La pellegrina by Treadwell, Nina (2007) - La potenza ammirativa ne conoscente sia, ne affettuosa, rna da ambedue separata e ad ambedue communicantesi; e che, posta di quelle in suI confino, sia atta a diffondere, e ad infondere, il moto suo tostamente allo 'n su nelle conoscenti, e allo in giu nelle affettuose ... E si puo percio dire la potenza ammirativa essere tra queste due potenze quasi uno Euripo, per 10 quale la marea, dalla ragione agli affetti correndo e ricorrendo (Patrizi 1969,2:361-62). Sia certa V. Eccell., ... che non vidder mai gli occhi miei spettacolo pili nobil di questo, che il veder il Gran Duca Ferdinando senza guardia, con poche genti a cavallo e meno a piede, andarsene tutto fangoso per la citta, facendo quello ufficio che e vero principe. Keywords: accounts; archilei; audience; auditor; bardi; cavallino; che; court; della; duke; echo; effects; example; experience; ferdinando; florence; florentine; interludes; intermedi; medici; meraviglia; music; musicology; new; nina; non; passagework; patrizi; pellegrina; performance; peri; pili; power; press; renaissance; rossi; sense; singer; singing; solo; song; sound; spectator; stage; text; theater; time; treadwell; uffizi; university; use; wonder; words
• Virtuosity, the Violin, the Devil ... What Really Made Paganini "Demonic"? by Kawabata, Maiko (2007) - According to the most popular legend, Paganini, like Faust, made a pact with Satan to acquire magical powers-enabling him to create effects on the violin beyond the reach of anyone else. Faust, magician, Satan, sadistic villain: the faces of Paganini were interrelated but not equivalent. Keywords: bow; courcy; death; demonic; devil; example; faust; figure; goethe; image; instrument; kawabata; london; maiko; music; musicology; new; opera; paganini; paris; performance; press; saussine; university; violin; violinist; woman; york
• Three Contributions to the “Sonic Turn” by Porcello, Thomas (2007) - Moorefield most closely links to the literature on recording studio practice, Doyle to discussions of both the aural and referential dimensions of particular sonic signatures of popular music recordings, and Anderson to a cultural history of the technologization and industrialization of music pro­ duction and listening practices. (Ill) While few would contest that the producers discussed in the book were key innovators in studio technology use, and that many of them created truly extraordinary recordings by taking advantage, in many cases, of new pos­ sibilities that emerged as recording technologies changed throughout the twentieth century (and working, one might add, most often in conjunction Thomas Porcello with truly talented musicians), that alone cannot account for why these individuals have been lionized when others haven't, nor can it address the complex ways in which technology not only frames but, equally importantly, is framed, by use. Keywords: anderson; book; doyle; london; moorefield; music; press; production; recording; sonic; sound; studies; technology; university; university press
• The Pastoral After Environmentalism: Nature and Culture in Stephen Albert’s Symphony: RiverRun by Watkins, Holly (2007) - In addition to expanding the range of interpretive possibilities, a further advantage of Gifford's approach is that, unlike Marx, he does not draw strict boundaries between popular and high art, a stance that seems important in the case of neo-romantic music which enjoys a broad appeal. Yet the postmodern philosophy of history that Rochberg promulgated-a philosophy which discards the notion of linear evolution in favor of an al­ leged timelessness of musical styles-was a vital factor in the emergence of a genre of music that I will call the neo-romantic pastoraP Combining the romantic and environmentalist impulses of the early 1970s, neo-romantic pastorals, penned by such composers as Stephen Albert, Libby Larsen, and Ellen Taaffe Zwilich, unabashedly adopt (and adapt) the conventional pastoral topoi of the eighteenth and nineteenth centuries. Keywords: albert; composers; example; human; marx; movement; music; nature; neo; new; pastoral; press; riverrun; stephen; symphony; university; york
• Medievalism and Exoticism in the Music of Dead Can Dance by Yri, Kirsten (2008) - 67 68 Current Musicology While it might be said that the interest in medievalism was a short -lived trend in Dead Can Dance's music, the band's treatment of the Middle Ages and the increased number of medieval music ensembles inspired by folk or popular music practices confirms that the boundaries between popular culture and academic practices are permeable, and that knowledge from one can and does inform the other. Both Dead Can Dance's newly composed renditions as well as their performances of medieval music were modeled after historically informed performances and thus drew on the sounds of medieval music as it was constructed in the early music revival of the 1960s and 1970s. Keywords: ages; alternative; arab; band; bulgarian; chant; dance; dead; example; gerrard; medieval; middle; music; new; practices; press; rock; song; spiritual; world
• The Filth and the Fury: An Essay on Punk Rock Heavy Metal Karaoke by Oakes, Jason Lee (2008) - Drawing on my participation in the event from 2001 to the present, I examine the relationships between abjection, noise, karaoke, gender, and the genre of punk rock at PMK. In terms of Western popular music, this karaoke revolution can be traced back to the beginnings of punk rock and its much-heralded DIY (Do It Yourself) ideology. Keywords: abject; abjection; audience; band; body; boundaries; event; female; gaze; gender; horror; karaoke; lauren; lee; male; metal; music; musicology; new; new york; noise; oakes; performance; pmk; press; punk; punk rock; regular; rock; singers; song; terms; time; voice; women; york
• Review of George Lipsitz. 2007. Footsteps in the Dark: The Hidden Histories of Popular Music. Minneapolis: University of Minnesota Press by Burford, Mark (2008) - © 2008 by the Trustees of Columbia University in the City of New York 125 126 Current Musicology Lipsitz was trained as a historian-his earliest activism and scholarship focused on labor and working-class issues-and popular music history has held prominent place in his work. What popular music can teach us about such issues is his subject in Footsteps in the Dark: The Hidden Histories of Popular Music, a book in which Lipsitz calls for reading popular music as history and interpreting history through popular music (xvi). Keywords: american; banda; black; book; chapter; culture; dark; footsteps; hip; history; hop; jazz; lipsitz; merengue; mexican; migration; music; musicians; new; press; puerto; university; york
• Speaking and Sighing: Bellini’s canto declamato and the Poetics of Restraint by Esse, Melina (2009) - Rossini e Bellini a paragone. Speaking and Sighing: Bellini's canto declamato and the Poetics of Restraint Melina Esse Keywords: amina; appoggiatura; arturo; bellini; canto; che; corsets; declamato; delle; esse; example; female; figure; melina; melody; music; musicology; new; non; notes; opera; press; restraint; rousseau; straniera; style; tears; voice; women; words
• Rebel Girls and Singing Boys: Performing Music and Gender in the Teen Movie by Cateforis, Theo (2009) - Specifically, this new wave of teen movies began to portray adolescence in a way that resembles an­ thropologist Victor Turner's description of the liminal journey, a socially defined process marked by rites of passage towards adulthood. As Timothy Shary (2002) has argued, this surge in popularity can be attributed in part to the development and rise of the suburban shopping mall, which not only served as a prominent setting within many early 1980s teen movies, but also provided the site of the new multiplex theaters that attracted teen film audiences in droves. Keywords: adolescence; adult; alternative; american; andie; boys; character; female; film; girl; hughes; identity; kat; male; movie; music; new; performance; press; rebel; rock; song; teen; teen movie; time; transformation; william; york
• Hearing Glenn Gould's Body: Corporeal Liveness in Recorded Music by Sanden, Paul (2009) - Perhaps the most effective promotion of this dual image of Gould-one of formidable mind and imperfect body-came from Gould himself.13 Gould repeatedly stated in interviews and in his own writings that for him the most important aspect of any piece of music was its structure. For instance, the first book-length study of Gould, Geoffrey Payzant's Glenn Gould: Music and Mind (1978), announces its bias in its title. Keywords: art; body; glenn; glenn gould; gould; liveness; mind; music; musicology; performance; physical; piano; playing; press; recordings; singing; sound; university; variation; voice; western
• Review of Jann Pasler. 2009. Composing the Citizen: Music as Public Utility in Third Republic France. Berkeley and Los Angeles: University of California Press. by Seto, Mark (2009) - If anything, its significance has perhaps been overstated in narrative accounts of French music. On the scarcity of narrative histories of French music, see Henson (2008). Keywords: book; century; french; music; new; oxford; pasler; press; republic; university
• Raymond Monelle. 2006. The Musical Topic: Hunt, Military, and Pastoral. Bloomington and Indianapolis: Indiana University Press. by Haringer, Andrew (2010) - l However, it is for his groundbreaking work in musical semiotics, and topic theory in particular, for which Dr. Monelle is most likely to be remem­ bered' and here too he deviated from the norm. It was this judicious blend of a solid foundation and an adventurous spirit that ensured glowing reviews of Monelle's first two books by scholars of such different temperaments as Kofi Agawu (1994) and Susan McClary (2001).1t is therefore surprising that his third and, in my estimation, greatest book-The Musical Topic: Hunt, Military, and Pastoral-met with so little fanfare when it appeared four years ago.2 Modern topic theory owes its beginnings to Leonard Ratner's seminal work, Classic Music (1980). Keywords: calls; century; example; horn; hunt; hunting; marches; military; monelle; music; new; pastoral; press; sense; signifier; theory; topic; university; world
• Sex and Laughter in Women’s Music, 1970-77 by Doughter, Sarah (2010) - And yet, in popular thinking, there is really only one essential difference between a lesbian and other women: that of sexual orientation-which is to say, when you strip off all the packaging, you must finally realize that the essence of being a woman is to get fucked by men. Together with the development of other institutions such as softball leagues, theaters, bookstores, and clinics, music venues (which were often ephemeral, rented spaces) served as a social hub for women who were looking for other women who shared their lesbian-feminist politics and their sexual interests (Lockard 1886:83). Keywords: album; audience; christian; culture; feminist; humor; identity; know; lesbian; mainstream; movement; music; new; olivia; press; records; sexuality; song; women; york
• David Janssen and Edward Whitelock. Apocalypse Jukebox: The End of the the World in American Popular Music by Gutkin, David (2011) - (To invert Michael Eric Dyson's paraphrase of Ernest Becker: The American character David Gutkin may be a vital lie, but it is (still) a lie.);IO and second, the historicity and deeper political motivations of American apocalyptic thought. Throughout the volume, Jannsen and Whitelock attend mostly to rock­ from Elvis to Sleater-Kinney-but also to other genres, energetically tracing the theme of apocalypse through American musics and musicians as diverse as gospel, country, and John Coltrane. Keywords: american; apocalypse; authors; character; culture; janssen; music; new; press; whitelock; world; york
• Chris McDonald. Rush, Music, and Middleclass: Dreaming in Middletown by Sroka, Bradley (2011) - Though McDonald does poll and interview Rush fans for his study, a majority of his arguments are supported with his own interpretation of Rush's music and lyrics, and with scholar­ ship concerning middle-class institutions and ideologies. 203 204 Current Musicology McDonald also touches on gender and race as each pertains to Rush and to the middle class: for example, he discusses the feminine coding of acoustic guitar passages in progressive rock (2009:.36), and the masculine cult of musicianship prevalent among Rush fans (2009:171). Keywords: band; class; fans; mcdonald; middle; music; press; remasters; rock; rush; world
• Music for the Last Supper: The Dramatic Significance of Mozart’s Musical Quotations in the Tafelmusik of Don Giovanni by Chong, Nicholas Junkai (2011) - However, it might also be read as a reference to Bertati's libretto for Gazzaniga's opera, Don Giovanni Tenorio (1787), which contains a character, Lanterna, who is a cook.27 As is well known, Da Ponte's Don Giovanni libretto relied heavily on Bertati's as an exemplar. In Berger's words, women are for him interchangeable occasions rather than persons:'86 Don Giovanni may adopt different tactics in his attempts to conquer different women but ultimately he is not choosy. Keywords: act; aria; audience; buffa; cambridge; che; composer; cosa; don giovanni; figaro; heartz; hunter; ibid; leporello; major; martin; mozart; music; new; non; opera; ponte; prague; press; quotation; rara; sarti; scene; tafelmusik; university; vienna; world
• Harriet Jacobs Gets a Hearing by Crawley, Ashon (2012) - Thus, I quoted Mackey because the passage is illustrative of the ongoing preoccupation with movement and compression, antiphony and texture, that animated Jacobs’s performance, which vivifies black sonic performance traditions from Spirituals to Gospel, from Blues to Jazz. The screams Jacobs recounts give the gift of withholding relation and relationality, a relationality of antirelationality. Keywords: alto; crawlspace; escape; jacobs; life; performance; press; scream; sonic; sound; space; time; voice; withholding
• An Account of Emotional Specificity in Classic-Romantic Music by Swinkin, Jeffrey (2012) - Some argue this on the basis that musical emotions lack intentional objects: if a piece expresses sadness, for example, this could not consist in the listener feeling sad for the piece gives him nothing to be sad about.2 Others invoke the problematic paradox of negative emotion: if music really made us feel sad, why would we want to listen to it? In the process, I hope to demonstrate that musical emotions need not be of the most general sort, such as joy and sorrow (what Kivy designates “gar- den–variety” emotions) but may at times be subtle, specific, and “cognitively complex.”3 Keywords: anger; beethoven; emotion; example; figure; hanslick; kivy; measure; minor; music; press; processes; section; structure; theme; theory; university
• In Memory, Theory: Concluding Unscientific Postludes by Tulachan, Binu; Gardiner, Michael; Sakata, Jon (2013) - Long-term memory, as proposed by Squire (1992), involves components of explicit/declarative memory (open to intentional retrieval), implicit/nondeclarative memory (performance based, eg. ‘muscle memory’), semantic memory (assumed knowledge of the world), and episodic memory (capacity to remember events). In addition to the cumulative nature of episodic memories, research sug- gests that there is an ‘episodic buf- fer’ which functions like “a screen on which information from a range of sources is displayed” and present- ed for re-arrangement (Baddeley et al., 57). Keywords: aggregate; allemande; blancrocher; branle; chaconne; couperin; courante; edge; gaillarde; gigue; images; memory; music; network; order; prelude; press; sarabande; space; term; theory; time; tombeau
• Eleven Theses on Sound and Transcendence by Kane, Brian (2013) - In Women’s voices across musical worlds, edited by Jane A. Bernstein. In eighteenth–century aesthetics, the experience of music often prefigured the angelic choir. Keywords: essence; experience; listening; music; new; orchestra; physis; press; production; sound; technê; transcendence; truth; university; vibrations; wagner
• Judging Performance, Performing Judgments: Race and Performance in Weimar Germany by Fay, Brendan (2013) - The importance of Germans performing German music was in some cases even more important abroad, where it lay vulnerable not only to “inauthentic” renditions by foreign artists but also to performance in other vernaculars: German performers provide the occasion for a cultural mission of the highest rank not only in Germany, where they understand it must be so, but also in the neutral and even in the enemy countries! (Quoted in Riethmüller 2002: 293) Current Musicology 74 Birthright was often held responsible for the cultural insights that it conferred onto performers of German music. Keywords: als; anti; beethoven; breithaupt; critics; culture; das; dem; den; der; des; deutsche; die; eine; flaffith; für; german; gieseking; heuss; ist; jews; music; musical; musicians; musicology; new; performance; performers; pianist; piano; press; race; racial; semitic; sich; und; university; von; war; weimar; york
• Review of Eva Rieger. 2011. Richard Wagner’s Women. Translated by Chris Walton; and Laurence Dreyfus. 2010. Wagner and the Erotic Impulse. by Coleman, Jeremy (2013) - Richard Wagner and the Centrality of Love.11 Any simultaneous publication inevitably misses the opportunity for collaboration or cross–fertilization, yet the release of these books in anticipation of the bicentenary would seem to suggest that love, in Wagner studies at least, is Current Musicology 134 in the air: Emslie’s claim for the “centrality of love” in Wagner—however vaguely defined—is one that might unite Dreyfus and Rieger in agreement. Both authors may be commended for placing Wagner’s music center stage, in what is perhaps a welcome corrective against the tendency in Wagner studies toward fashioning Wagner as a fundamentally literary figure contrary to his own claims to be a musician first and fore- most. Keywords: book; dreyfus; erotic; love; music; opera; press; richard; rieger; university; wagner; women; works
• Voice and Instrument at the Origins of Music by De Souza, Jonathan (2014) - Musical instruments may then be conceived as a supple- ment to bodily musicality. After all, communities of hunter– gatherers today often use found objects as musical instruments (Espi– Sanchis and Bannan 2012). Keywords: cambridge; evolution; human; instruments; language; music; new; origin; oxford; press; rousseau; song; stiegler; technics; university; voice
• “Django’s Tiger”: From Jazz to Jazz Manouche by Givan, Benjamin (2014) - “By jazz tsigane,” he writes, “we mean jazz music created by musicians of the Gypsy [‘tsigane’] race” (54).29 Jalard’s essentialism persists in scholarship as recent as the American author Michael Dregni’s 2008 book–length chronicle of jazz manouche, though it generally takes a subtler rhetorical form: rather than explicitly invoking race, Dregni traces the music’s transmission through kinship lineages, both literal and metaphoric (Dregni 2008).30 He highlights the contributions of Reinhardt’s guitar–playing sons, Lousson and Babik, grandson David Reinhardt, and great–grandson Dallas Baumgartner, even though, with the exception of the last mentioned, they have been electric 14 Current Musicology guitarists favoring a post–bebop idiom rather than the Quintet’s acoustic interwar style (2008, 213–22, 278–87).31 Dregni’s historical narrative is also replete with rhetorical allusions to essentialized, putatively natural characteristics of Romani culture and music, even at times perpetuating longstanding negative stereotypes.32 Metaphorically, the notion of jazz manouche as a biological inheritance emerges most unambiguously in his “Gypsy Jazz Family Tree.” At the twentieth century’s close, Williams identified five principal factors that contributed to the rise of jazz manouche: a worldwide trend among jazz musicians, in the 1980s and ’90s, toward exploring jazz styles of earlier generations; a small coterie of amateur enthusiasts who began recording and distributing the music, as well as publishing related articles and pedagogical books; a concurrent revival of interest in the musette mu- sic, and “swing–musette,” of the interwar years; the emergence in Europe of “Gypsy festivals” (“festivals ‘tziganes’”) that often presented public concerts of music associated with Romani communities;18 and finally, a late–twen- tieth–century fad for “anything with an ethnic character” (Williams 2000, 417).19 Subsequent research by Siv B. Lie (2012) has found that, since the turn of the millennium, jazz manouche’s popularity has been further fueled 12 Current Musicology by French governmental subsidies that have, rather ambivalently, promoted the music as an emblem of, on the one hand, French national patrimony in general and, on the other, Manouche culture in particular. Keywords: american; benjamin; club; django; django reinhardt; france; genre; givan; guitarist; gypsy; history; hot; idiom; jazz; jazz manouche; manouche; moignard; music; musicians; new; players; playing; press; quintet; reinhardt; romani; style; tiger; today; university; williams; york
• Noticing Musical Becomings: Deleuzian and Guattarian Approaches to Ethnographic Studies of Musicking by Moisala, Pirkko; Leppänen, Taru; Tiainen, Milla; Väätäinen, Hanna (2014) - In order to highlight the utility of Deleuzian and Guattarian thinking, we chose to provide brief examples from our own current studies that are linked to several areas of music research: popular music studies, art music studies, musical performance studies, dance studies, and ethnomusicology. different kinds of things that might be happening, or things that might be happening differently” (Coleman and Ringrose 2013, 4).8 Inspired by Deleuze and Guattari, and as one way of reaching toward new styles of observing, studying, and conceptualizing musickings as profoundly processual, always multiple, relational comings into being—as becomings—we suggest an associated epistemological and ontological shift from knowing music—being able to read its “codes” or pin down its meanings—to noticing musicking in its ever–fuller diversity and variation.9 In music studies, a move away from knowing toward noticing could be explained as a move away from certainty regarding what music(king) is toward a productive uncertainty that leaves room for new imaginings, research encounters, and methodological experimenting. Keywords: becomings; bodies; deaf; deleuze; guattari; human; music; musicking; new; non; performance; press; research; signmark; sound; studies; university; ways; women
• Rhythms of Relation: Black Popular Music and Mobile Technologies by Weheliye, Alexander G. (2017) - While early mobile ringtones consisted of a particular sequence of tones and did not differ significantly from the functional sounds of a ringing landline, mobile phone ringtones are now largely MP3 clips (usually around 15 seconds in duration) of existing musical recordings. After a brief examination of those aspects of mobile technologies that gesture beyond disembodied communication, I turn to the multifarious manifestations of techno-informational gadgets (especially cellular/mobile telephones) in contemporary R&B, a genre that is acutely concerned, both in content and form, with the conjuring of interiority, emotion, and affect. Keywords: blackberry; cell; communication; devices; face; machines; mobile; music; new; phone; press; r&b; rhythm; ring; ringtones; sensation; song; sonic; technologies; technology; text; voice; way
• From Coups that Silence Ezan-s to Ezan-s that Silence Coups!: Sonic Resistance to the 2016 Turkish Military Coup by Koymen, Erol (2017) - Moreover, these online platforms themselves become sites at which Turkish citizens revisit coup resistance and continue to construct their individual and collective political subjectivities, a process to which online comments sections give access (Cooley, Meizel, and Syed 2008). Despite the varying degrees of religious fervor they exhibit, these comments indicate the perceived significance of Islamic calls to prayer for coup resistance and the platform that YouTube videos provide for reflection upon and deepening of an emergent, affec- tively embodied collectivity. Keywords: calls; coup; coup attempt; coup resistance; erdoğan; ezan; islamic; july; music; nation; new; prayer; press; public; resistance; sela; sound; space; square; turkey; turkish; university; video
• As Time Goes By: Car Radio and the Travel Experience in Twentieth-Century America by Messbauer, Sarah (2017) - But lingering doubts over the invention’s safety, combined with a moratorium on automobile production during the scrap metal drives of World War II, meant that car radios remained relatively rare until well into the start of the postwar period. Now, nearly a century after these first models were put up for produc- tion, car radios are found in over 95 percent of cars on the road (Fisher 2007, 67). Keywords: american; automobile; car; car radio; cars; century; listening; medium; music; new; press; production; radio; sound; space; studies; technologies; time; university; york
• Black Noise, White Ears: Resilience, Rap, and the Killing of Jordan Davis by Cheng, William (2018) - (“Michael Dunn Trial—Cory Strolla—Press Conference,” ~11:00, emphasis added)81 Let’s “keep it clean,” people—meaning, let’s keep the taint of blackness at bay.82 Because it’s a “subculture thug issue” that “doesn’t go to race”—mean- ing, anyone (black or white) can be a thug, and it’s the thug behavior (not the color of thugs) that irked Michael Dunn. Or take bebop, which poet Amiri Baraka exalted for its “willfully harsh, anti-assimila- tionist sound” (2002, 181, emphasis in original) and which jazz scholar Scott DeVeaux characterized as “a rebellion by black musicians against a white-controlled capitalist hegemony” (1997, 4).56 When framed within narratives of overcoming, black music is seemingly never allowed just to be, but must always formidably, laboriously be against. Keywords: american; black; brunson; car; case; cheng; closing; court; davis; day; defendant; defense; dunn; dunn trial; durango; figure; florida; johnson; jordan; jordan davis; know; law; letter; life; like; loud; man; matter; mcbath; michael dunn; music; musicology; new; pain; people; police; press; race; racism; rap; rap music; resilience; ron; rouer; sanders; sound; state; stornes; strolla; testimony; thompson; thug; time; trial; university; v. dunn; way; white; william; women; york; youths
• In Praise of Eclecticism: Relational Thinking and Theoretical Assemblage by Monson, Ingrid (2018) - Anthropology in the 1980s developed practice theory, which em- phasized the relationship between structure and agency in the unfolding of social life. Practice theory has been central to my own work, especially Freedom Sounds (Monson 2007), in which I deployed the ideas of discourse, prac- tice, and structure to explore how musicians and other participants in the 194 Current Musicology jazz world interacted with and understood the Civil Rights Movement, Black Power, and African Independence. Keywords: assemblage; deleuze; ethics; latour; mali; mande; monson; music; new; perspectives; power; practice; press; relational; senufo; social; theory; university; york
• Introduction: I am Nothing by Fiol-Matta, Licia (2018) - ”11 Keying into the career of women singers must entail this approach to history for three reasons: Their histories have not been written, nor a general history of a collective subject; it is hard to piece together the actual sources of these histories, necessitating a method that will privilege the question over the answer; although associated with free- dom and play, music careers in given contexts are very tough and often unsuccessful, notwithstanding the existence of talent. As to women singers specifically, they entertained. Keywords: book; chapter; history; latin; listening; lucecita; music; performance; pop; press; puerto; rico; singer; song; university; voice; women; world
• Writing the City: The Cosmopolitan Realism of Offenbach’s La Vie parisienne by Blaszkiewicz, Jacek (2018) - Le soir, les restaurants où ils avaient coutume de diner, les loges et les stalles de spectacle où ils allaient écouter des opéras et des comédies, étaient pris d’assaut par des cohortes de curieux voulant, comme le baron de Gondremarck de La Vie parisienne, s’en fourrer jusqu’au cou.” In addition to publishing their own illustra- tions, Damourette and Meilhac also commissioned issues from other art- 77 Jacek Blaszkiewicz ists and caricaturists for the series, with “Paris”-inspired titles like Les Folies parisiennes and On nous écrit de Paris by the photographer Nadar and Vie d’une parisienne by the illustrator Gustave Janet. Keywords: act; brazilian; century; character; city; des; gardefeu; halévy; la vie; les; life; magazine; marcelin; meilhac; métella; new; offenbach; operetta; paris; parisian; parisienne; press; stage; theater; urban; vaudeville; vie; vie parisienne; york
• Berton’s Ludic Pedagogy and the Subdominant Otherwise: Tension and Compromise in the Early Paris Conservatoire Curriculum by Blackmore, Callum (2019) - However, this entr’acte goes one step further by foregrounding the tetrachordal divisions of the scale Berton’s axial tonal space entails: not only do various “diatonic quiescenzas” (Gjerdingen 2007, 228) spell out the pitches of the tétrachord authentique, the bass line moving from the subdominant tonicization to the tonic return (via the second-inversion dominant seventh) spells out a tétrachord plagale.39 In light of ongoing debates around so-called “intentional fallacy” in music analysis, some might say that it would be spurious to suggest that Berton deliberately set out to organize these numbers around a decidedly Rameauian conception of harmonic space.40 Berton wrote a great many arias that do not use the subdominant at all, either as modulating key aria or as an individual chord. In his Dictionnaire, Castil-Blaze proclaimed that “Mr Berton has found a very ingenious means of teaching young pupils an introduction to the principal chords of all of the tones,” and in his introduction to game’s second edition, Castil-Blaze declared that 131 Callum Blackmore Berton’s pedagogical method should be “agreeable to all musical amateurs and useful to all young students” (Castil-Blaze 1825, 163; Berton 1842, 1). Keywords: berton; cadence; catel; chord; committee; conservatoire; des; harmonic; harmony; key; modulation; music; music theory; musicology; new; press; rameau; scale; section; space; subdominant; system; theory; tonic; traité; university
• Wagnerian Singing and the Limits of Vocal Pedagogy by Parr, Sean (2020) - Nilsson seems to imply that singing Wagner demands a thicker sound beam than other composers and that the body must be more intensely involved in singing Wagner than with Verdi or Strauss. In attempting to satisfy the desire for clarity of diction, many singers developed a penchant for spitting consonants so intensely (Konsonanten-Spuckerei) that they were condemned for bark- ing instead of singing their vocal lines. Keywords: body; breathing; century; high; new; opera; performance; press; singers; singing; sound; technique; tenor; university; voice; wagner; wagnerian
• Sykes, Jim. 2018. The Musical Gift: Sonic Generosity in Post-War Sri Lanka. Oxford: Oxford University Press. by Singh, Davindar (2021) - It grounds these histories in Sykes’s ethnographic study of Sinhalese Buddhist drummers’ attempts to situate their practice within and beyond discourses of identity. The book also contains ethnographic research on the place of sound, music, and musicians in Sri Lanka’s recent genocidal conflicts, which Sykes sees as the bloody effects of these politics of identity. Keywords: contemporary; gift; giving; identity; lanka; music; practices; press; sri; sykes
• Hearing and Feeling the Black Vampire: Queer Affects in the Film Soundtrack by Woolsey, Morgan (2020) - Put in slightly less nefarious terms, Anahid Kassabian describes film music as “a lubricant to identification processes, smoothing the transi- tion…into fictional worlds” (Kassabian 2001, 113). The narrowness of the audience address here would classify this type of film music as what televi- sion scholar Jonathan Fiske calls a “readerly text” (Fiske 1987). Keywords: audience; blacula; counteridentification; disidentification; film; film music; ganja; hess; horror; mamuwalde; music; page; press; queer; score; soundtrack; spectatorship; tina; vampire
• Beethoven Returns to Bonn: Origins, Belonging and Misuse in Mauricio Kagel’s Ludwig van (1969) by Fitz Gibbon, Elaine (2021) - As we approach the man—named Mr. Poll (possessing the maiden name of Beethoven’s grandmother)—the topic of his monologue becomes clear, for he proclaims, “I am the last and only living descendant of Ludwig van Beethoven, and on his mother’s side.” Holding court before the camera crew, Mr. Poll delivers a rambling history of the Beethoven family, during which he asserts their “ancient Flemish lineage” and ascribes to Beethoven’s grandfather an “iron resolve and great energy,” thanks to which “he finally achieved the exceptional position of Kapellmeister” of the Bonn Hofkapelle (2006, 55:50–56:37).35 Soon, however, this recounting of purportedly familial anecdotes transforms into a defensive assertion of his legitimate status as a Beethoven ancestor: I greatly admire Ludwig van Beethoven, I like listening to his records and we have got many documents and papers from his ancestors that prove that I really am the last descendant; all those others who claim to be his descendants are wrong. Keywords: beethoven; bonn; century; composer; der; die; discussion; fact; figure; film; frühschoppen; german; history; höfer; ich; international; kagel; ludwig; ludwig van; mauricio; morning; music; nazi; new; poll; press; riezler; scene; und; van; van beethoven; war; west; world; year; york
• Edwards, Brent Hayes. 2017. Epistrophies: Jazz and the Literary Imagination. Cambridge, MA: Harvard University Press by Reed, Jacob (2021) - This is a familiar enough idea to listeners of program music (or seekers of “hidden programs” in the correspondence and diaries of composers), but its application to Ellington is original and in the context of the book provides a useful converse to the “language-into-music” directionality of the first two chapters. Certainly, his virtuosic prose, coupled with an ability to provide structure for winding, complex arguments, lends plenty of credence to the reviewers who have 195 compared his work to a sort of jazz performance. Keywords: book; chapter; edwards; jazz; music; press; scat; university

• What Should Musicology Be? Letter from the Editor by Lippman, Edward A. (2019) - He also finds that we have erred in neglecting the less pretenti6us varieties of music such as jazz and folk music} and indeed in neglecting the history of American music in general. But there will be concrete benefits as well as intangible ones, when matters of the diffusion of musical instruments are in- volved, for example, or of the impact of distant cultural areas, or of the interaction of folk music and cultivated music, of vocal and instrumental styles, of notation and performance practice. Keywords: culture; history; music; musicology; social
• On graduate study and standards in musicology by Brook, Barry S. (2019) - The definitions of graduate study and graduate faculty that emerged from the discussion are worth quoting in full: On Graduate Study and Standards Z:n MusZ:cology Barry S. Brook THE STIMULATING RECENT REAPPRAISALS OF THE NATURE AND AIMS OF musicology in America (by Harrison, Hood, Palisca, Kerman, Lowin- sky, Lippman, etc.) have been concerned only secondarily with problems of graduate study and standards. Keywords: faculty; graduate; musicology; standards; study; time
• Musicology and the Future of Music Education by Ringer, Alexander L. (2019) - By the same token, the members of our supposedly free academic communities responsible for the artistic and intel- lectual preparation of music teachers have done shamefully little to counteract the whims of a citizenry accustomed to identifying music almost exclusively ------ Though obviously less in the limelight than the sciences and so-called language arts, school music, too, is currently subject to wide-spread reap- praisal. Keywords: education; high; music; musicology; program
• Current Musicology's Project on Musicological Method: Some Comments by Dart, Thurston (2019) - There seems little or no contact between musicology, as it is taught in American universities, and professional music, as it is heard in concert or community hall, or opera house, or television studio, or radio program. Music criticism: does not this begin with writing reviews of composing methods, scores, performances, books, tele- vision spectaculars, of our own time? Keywords: composer; music; musicology; performance; problems; time
• Musicology in German Universities by Blume, Friedrich (2019) - that in the German universities, where practical music was just loosely installed, musicology almost superseded and thwarted music, whereas in the American universities, where music teaching is deep-rooted, the intro- duction of the new sphere of musical scholarship at first led to its falling out with the older citizens of the realm. Thus, traditional fields of study such as harmony, counter- 60 point, music history would fall under the term musicology.· Keywords: american; german; history; music; musicology; professor; teaching; theory; time; und; universities; university
• Some Reflections on Performance Practice, Musicology, and Aesthetics by Friedland, Bea (2019) - In view of this exceptional feature of music, the comparatively recent arrival of performance practice-AziffUhrungspraxis-as a specific research area in musicology is indeed surprising. A synoptic view emerged, consequently, not only of the broad range of current explorations into the history of performance practice, but also of the wide spectrum of theoretical and empirical approaches reflected by the participating lecturers. Keywords: century; composer; music; musicology; new; performance; practice; research; today; york
• Table of Contents, Masthead, and Dedication by Musicology, Current (2019) - Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University ofN ew York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College, New York, N.Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Juilliard School, New York, N.Y. Louisiana State University, Baton Rouge, La. Manhattan School of Music, New York, N.Y. McGill University, Montreal, Quebec, Canada Michigan State University, East Lansing, Mich. New York University, New York, N.Y. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. State University of New York at Buffalo, Buffalo, N.Y. Tulane University, Newcomb College, New Orleans, La. University of Arizona, Tucson, Ariz. University of Arkansas, Fayetteville, Ark. University of California, Berkeley, Calif. University of California, Davis, Calif. University of California, Los Angeles, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Colorado, Boulder, Col. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Coral Gables, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School of Music, Rochester, N.Y. University of Southern California, Los Angeles, Calif. Keywords: calif; california; city; college; music; musicology; n.y; new; new york; state; university; york
• Introduction and Overview by Rosenstiel, Léonie (2019) - 2 Louis Persinger (1887-1966), from 1930 until his death Master Teacher of violin and chamber music at the Juilliard Graduate School of Music, was, in addition, a concert violinist and pianist as well as an arranger and conductor. Another major trend which manifested itself was a deep concern for the scope and quality of music education, not only as it affects the specialized musician, but also as it helps to form the attitudes and tastes of the general public. Keywords: articles; music; musicology
• Musicology and Other Friendly Musical Disciplines by Cazeaux, Isabelle (2019) - Since they see other musicologists every day, they know about work in progress before it is listed in bibliographies and can tell others concerned with the same subject, so as to avoid unnecessary duplication. I believe that most musicologists and many musicologically-oriented performers strive for as historically valid a performance as can be achieved. Keywords: composers; musicologists; musicology; performance; performers
• Toward a Committed Musicology by Lesure, François (2019) - Here, too, the development of contemporary music and the study of non-European music have made the inadequacy and overly 128 scholastic character of these methods obvious. Traditional musicology has everything to gain from a deeper association with this young discipline, whose method is less entrenched but more dynamic. Keywords: discipline; musicology; subject
• The Composer as a Musicologist by Loeb, David (2019) - We speak of music printing starting in the early 16th century, but how many of these early editions were in the hands of composers? Despite this interest in the past, a large group of composers wish to reject it, a wish that seems to have been realized, if one judges by the unfamiliar sounds that dominate their works. Keywords: composer; musicology; past
• Introduction and Overview by Rosenstiel, Léonie (2019) - As a record reviewer, Mrs. Sommer notes with approval the growing trend toward more historically valid performances of early music. Citing early exposure to musicology as a factor in his positive reaction to the field, Mr. Haines describes his own methods for re- searching contemporary Spanish music. Keywords: music; musicology
• “To how many shameful deeds must you lend your image”: Schubert’s Pattern of Telescoping and Excision in the Texts of His Latin Masses by Gingerich, John (2000) - It was in the Trinity church that the premiere of the Mass in H took place on October 4, 1829, almost a year after Schubert's death, with Ferdinand Schubert conducting the Alservorstadt Music Society. To how many shameful deeds must you lend your image: Schubert's Pattern of Telescoping and Excision in the Texts of His Latin Masses By John Gingerich I. Keywords: agnus; church; credo; current; dei; der; deus; deutsch; die; example; franz; gingerich; gloria; john; latin; life; mass; mass text; masses; miserere; music; musicology; nobis; omissions; passages; pattern; qui; schubert; telescoping; text; text omissions; time; und; vienna; von
• Review of Georgina Born and David Hesmondhalgh, eds. 2000. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press by Fox, Aaron A. (2000) - Opening outwards from the broad question of how to approach difference (semiotically speaking, an effect of representation) in a non­ representational medium such as music, Born and Hesmondhalgh quickly proceed to narrow the question to several specific genera of musical and cultural alterity with a specific emphasis on social power: Orientalist appropriations of non-Western musics and musical practices in Western musical discourses; the intra- and inter-cultural logics of mu­ sical otherness; the dynamics of power and inequality in the contempo­ rary global era of musical circulation; the mutually contexualizing inter­ play of musical aesthetics and discursive constructions of musical meaning; and the specific disingenuously pluralist lexicon of postmod­ ern musical discourse. Jann Pasler's contribution, Race, Orientalism, and the Distinction in the Wake of the 'Yellow Peril' , complicates the tarring and feathering of nineteenth-century European high culture as uniformly Orientalist in its relations with non-Western music through a comparison of the composers Albert Roussel and Maurice Delage, each of whom appropriated Indian music. Keywords: appropriation; music; musicology; volume; western
• Struggling with Jazz by DeVeaux, Scott (2001) - In one of the typically SCOTT DEVEAUX 369 erudite essays that accompany his CDs (published, one must note, before Jazz was broadcast), he exposes its hollow core: I have a built-in wariness towards the term renaissance when ap­ plied to jazz music being played and recorded in recent years. But the real subject of jazz history is jazz itself, and it is essential that jazz seem forever young. Keywords: american; armstrong; art; burns; deveaux; episode; film; history; jazz; music; musicology; narrative; new; people; present; swing; time; today; ward; way; years
• Review of Alexander Rehding. 2003. Hugo Riemann and the Birth of Modern Musical Thought. New York and Cambridge: Cambridge University Press by Kim, Youn (2003) - In addition to identifying the three authorities to which Riemann fre­ quently appealed and establishing an intimate relationship among them, Rehding unearths the element commonly found at these three poles: the notion of as-if;' an idea associated with nineteenth-century German phi­ losopher Hans Vaihinger. Riemann fre­ quently appealed to Nietzsche's authority in order to support his claim for the significance of motives, the smallest building block of musical struc­ ture, and Nietzsche, who was trained in classical philology, in turn gave approbation to Riemann's theory of phrase structure.9 In both the intro­ duction and epilogue, Rehding cites and compares two passages in which Riemann speaks of an analogy between architectural and musical forms, one excerpt from Wie Horen wir Musik? Keywords: chapter; der; dualism; harmonic; history; logic; music; music theory; musicology; notion; rehding; riemann; science; theory; thought; tonvorstellungen; undertones
• Review of Daniel Leech-Wilkinson. 2002. The Modern Invention of Medieval Music: Scholarship, Ideology, Performance. Cambridge: Cambridge University Press by Irvine, Thomas (2004) - Anachronism is the sin of analyzing historical music without refer­ ence to the music theory of its own historical context, and as Leech­ Wilkinson shows in this chapter, the charge of anachronism is an effective tool for disciplining those who stray beyond the boundaries of contextual correctness (my term) agreed upon by most medievalists. Anyone who studies music history ought to confront this ver­ dict, which I find a bit bleak. Keywords: book; chapter; ficker; history; invention; leech; medieval; music; musicology; performance; research; wilkinson
• Der Tod und die Forelle: New Thoughts on Schubert’s Quintet by Griffel, Michael L. (2005) - In the fall of 1968, Professor Lang selected as his topic for the research seminar (in which I was enrolled) the symphonies of Franz Schubert. An upbeat letter that the twenty-two-year-old Franz Schubert wrote from Steyr to his older brother Ferdinand on July 13, 1819, refers to eight girls, almost all of them pretty, who were in the home where he was lodging, and mentions one pretty girl in particular who played the pianoforte nicely and was going to sing several of his songs.6 Keywords: die; fish; major; minor; movement; music; musicology; piano; quintet; schubert; song; trout; und
• Structures of fantasy and fantasies of structures: Engaging the Aesthetic Self by Clarkson, Austin (2005) - Born in England and raised in Canada, I was educated on the shores of Lake Ontario-a bachelor's degree in science (with music studies on the side) from the University of Toronto on the north shore, and a master's in music theory from the Eastman School at Rochester to the south. As opposed to therapy, which is so here, it was a chance to explore bodily aspects, musical sound, auditory aspects 91 92 Current Musicology that you don't get to do. Keywords: clarkson; earth; energy; exercise; experience; images; imagination; kind; letter; music; musicology; new; painting; participant; process; program; self; sense; sort; sound; thing; time; university; water; wolpe
• Opera at Columbia: A Shining Legacy by Griffel, Margaret Ross (2005) - Menotti Medium in Premiere Here: Chamber Opera Presented on Campus at Columbia U. New York Times (May 9): 37. New York City Opera, which was founded in early 1944, shortly after the Columbia Opera Workshop's creation, moved to the New York State Theater at Lincoln Center on January 3, 1966. Keywords: acts; assistant; barnard; beeson; brander; brander matthews; bulletin; columbia; columbia opera; columbia university; composer; cta; december; department; ditson; february; fund; hall; january; john; libretto; luening; march; matthews; matthews theatre; mcmillin; miller; miller theatre; music; musical; musicology; new york; november; october; opera; opera workshop; paul; performance; sec; theatre; university; workshop; york city; york performance; york times
• Bach: Luther’s Musical Prophet? by Lloyd, Rebecca (2007) - Luther studies as a discipline is particularly rich in competing political and religious ideologies, and portraits of Luther have characteristically been shaped by scholars' own confessional views. Within musicology, the problem appears to be that researchers frequently fail to distinguish between two different types of Luther scholarship. Keywords: allegory; bach; bible; century; chafe; church; german; god; history; holl; interpretation; luther; lutheran; meaning; music; musicology; new; reformation; scholars; scripture; steiger; testament; text; theologians; theology; time; und; view; world; writings
• Musical Meaning for the Few: Instances of Private Reception in the Music of Brahms by Parmer, Dillon R. (2007) - Brahms und Kalbeck: Our answer depends on two issues: first, on how we define this problematic category of program music, and second, on how we view the role of scholarship in this aspect of Brahms reception. Keywords: billroth; bozarth; brahms; briefwechsel; century; clara; clues; composer; das; der; die; example; ich; ist; johannes; kalbeck; letter; litzmann; music; musicology; new; parmer; piano; program; public; reception; schumann; sie; sonata; theme; und; von
• Elisabeth Le Guin. 2006. Boccherini's Body: An Essay in Carnal Musicology. Berkeley and Los Angeles: University of California Press. by Cusick, Suzanne G. (2007) - Le Guin has used her impressive literary gifts to produce a rich and subtle book that is both a tour de force of embodied, historicist criticism illuminating much of Boccherini's music and a sustained (if sympathetic) critique of musicology's commitment to the disembodied, transhistorical, and scientistic. Moreover, in her insistent embrace of relationships, embodied knowledges, and the responsive, sympathetic ethos of sensibilite, and in her insistent refusal to admit even the possibility of unitary knowledge, Le Guin has written the most formally and methodologically feminist musicology I have yet read-even though neither feminism nor gender are even minimally present in its content. Keywords: boccherini; body; book; century; chapter; guin; musicology
• Review of Timothy D. Taylor. 2007. Beyond Exoticism: Western Music and the World. Durham, NC, and London: Duke University Press by Zuberi, Nabeel (2007) - Taylor contends that working-class blackness operates as the focal point for authenticity in Western world music discourse, dominating and erasing musical genealo­ gies and the understanding of others. But this project has a broader ambit, stretching from the seventeenth century to the present, beginning with the rise of tonality and opera and ending with world music in television advertising. Keywords: book; cultural; music; musicology; new; studies; system; taylor; west; world; world music
• Review of John Gennari. 2006. Blowin’ Hot and Cool: Jazz and Its Critics. Chicago and London: University of Chicago Press by Steinbeck, Paul (2007) - The fourth chapter of Blowin' Hot and Cool covers the mid-century cohort of jazz critics-Whitney Balliett, Ira Gitler, Ralph Gleason, Nat Hentoff, Gene Lees, Dan Morgenstern, and Martin Williams-who wrote for a variety of mainstream and specialty publications, founded new jazz magazines, taught university courses, and worked for radio, television, record labels, and jazz festivals. Chapter 7 steps outside of the book's principal historical narrative to explore Dial Records founder, jazz critic, and pulp-fiction writer Ross Russell's portrayals of Charlie Parker in his novel The Sound and his Parker biography Bird Lives! Keywords: blowin; critics; gennari; jazz; music; musicology; new; studies; university
• Becoming Bach, Blaspheming Bach: Kinesthetic Knowledge and Embodied Music Theory in Ysaÿe’s “Obsession” for Solo Violin by Greitzen, Mary Lee (2008) - Becoming Bach, Blaspheming Bach: Kinesthetic Knowledge and Embodied Music Theory in Ysaye's Obsession for Solo Violin Mary Lee Greitzer This essay explores kinesthetic musical knowledge: what can it tell us about the music, the performer, or the composer? Bach quote. Keywords: bach; devil; dies; example; irae; major; music; musicology; obsession; piece; prelude; saye; violin
• Kundry and the Jewish Voice: Anti-antisemitism and Musical Transcendence in Wagner’s Parsifal by Binder, Benjamin (2009) - Es sagte wahr; denn nie liigt Kundry, doch sah' sie vielJ. Kundry may never lie, but in order to stay under the radar and get what she wants in Act I and the first half of Act II, she also refrains from disclosing the whole truth about herself and what she has seen. Marc Weiner argues that the exoticism and Oriental overtones (1995:242) that Kundry exudes grant her at disturbing (if, in this case, alluring) Eastern Otherness which Wagner also associated with the Jew in some of his writings (1995:241-47). Keywords: abbate; act; act ii; als; amfortas; animal; anti; auf; benjamin; binder; body; character; christ; compassion; das; death; den; der; des; die; end; essay; example; fact; figure; gaze; geck; grail; gurnemanz; human; ihm; iii; jew; judentum; klingsor; knights; kundry; laughter; life; major; melody; minor; mir; mit; moment; montsalvat; mother; motif; music; musicology; new; nicht; opera; orchestra; order; pain; parsifal; passage; point; redemption; richard; scene; sich; sie; singing; sings; stage; suffering; time; voice; von; voss; wagner; way; wie; words; world; wound
• Review of Tess Knighton and Álvaro Torrente, eds. 2007. Devotional Music in the Iberian World, 1450-1800: The Villancico and Related Genres. Aldershot, UK, and Burlington, VT: Ashgate Publishing by Le Guin, Elisabeth (2009) - Bernardo Illari's powerhouse essay, The Popular, the Sacred, the Colonial, and the Local: the Performance of Identities in the Villancicos from Sucre (Bolivia), is also out to demolish a few excessively comfortable assumptions, chief among them the idea that Latin American art is somehow intrinsically different simply by virtue of being Latin American; and the idea that the inclusion of popular idioms and characters in villancicos represents some sort of irruption of folk practices, much less a pure-hearted inclusionary maneuver on the part of the Church. Janet Hathaway's 'Music Charms the Senses ... ': Devotional Music in the Triunfos festivos of San Gines, Madrid, 1656 is very similar in approach to Torrente's essay: another exercise in close reading of a descriptive/prescrip­ tive text in order to build up a picture of villancico practice in a given time and place. Keywords: book; essay; genres; iberian; music; musicology; torrente; villancico; works
• The 1990s “Kutaisi Wave”: Music and Youth Movement in a Postindustrial Periphery by Ninoshvili, Lauren (2011) - Westernness per se has never been problematic for Georgian mainstream audiences in the postsocialist period, so it seems that the denigration of Kutaisi popular music can be attributed more to differences of taste and to the implicit, if long-standing, cultural rivalry between Georgia's two largest cities. According to Lasha Gabunia, today Tbilisi residents iden- Lauren Ninoshvili tify Georgian rock, rap, and electronica with Kutaisi, while Kutaisi musicians active in the evolution of these genres regard them as a broadly Georgian cultural development (p.c. December 28, 2010).23 That is, while the loyalty of the latter to their own hometown is fundamental and evident in the fact that almost every ensemble has at least one song about Kutaisi, they regard themselves as Georgian artists first, and only secondarily as Kutaisians. Keywords: 1990s; bands; capital; city; culture; gabunia; georgian; government; history; kutaisi; music; musicians; musicology; new; outsider; party; period; place; public; punk; rock; soviet; state; tbilisi; war; wave; youth
• Review Essay: “Metal in Three Modes of Enmity: Political, Musical, Cosmic.”: Gerd Bayer, ed. Heavy Metal in Britain; Steve Waksman. This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk; Nicola Masciandaro, ed. Hideous Gnosis: Black Metal Theory Symposium 1 by Forshaw, Juliet Eleanor (2011) - And even if black metal musicians are as politically apathetic or amorphous as they claim, not all of their fans are and promoters are: for example, the American label Resistance Records, owned by the white separatist National Alliance, produces and sells black metal along with more overtly neo-Nazi music. The history of black metal is stranger than fiction. Keywords: bands; black; book; class; fans; genre; metal; music; musicians; musicology; new; opposition; power; punk; rock; scene; scholarship; self; sense; waksman; women
• Do as Some Said, or as Most Did?-A Foucauldian Experiment with Nineteenth-Century HIP by Kennaway, George (2011) - This paper explores the application ofFoucault's concepts of enonce and discours to musical performance, to the peculiar aspects of older performing styles, and to the reactions they produced in the context of nineteenth­ century annotated editions of chamber music.3 Historically Informed Performance (hereafter referred to as HIP) is supported and sustained by performers and academic researchers. Similarly, Giles Hooper's The Discourse of Music analyzes the study of music as a discourse but does not include musical performances as statements within a discourse-notwithstanding his discussion of different analytical approaches to Mahler's ninth symphony (Hooper 2006). Keywords: cello; century; composer; discourse; fingering; foucault; george; joachim; kennaway; music; musicology; nineteenth; performance; performers; performing; portamento; power; servais; university; use; vibrato
• Review of Alexander Rehding. 2009. Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany. Oxford and New York: Oxford University Press by Kim, Ji Young (2011) - In addition to identifying the three authorities to which Riemann fre­ quently appealed and establishing an intimate relationship among them, Rehding unearths the element commonly found at these three poles: the notion of as-if;' an idea associated with nineteenth-century German phi­ losopher Hans Vaihinger. Riemann fre­ quently appealed to Nietzsche's authority in order to support his claim for the significance of motives, the smallest building block of musical struc­ ture, and Nietzsche, who was trained in classical philology, in turn gave approbation to Riemann's theory of phrase structure.9 In both the intro­ duction and epilogue, Rehding cites and compares two passages in which Riemann speaks of an analogy between architectural and musical forms, one excerpt from Wie Horen wir Musik? Keywords: chapter; der; dualism; harmonic; history; logic; music; music theory; musicology; notion; rehding; riemann; science; theory; thought; tonvorstellungen; undertones
• Troubadour Song as Performance: A Context for Guiraut Riquier’s “Pus sabers no’m val ni sens” by Boynton, Susan (2012) - ses ioy del mal b trai- re,- - - & ‹ E ras- ai de mal dos tans, œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Example 2: Musical transcription Susan Boynton 25 & ‹ E Strophe 2 ras- œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Susan Boynton 29 & ‹ Mas Strophe 6 as - sai ar- m'ay est b lans & ‹ Ab lo rey, de sa ber b - pai re- - - & ‹ Pei re- Keywords: boynton; di œ; guiraut; half; lines; love; mans.œ œ; medieval; melody; memory; music; musicology; performance; poetry; pus; que; riquier; sabers; song; strophe; structure; text; troubadour; zens?œ œ; zire œ; œ example; œ susan; œ œ
• Editor’s Note: Sounding the Break: Music Studies and the Political by Wetmore, Tom (2018) - All of them faced gendered genre expectations, changing music industry practices, and a web of political entanglements ranging from Cold War threats of nuclear devastation to contestations over Puerto Rican cultural nationalism. In her article, “Power and Equity in the Academy: Change from Within,” music theorist Ellie M. Hisama focuses on more contemporary concerns. Keywords: fiol; matta; music; musicology; power
• The Musicological Elite by Levitz, Tamara (2018) - Composition Glen Haydon University of North Carolina Chapel Hill, N.C. Musicology-Theory George Herzog 333 Cedar Street New Haven, Conn. Comparative Musicology, Folk New Music, Anthropology Erich M. von Hornbostel 66 W. 12th Street New York City Musicology, Anthropology, Psychology, Physiology of the senses Charles William Hughes 28 Ralph Avenue White Plains, N.Y. He had also noted up-and-coming developments at Vassar, New York University, and the University of Michigan. Keywords: acls; adler; american; ams; amsr; association; avenue; board; box; california; charles; city; committee; comparative; constitution; december; discipline; engel; february; folder; für; goodchild; harvard; history; igmw; international; joseph; june; kinkeldey; leland; letter; levitz; library; list; meeting; members; membership; minutes; mtna; musicological; musicologists; musicology; new; new york; nyms; otto; papers; profession; public; reese; research; roberts; secretary; seeger; societies; society; spivacke; states; street; street new; tamara; time; united; university; west; yasser; year; york
• Editor’s Note by Sewell, Ian (2019) - 5 Editor’s Note This special issue of Current Musicology brings together a number of schol- ars at various stages of their careers to reflect on issues of music pedagogy. The new format, in time, is planned to replace the annual special issue, and each editor will work closely with the author of the lead article to offer a critical perspective on some relevant and ongoing issue or area of musicological interest—in short, on Current Musicology. Keywords: article; music; musicology
• Editor's Note by Blackmore, Callum (2021) - Finally, Current Musicology is proud to publish a colloquy from Project Spectrum, titled “Strengthening the Pipeline,” on equity and diversity in pathways to music academia. All of these amount to a powerful condemnation of the culture of discrimination in music studies and a clarion call for palpable action on diversity, equity, and inclusion in the academy. Keywords: beethoven; issue; music; musicology; pandemic

• Rita Benton, Nicolas Joseph Hullmandel and French instrumental music in the second half of the 18th Century by Kamien, Roger (2019) - In this dissertation, as in many other studies, one is not often given 3 Along with Eduard Reeser, Dr. Benton accepts Fetis' report that Hiillmandel studied with Carl Philipp Emanuel Bach. 2 Dr. Benton shows that he was born not in 1751, as was previously believed, but in 1756, and that he was the son of Michel Hiillmandel, a musician at the Strasbourg Cathedral. N.]. Keywords: benton; century; hiillmandel
• Robert L. Weaver: Florentine comic operas of the 17th century by Holmes, William C. (2019) - This is not to say that, especially in the case of Roman opera, nearly enough music has been made available in order to make it possible to reach definite stylistic conclusions. This is in marked contrast to Roman opera of the period, which relied heavily on complicated stage machinery. Keywords: century; opera; roman; weaver
• Some Reflections on the Shape of Music by Crocker, Richard L. (2019) - In the 17th century the structure ofa keyboard suite apparently depended upon the selection made by the performer from the dances and other pieces available to him. In between the 19th-century composer and his ideal of a con- tinuous, organic form stands the obstinate reality that multimovement form is multipiece form, that the constituent movement or piece is transcended only by exceptional effort not always crowned with success. Keywords: canons; century; form; music; piece; trope
• Musical Hearing in History by Rowen, Ruth Halle (2019) - Ruth Halle Rowen, Musical hearing in history I read the articles of Miss Carpenter and Mr. Crocker with great interest, especially as they raise the question of musical hearing. Let us compare statements on musical hearing by Heinrich Schenker of Vienna and Aristoxenus of Tarentum-figures at opposite ends of the historical span. Keywords: century; color; hearing; movements; music; piece; symphony
• Debts and Transfigurations by Stambler, Bernard (2019) - One line of this occurs within music itself: the development of an idea we have come to accept as having the full force of a natural truth-absolute music, a con- cept or an aim never attempted before or outside Western music of the past two centuries.2 Miss Carpenter quotes Pater's remark that all the arts aspire to the condition of music; more to the point is the Western notion that all musics aspire to the condition of absolute music. A distinction between subjective and objective has come to seem one of the revealed data of existence, but such a distinction in today's (psycho- 110 logical) sense is another creation ofthe 18th century. Keywords: aristotle; art; bach; carpenter; century; instance; music
• Reply to Arthur Hills by Collins, Michael (2019) - Mr. Hills has given us a completely unsupported hypothesis as a statement of fact when he asserts that the 'Italian style' is real triplets against dup- lets. Tigrini is beholden, as, are they all, to Gafurio, whose treatise is not about Italian music, and to Tinctoris, Aron, and Lusitano (a Portuguese theorist); he cites Josquin as well as Palestrina. Keywords: century; hills; theorists
• Table of Contents and Masthead by Musicology, Current (2019) - I University of Laramie, Wyo. Washington,University, St. Louis, Mo. Yale UniverSity, New Haven, Conn. Albert-Ludwig University, Freiburg, Germany Bartok Archives, Budapest, Hungary Bratislava University, Bratislava, Czechoslovakia Cambridge University, Cambridge, England Christian-Albrechts University, Kiel, Germany Georg-August University, Gottingen, Germany Hebrew University, Jerusalem, Israel Humboldt University, Berlin, Germany Johann Wolfgang Goethe University, Frankfurt, Germany Johannes Gutenberg University, Mainz, Germany Karl-Franzens University, Graz, Austria Karl Marx University, Leipzig, Germany Karlova University, Prague, Czechoslovakia Leopold-Franzens University, Innsbruck, Austria Martin Luther University, Halle-Wittenberg, Germany Oxford University, Oxford, England - Phillips University, Marburg, Germany Queens University, Department of Extra-Mural Studies, Belfast, Ireland State University of Utrecht, Utrecht, Holland Svenskt Music History Archives, Stockholm, Sweden University College, Dublin, Ireland University of Birmingham, Birmingham, England University of Copenhagen, Copenhagen, Denmark University of Glasgow, Glasgow, Scotland University of Hamburg, Hamburg, Germany University of Hull, Yorkshire, England University of Liege, Liege, Belgium University of Ljubljana, Ljubljana, Yugoslavia University of London, London, England University of Otago, Dunedin, New Zealand University of Paris, Paris, France University of Paris, Paris, France University of Southampton, Southampton, England University of the Saarland, Saarbrucken, Germany University of Turin, Italy . . Virginia Papper FACULTY ADVISOR: Denis Stevens Copyright © 1969, Department of Music Columbia University, New York Printed in Great Britain '7 fll!lfrld .. kl,.'1 $rDWh. Keywords: assistant; associate; century; college; editor; germany; music; n.y; new; university; york
• 18th-Century Music and the Problems of its History by Abraham, Gerald (2019) - It was Riemann's discovery of the Mannheimers, followed some years later by Guido Adler's discovery of the Viennese symphonists, which first obliged thinking musicians to recognize that the Baroque wave exhausted itself by mid-century, that a new wave-of Rococo or senti- mentality, two aspects of the same style-was all the while forming itself to mount and break in turn. Of course all 18th-century :church music, like that of other centuries, must be explained in terms of religion itself-in the Protestant field alone, in terms of German pietism, Anglican latitudinarianism, and Anglo-American non- conformist enthusiasm. Keywords: century; history; music
• Thoughts on Writing a Comprehensive History of 18th-Century Music by Duckles, Vincent (2019) - Centuries come and go, and can be measured from any arbitrarily selected date in the calendar. One can applaud Larsen's suggestion that the proper study of the music historian is music, and at the same time insist that, as far as the 18th century is concerned, the ideas that lie behind the music are of great importance. Keywords: century; historian; music
• Some Desiderata and Goals for the Study of 18th-Century Italian Opera by Grout, Donald Jay (2019) - Until such editions are available for at least a few composers beyond Handel, Gluck, and Mozart, we shall be in the position that, whatever general statements we may make about the history of Italian opera in this period, it will be almost literally the case that we don't know what we are talking about. Nevertheless, I shall list them, in the hope that someone who wants to earn the everlasting gratitude of his contemporary and future colleagues in the field of opera history may be moved to undertake one or another, or part of one or another, of the following publications: . Keywords: catalogue; century; opera
• Approaching a History of 18th-Century Music by Heartz, Daniel (2019) - In his recently published Musical Form and Musical Performance Edward T. Cone compares his tour of musical styles to a walk through a museum. Moreover, it would be necessary, when seeking helpful parallels in other arts, to rely not upon the stratifications of fifty years ago, but upon the latest thinking and upon an international spectrum of it. Keywords: bach; century; handel; music
• The Music of the 18th Century: A Retrospective View by Kenton, Egon (2019) - In quick succession there appeared program music, descriptive music, realistic and impressionistic music, primitive and futuristic musiC. Over- One aspect of the complexity of Western music is this constant interaction, which must be recognized by the critic before he can form a judgment. Keywords: art; century; civilization; history; judgment; music; value
• Sonate, Que Me Veux-Tu?: The Enigma of French Musical Aesthetics in the 18th Century by Maniates, Maria Rika (2019) - This rather harsh evaluation of instrumental music is typical of l26 the period. Batteux implies, as does Lacombe, that melody or song is superior to instrumental music which possesses only une demie-vie et Keywords: aesthetics; arts; boye; century; chabanon; des; emotion; expression; ibid; imitation; language; les; music; musical; musique; nature; paris; passions; qui; rousseau; song; sur; theory; words
• Approaches to Musical Historiography of the 18th Century by Ratner, Leonard G. (2019) - Basic organizing and motivating forces in 18th-century music (and in music of other periods) are sought for, to explain how the subconscious or subliminal expresses itself outwardly. A history of 18th-century music that co-ordinated intensive treatment of all of these facets in proper balance would be a gigantic undertaking, not only because of the 155 immense amount of data involved, but also because many uncertainties exist regarding the arrangement of historical perspectives. Keywords: century; history; music
• Mozart and the Josephine Era: Some Socio-Economic Notes on Musical Change by Ringer, Alexander L. (2019) - And it was Mozart who, not unlike Beethoven and Schoenberg after him, deeply affected the shape of things human in his time through artistic deeds symbolic aesthetically of the very spirit that animated the far-reaching reforms of Emperor Joseph II and the concomitant changes in the socio- economic foundations of Austrian society. Mozart, on the other hand, who astonished all Europe by his premature talents during infancy, is treated summarily injust three lines, less than half the number devoted to Kozeluch.2 In the nearly 200 years that have elapsed since Burney's dicta were first published much has been said about the stylistic changes that occurred in European music during the lifetimes of Haydn and Mozart. Keywords: 18th; century; emperor; haydn; joseph; luxury; mozart; music; new
• Aspects of the 18th Century by Westrup, J. A. (2019) - Burney's opinions are well known: Sebastian Bach .. Sebastian Bach is said, by Mr. Marpurg, to be many great musicians in one: profound in science, fertile in fancy and in taste easy and natural. Keywords: bach; century; handel; music
• Laurence David Berman- The Evolution of Tonal Thinking in the Works of Claude Debussy by DeVoto, Mark (2019) - From here Dr. Berman proceeds to a microscopic dissection of Le balcon (No.1, though not the first composed, of Debussy's five Baudelaire Dr. Berman points out that the Wagnerian songs in the Baudelaire group, compared with the Ariettes oublices of about the same time, are some- thing of an isolated phenomenon; nevertheless, it cannot be ignored that this encounter with [Wagner's] chromaticism produced Debussy's first mature works. Keywords: berman; century; chapter; chord; debussy; degree; harmonic; music; scale
• The Use of Greek Tragedy in the History of Opera by Zinar, Ruth (2019) - In her study of the use of Alceste as subject matter in opera, Abert states that the Florentines would have thought it impossible to set a complete Greek drama to music.s It appears from Rinuccini's and Striggio's treatments of the Orpheus legend that one reason for the rejection of Greek tragedy as subject matter during a period in which the restoration of the ancient theater was an ideal was that Greek tragedies were, in fact, tragic. This article presents a survey of these changing preferences and prejudices as they pertain to the use of Greek tragedy as subject matter for opera,2 as well as a tentative chronological listing of the operas based on certain themes from Greek tragedy. Keywords: alceste; aulide; aulide lfigenia; century; gluck; greek; lfigenia; matter; medea; music; new; oedipus; opera; subject; tragedies; tragedy
• Genius in the 18th Century: C. F. D. Schubart's "Vom musikalischen Genie" by Harpster, Richard W. (2019) - 5 InJ. G. Sulzer's opinion Empfindsamkeit was the sole criterion for determining the presence of Genius: [Geniuses are only those who] conceive and feel more sharply and have their ideas and feelings more in their authority than other men .... Genius in the 18th Century: C. F. D. Schubart's Vom musikalischen Genie Richard W. Harpster In the mid-18th century there arose among diverse artists and philoso- phers a fascination with the notion of Genius. Keywords: century; genius; heart; nature; schubart
• Review of Hervé Lacombe. 2001. The Keys to French Opera in the Nineteenth Century. Translated by Edward Schneider. Berkeley: University of California Press by Speare, Mary Jean (2002) - This profound difference, of course, helps explain the whole complex system of French opera. Early on, Lacombe argues that nineteenth-cen­ tury French opera was governed by a complex set of codes and practices (1). Keywords: century; discussion; french; gounod; lacombe; opera
• The Origins of the Orchestra Machine by Dolan, Emily Iuliano (2003) - While other instruments were designed to address issues of tuning, notation, or movement, the goal of these instruments was to cap­ ture orchestral sonority. 1. See Richards (1999), Gerlach (1998), and Sloane (1997).Arthur Ord-Hume has published several texts on mechanical instruments of all sorts. Keywords: aesthetics; century; eighteenth; gurk; haydn; hoffmann; instruments; machines; military; music; new; orchestra; orchestrion; organ; sounds; timbre
• Review of Sean Gallagher, James Haar, John Nadas, and Timothy Striplin, eds. Western Plainchant in the First Millennium: Studies in the Medieval Liturgy. Burlington, VT: Ashgate, 2004 by Dohoney, Ryan W. (2003) - Nancy van Deusen, Theodore Karp, and Calvin Bower each explore aspects of the sequence in a particularly illumi­ nating group of essays, while Kenneth Levy, Edward Nowacki, and John Boe explore sources and analytical strategies for Old Roman chant. Kenneth Levy's contribution, Tollite portas: An Ante-Evangelium Re­ claimed? is the first of three articles to explore Old Roman chant. Keywords: advent; century; chant; jeffery; levy; mckinnon; music; office; psalm; roman; sequence; singing
• Review of John Spitzer and Neal Zaslaw. 2004. The Birth of the Orchestra: History of an Institution, 1650-1815. New York and Oxford: Oxford University Press by Rice, John A. (2004) - © 2004 by the Trustees of Columbia University in the City of New York 137 138 Current Musicology discusses orchestras active between 1750 and 1815. Taking the metaphor of birth seri­ ously, we cannot escape the implication that orchestras of the seventeenth and eighteenth centuries were babies or children compared to the adult or­ chestras of the nineteenth and twentieth centuries. Keywords: authors; birth; book; century; ensemble; music; orchestra; spitzer; zaslaw
• The Aesthetics of Textural Ambiguity: Brahms and the Changing Piano by Arnone, Augustus (2006) - Playing Brahms: A Study in 19th-Century Performance. The basic premise that Brahms was writing piano textures designed specifically for lighter pre-modern instruments has dominated approaches to performance practice scholarship for his piano music as well. Keywords: accompaniment; ambiguity; brahms; century; example; melody; music; pedal; performance; piano; piano music; register; schmitt; sound; texture
• Review of Pisani, Michael V. 2005. Imagining Native America in Music. New Haven, CT, and London: Yale University Press by Harrison, Klisala (2006) - It stands as an excellent resource for ethnomusicology students studying Native American music, because it maps the roots of current trends in scholarship on First Nations. Ethnographers of Native American music, as well as critics and compos­ ers, held a variety of opinions as to why and how Native song could be used to create distinctly American art music. Keywords: american; century; hollywood; indian; music; native; pisani; theater
• Dvořak’s Armida and the Czech Oriental “Self” by Nedbal, Martin (2007) - HYDRAOT (diva se do sceny, odkud Armida pfichizi) (looking at Amlida as she approaches) ppp Larghetto J = 92-96 P As Tim Carter writes, almost 100 operas and ballets draw upon the love of the Saracen sorceress Armida for the Christian warrior Rinaldo (in French called Armide and Renaud [and in Czech called Armida and Rinald]), with such titles as Armida, Rinaldo, Armida e Rinaldo, Armida abbandonata and Armida al campo d'Egitto. Keywords: act; armida; century; christian; crusaders; czech; dvorak; european; example; ismen; march; motive; music; muslims; nedbal; opera; rinald; scene; shield
• Review of Martha Feldman. 2007. Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy. Chicago and London: University of Chicago Press by Burgess, Geoffrey (2008) - While talk of a Verdi opera may seem out of place in a book about opera seria, the reference is apt in light of Feldman's broader argument, as it underscores the distance between eighteenth-century and present-day sensibilities in opera performance. Since she began her work on opera seria in the mid-1990s, she has not been afraid to revise her thinking and fine-tune her arguments, all the while bringing a fresh perspective to the remarkable life of opera in eighteenth-century Italy. Keywords: audience; book; century; feldman; ippolito; opera; opera seria; performance; seria; sovereignty
• Beyond Sonata Deformation: Liszt’s Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form by Vande Moortele, Steven (2008) - In a perceptive critique of deformation theory, Julian Horton has pointed out that it is particularly precarious to identify normative sonata form with the Formenlehre model of sonata form established by A. B. Marx and others (Horton 2005:7). As Michael Saffle has considered, the formal organization of Liszt's orchestral compositions is often determined no less by the tradition of sonata form than by the demands of their programs (Saffle 2002:240-42). Keywords: century; deformation; exposition; group; hepokoski; introduction; liszt; movement; music; new; nineteenth; organization; sonata cycle; sonata deformation; sonata form; tasso; theme; tonic
• Review of Matthew Gelbart. 2007. The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner. Cambridge and New York: Cambridge University Press by Oderdonk, Julian (2009) - This is not to say that folk music is lacking for champions (in an interesting final chapter, Gelbart demonstrates how folk and art music have been grouped together and mutually elevated at the expense of a meretricious commercial popular music since the mid-nineteenth century), only that in general terms it has been placed at a lower level of cultural significance. The focus on the details of folk music-its invention and mediation by outsiders -is another strength of the book. Keywords: century; concept; folk; folksong; gelbart; genius; german; music; nature; new
• A Paper Trail: Missa Jouyssance vous donneray, Uncertain Identity, and the National Institutes of Health’s “Bathtub Collection” by Robertson, Emily (2009) - This attribution is not particularly reliable, thus M. Jouyssance vous donneray is the only work solidly identified with Johannes Sarton. The music of M. Jouyssance vous donneray is in transposed Dorian mode, just like three of Certon's eight established Masses. Keywords: agnus; bathtub; bis; book; century; certon; chanson; collection; donneray; jouyssance; jouyssance vous; layolle; mass; melun; moderne; music; paris; pierre; sarton; voices; vous; vous donneray
• Review of Roger Freitas. 2009. Portrait of a Castrato: Politics, Patronage, and Music in the Life of Atto Melani. New Perspectives in Music History and Criticism. Cambridge and New York: Cambridge University Press by Wilbourne, Emily (2009) - Freitas discusses an affair between Atto Melani and Carlo II Gonzaga-Nevers, Duke of Mantua, and another between Atto and a young, unnamed Italian nobleman who also seems to have had an affair with the Duke, along with evidence of heterosexual assignations. If chapters 1 and 4 theorize outward from the exemplar of Atto Melani to suggest ways in which the category castrato can be better understood, chapters 2, 3, 5, and 7 deal with the specific biographical circumstances of Atto's life. Keywords: atto; castrato; century; freitas; life; music; performance; works
• Giuseppe Gerbino. 2009. Music and the Myth of Arcadia in Renaissance Italy. New Perspectives in Music History and Criticism. Cambridge and New York: Cambridge University Press. by Bryant, Brooke (2009) - This book offers the first comprehensive investigation of pastoral music in sixteenth-century Italy, reclaiming it as a complex subject worthy of in-depth exploration. While the concept of Arcadia was an integral component of the cultural fabric of the late sixteenth century, pastoral music has seldom been considered with much seriousness by modern musicologists. Keywords: arcadia; cambridge; century; gerbino; music; pastoral; renaissance; theater; university
• Signification, Objectification, and the Mimetic Uncanny in Claude Debussy’s “Golliwog’s Cakewalk” by de Martelly, Elizabeth (2010) - The composer draws upon many ragtime and cakewalk conventions in order to make Golliwog dance. Parisian Cakewalks. Keywords: american; black; body; brown; caddy; cakewalk; century; children; chouchou; commodity; dance; debussy; doll; european; golliwog; history; life; lott; minstrel; music; new; slavery; white
• Experiencing Alba Tressina’s Anima mea liquefacta est through Bodily Humors and the Sacred Erotic by Johnson, Lindsay (2013) - The turn of the seventeenth century, however, was the point at which eroticization of holy bodies and their fluids coexisted in single works of art and music with profound devotion (Miles 2008). To say that one’s soul is melting is to suggest that the now–liquid soul can easily merge with other sacred liquids, such as the blood of Christ or the Virgin Mary’s breast milk, two of the more important liquids in the Christian tradition. Keywords: anima; bodies; body; century; divine; erotic; est; example; god; humors; line; liquefacta; liquid; love; mary; mea; melancholy; music; nuns; performance; soul; teresa; text; tressina
• Marie Sumner Lott. 2015. The Social Worlds of Nineteenth-Century Chamber Music by Ivanova, Velia (2017) - As Sumner Lott shows through an examination of the Calculationbucher of publication companies, unlike piano works, where the publication might number a few pages, multiple impressions had to be made to produce chamber works for strings, due to the multiplicity of parts and the (usually) increased length of these works. © 2017 by the Trustees of Columbia University in the City of New York 131 Sumner Lott, Marie. 2015. Keywords: century; chamber; lott; music; sumner; works
• Andrey Smirnov. 2013. Sound in Z: Experiments in Sound and Electronic Music in Early 20th-Century Russia by Patteson, Thomas (2017) - The book doubles as a compelling intro- duction to early Soviet history, and includes a truly staggering collection of photographs, diagrams, and historical documents, drawn primarily from the archives of the Theremin Center in Moscow, which Smirnov founded and directed from 1992 to 2012. Some recent studies have broadened perspectives on this period, from the uncovering of occult and scientific influences in the work of Luigi Russolo to the hitherto unknown wealth of activity in the domains of early electronic instruments and sonic media in Ger- many and Austria during the 1920s and ‘30s. Keywords: book; century; music; smirnov; sound
• On Teaching the History of Nineteenth-Century Music by Frisch, Walter (2019) - With this gesture—as with the piece that leads up to it—Brahms seems to be either weakly affirming or subtly undermining so many of the premises on which nineteenth century music was based. In my own history of nineteenth-century music, partly for practical reasons of space and partly to coordinate with adjacent books in the series, I opt for a “short” nineteenth century, which also has plausible musical and historical boundaries. Keywords: brahms; century; frisch; history; intermezzo; music; music history; romanticism; schumann; students; time; world
• Coelho, Victor and Keith Polk. 2016. Instrumentalists and Renaissance Culture, 1420-1600: Players of Function and Fantasy. Cambridge: Cambridge University Press. by Ligrani, Jonathan (2019) - Chapter 4 investigates the use of instrumental music at events ranging from public street festivals to chamber music during the private banquets of nobles or accompanying the devotional singing of religious confraternities. As the authors rightfully stress, this tendency is rooted in the Urtext model of compositional finitude which leaves aside the unwritten traditions of instrumental music, presenting a fixed, anachronistic work concept over the fluidity of transcriptions and arrangements (2-3, 212, 292-4). Keywords: authors; century; chapter; coelho; instrumentalists; music; polk; renaissance
• Jas, Eric. 2018. Piety and Polyphony in Sixteenth-Century Holland: The Choirbooks of St Peter’s Church, Leiden. Studies in Medieval and Renaissance Music, 18. Woodbridge: The Boydell Press. by Gale, Michael (2021) - In doing so, Jas shows how the getijdencollege at St Peter’s represented one node in a much broader network of similar institutions across the urban centers of the northern Netherlands. Jas then focuses specifically on the getijdencollege at St Peter’s in his second chapter, from its first documentary traces in 1440 up to its dissolution in mid-1572. Keywords: century; choirbooks; jas; leiden; music; peter; study
• Laying Down Tracks: Mapping the Camilla Urso Concert Company on the American Lyceum Circuit, 1873-83 by Nagel-Frazel, Maeve (2023) - Even without fare bundling or railroad timetable changes, individual concertgoers frequently used railroad networks to attend Urso concerts on their own volition, underscoring both Urso’s popularity and the growing mobility of nineteenth-century consumers. Laying Down Tracks: Mapping the Camilla Urso Concert Company on the American Lyceum Circuit, 1873-83 Maeve Nagel-Frazel Introduction In 1902, when The Chicago Tribune (January 22, 1902) called the French- American violinist Camilla Urso (1840-1902), “the ablest woman violinist the world has ever known,” Urso reigned as America’s pre-eminent female violinist.i Keywords: american; boston; bureau; camilla; camilla urso; century; circuit; company; concert; lecture; lyceum; lyceum bureau; lyceum circuit; musical; railroad; redpath; redpath lyceum; season; ticket; urso; urso concert; violin
• Emotional Storms, Passion and Melancholy when Symphonic Music is Legitimated as an Emotional Resource by Bergman, Åsa (2023) - The purpose of the article is to apply a discourse-analytic approach to investigating how symphonic music is constructed and legitimated as an emotional resource, and how concert hall audiences are positioned in relation to ideas about the emotional qualities of music. The relationship between classical music and strong expressions of emotion, as depicted in “Unorthodox,” differs from the usual characterization of conventional audience behavior at classical music performance as well-disciplined and emotionally restrained. Keywords: audience; century; concert; description; emotions; feelings; ideal; listener; listening; music; piece; presentation; program; qualities; relation; symphony

• Dub Writing in Marcia Douglas’ The Marvellous Equations of the Dread: A Novel in Bass Riddim by A. Harris, Treviene (2023) - Leenah is guided towards other ways of finding balance. Effectively, by writing dub, Marvellous shows up the insufficiency of writing and language to bear, fully encompass, and express Caribbean histories, therefore, staging its own quarrel with history. Keywords: bass; douglas; dub; history; knowledge; leenah; marley; music; novel; sound; text; time; way; ways; words; writing
• The Philosophy of Theodor Adorno by Sheldon, David A. (2019) - He seems to feel that the same thing is happening to modern music that is happening to popular music, classical music, and music in general. As a music critic, Adorno is alternately praised as a person of sharp, penetrating insight and damned as an idealist whose negative attitude and vague theorizing cannot cope with the realities of modern music. Keywords: adorno; der; die; form; music; new; schonberg; society; sociology; time
• An Annotated Translation of Moriz Rosenthal's "Franz Liszt, Memories and Reflections" by Barnett, Elise Braun (2019) - The peculiar autograph was passed on to Liszt, who wrote below the printed name of Rubinstein: et son admira- teur F. Liszt. He studied piano with Karol Mikuli from 1872 to 1874 in Lwow, with Rafael Joseffy from 1874 to 1876 in Vienna, and with Liszt from 1876 to 1878 in Vienna, Rome, and Weimar. Keywords: brahms; chopin; composer; liszt; master; new; pianist; piano; rosenthal; time; weimar; york
• Reflections on the Renewal of Music by Rochberg, George (2019) - But in the mental space carved out by the historical loss of the actual practice of Greek drama there grew a myth of how it was; and out of the myth and the urge to resuscitate Greek tragedy, music renewed itself. The history of music leapfrogs its way across the centuries. Keywords: art; history; human; man; music; new; time
• Rudy Van Gelder in Hackensack: Defining the Jazz Sound in the 1950s by Skea, Dan (2001) - Over the next decade, the hundreds of jazz albums Van Gelder recorded for these three labels served as one of the major pathways along which the art form developed and was disseminated. Highly attuned to evolving technology and able to afford the latest innovations as they became available,7 Van Gelder consistently provided his customers with the newest and best microphones, tape recorders, reverberation devices, and other apparatus. Keywords: author; blue; classics; engineer; gelder; hackensack; interview; jazz; lion; musicians; new; note; prestige; recording; room; rudy; sound; studio; tape; telephone; time; van; van gelder
• Earl Hines and "Rosetta" by Taylor, Jeffrey (2001) - Certainly, Hines must have felt pride in his tune, in addition to 90 CURRENT MUSICOLOGY Example 5: Earl Hines, Rosetta (October 6, 1939), Take 4, AI, mm. 31-32 and A2, mm. 1-2. ~~ r~ r~ r~ ~ ~,H .... ~ .. : '5 ~ _-:i ,'-'I' ~ -=r ~-=r:jf-,d. The slowly descending glissando of Take 4 (perhaps a signifying reversal of the upward sweep with which Hines usually an­ nounced his band's theme song, Deep Forest) obscures both harmony Example 7: Earl Hines, Rosetta (October 6,1939), Takes 3 and 4, compared versions ofmm. 1-4 of original tune. Keywords: band; earl; example; hand; hines; jazz; line; melody; performance; piano; recordings; rosetta; solo; taylor; time; tune
• A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s by McMillan, Jeffrey S. (2001) - (Blue Note BLP 1538) on November 4, 1956, followed by Introducing Lee Morgan (Savoy MG 12091) the next day. Liner notes to Lee Morgan Indeed!. Keywords: band; city; gillespie; jazz; know; lavoe; lee; lee morgan; mastbaum; morgan; music; musicians; new; note; philadelphia; playing; school; sessions; time; trumpet; workshop; years
• In Search of Meaning in Context: Bartok’s Duke Bluebeard’s Castle by Frigyesi, Judit (2000) - Bartok Bela irasai (The Writings of Bela Bartok). Here I am struggling with a question asked by Rose Subotnik in her Developing Variations: what is the meaning of the word and in titles like Bela Bartok and Tum-of the-Century Budapest? Keywords: ady; bartok; bluebeard; castle; context; darkness; frigyesi; interpretation; judith; life; lukacs; major; music; opera; second; soul; symbols; theme; time
• Fan Fare: An Investigation of Recent Jazz Biographies by Spring, Evan (2001) - Santoro also makes the common mistake of assuming jazz musicians approach standards with snickering condescension: Perhaps more jazz biographies should become collaborative efforts, like the music itself. Keywords: book; brown; catalano; chamberlain; dahl; jazz; kirk; kruth; marsh; mingus; music; musicians; new; nisenson; notes; rollins; santoro; time; williams
• Review of Rob van der Bliek, ed. 2001. The Thelonious Monk Reader. New York: Oxford University Press by Priestley, Brian (2001) - Indeed, this Martin Williams report for Down Beat maga­ zine, describing Monk's semi-participation in a rehearsal directed by Hall Overton of Overton's large-ensemble arrangements of Monk material, could be positively misleading. Already since the 1960s, when the concept of avant-garde jazz meant so many different things to different people, Monk's combination of surface irregularity with a ruthless inner logic has been consistently influential; in particular, the organic and unstilted use of motivic development in his themes is widely seen as an ideal to aspire to. Keywords: bliek; book; der; editor; hodeir; minton; monk; music; new; time; van; williams
• Review of Marian Smith. 2001. Ballet and Opera in the Age of “Giselle.” Princeton: Princeton University Press by Hibberd, Sarah (2002) - The grow­ ing disenchantment with narrative ballet sparked hostile reviews reminis­ cent of those written about melodramas and vaudevilles. Indeed, ballet was often more popular than opera.2 Tellingly, Meyerbeer's first grand opera, Robert le diable (1831) has been remembered above all for its ballet divertissement in Act 3, in which a group of de­ bauched nuns lure the hero into taking a sacred branch. Keywords: audiences; ballet; genres; music; opera; pantomime; scenes; smith; time; works
• In Search of Meaning in Context: Bartok’s Duke Bluebeard’s Castle by Frigyesi, Judit (2000) - Bartok Bela irasai (The Writings of Bela Bartok). Here I am struggling with a question asked by Rose Subotnik in her Developing Variations: what is the meaning of the word and in titles like Bela Bartok and Tum-of the-Century Budapest? Keywords: ady; bartok; bluebeard; castle; context; darkness; frigyesi; interpretation; judith; life; lukacs; major; music; opera; second; soul; symbols; theme; time
• Unraveling Narrativity: A Reflexive Paradigm by Raphael, Stuart I. (2004) - De­ veloping the idea of musical reflexivity in and of itself necessitates a wider perspective on musical events and presupposes a liberal interpretation of certain spatiotemporal parameters that delineate or influence them. To investigate this possibility, I now turn to a more detailed discussion of musical events, key aspects of time that order or shape musical events, and finally backward causation. Keywords: events; haydn; listener; major; music; narrative; quartet; string; time; vertical
• “You Know What I Mean?” The Pedagogical Canon of “Cannonball” Adderley by Jones, Ryan Patrick (2005) - Equally at home with crowds abroad, Adderley applied a similar self­ effacing humor to reach new audiences in Japan: We're going to playa new tune written by an American musician who's name is Cannonball Adderley. As Sheridan has noted, Fellow musicians were quick to recognize the talent, but many reviewers, unfortunately, never saw past [Adderley's] convenient handle to make the proper distinction between the Bebop that died with Charlie Parker a few months earlier and emerging Hard Bop as represented by Julian Adderley, Horace Silver, Art Blakey, and others (2000:5). Keywords: adderley; audience; band; blues; bradley; cannonball; career; coltrane; davis; education; florida; group; high; jazz; jones; julian; lateef; miles; music; musicians; new; patrick; piano; play; playing; professional; records; school; sheridan; teacher; teaching; time; york
• Debussy as Storyteller: Narrative Expansion in the Trois Chansons de Bilitis by Gibbons, William (2008) - Such an idea is hardly new; indeed, the idea of an unfolding plot or unifying concept (textual or musical) is central to the concept of the song cycle as opposed to a collection of songs, at least after the mid-nineteenth century.l A great deal of musico­ logical literature devoted to song cycles is aimed at demonstrating that they are cohesive wholes, often connected both musically, by means of key relationships, motivic recall, and similar techniques, and textually, by means of the creation of an overarching plot or concept.2 One type of narrative results from a poetic unit being set to music in its complete state, without alteration. This type of song cycle may create its own new narrative, distinct from its literary precursors. Keywords: bilitis; chansons; cycle; debussy; example; flute; louys; lykas; music; narrative; pan; pastoral; poems; relationship; song; syrinx; time
• Laurent Aubert. 2007. The Music of The Other: New Challenges for Ethnomusicology in a Global Age. Foreword by Anthony Seeger. Translated by Carla Ribeiro. Burlington, VT, and Aldershot, UK: Ashgate Publishing. by Keller, Marcello Sorce (2009) - But then, as I read the book for the first time, I realized I was reading an articulated narrative showing, from various angles, how musical contacts and exchanges among music cultures are not an idyllic and harmonious process but, on the contrary, rather problematic ones. A little more than fifteen years later, as the French edition of this book signalled in 2001 (drawing upon articles that appeared between 1991 and 2000), it has become essential to consider the opposite situation: what impact world music is having on Western society, what happens to our sense of aesthetics when we listen to musics which were not meant to coexist with each other on a daily basis. Keywords: aubert; book; cultures; ethnomusicology; music; new; society; time; today; world
• From From a Broken Bottle Traces of Perfume Still Emanate, Volume Five by Mackey, Nathaniel (2013) - Ominous undulance had already, to an extent, come into play, a suppositious wave and waft Aunt Nancy picked up on mixing oil and salt. Listening to Djamilaa, Drennette and Aunt Nancy, one heard again and saw again, as though for the first and final time, that sound was the inner skin of things, the other side coming over, inside turning out. Keywords: aunt; bow; djamilaa; drennette; flow; hand; lambert; nancy; oil; penguin; rib; time; way
• Ambient Drone and Apocalypse by Demers, Joanna (2013) - Celer’s music, as with so much ambient drone, speaks of the end of time, the end of the world, and all the unresolvable dilemmas that accompany such ends. Where there are actions apart from ends, at least ends that lie in the future, it is the nature of the activities to stand apart from their products. Keywords: apocalypse; aristotle; celer; croesus; cyrus; end; happiness; music; time
• To Astonish the Roses: 7 E–mails to Walter Branchi by Randall, J. K. (2013) - Intero transcends as Sanctity transcends didn’t begin, has no end, favors no order, enhances all environments (question: is the Pantheon episode of Intero exportable?), is your life’s work 23319 but not Yours (and not an It), doesn’t assert or make demands, doesn’t announce itself or exhibit itself or proclaim itself or solicit attention. Intero transcends as Sanctity transcends didn’t begin, has no end, favors no order, enhances all environments (question: is the Pantheon episode of Intero exportable?), is your life’s work 234 21 ENVIRONMENTAL PROSPECTUS: Bach heeds the resonance it has created. Keywords: atcrimr; beethoven; cct; fact; human; intero; jim; listening; music; piece; resonance; roses; sound; space; time; timeflow; way
• A Timely Musical Discourse, or A Music Treatise from Lost Times, Part I by Bonus, Alexander (2013) - © 2013 by the Trustees of Columbia University in the City of New York 319 A Timely Musical Discourse, or a Music Treatise from Lost Times, Part I Alexander Bonus Eschewing some serious scholarly reservations, I wish to present a significant portion of a heretofore unknown treatise that concerns the nature of musical time. Yet if we take their discussion as an allegorical representation of a fundamental rift in the understanding of musical time, then the characters seem to function as every–musicians, who offer a variety of arguments in support of fundamentally oppositional stances. Keywords: beethoven; clock; co.; composers; london; machine; metronome; movement; music; musical; musicians; new; tempo; time; trans; words; york
• “Words for Music, Perhaps”? Texts, 1975-2013 by Boretz, Benjamin (2013) - Composing music, playing music, listening to music, thinking and writing about music: each and all plausible as a person’s possible self-gratifying, self- fulfilling occupation. Composing music, playing music, listening to music, thinking and writing about music: each and all plausible as a person’s possible self-gratifying, self- fulfilling occupation. Keywords: benjamin; boretz; discourse; expression; facts; music; politics; public; self; space; time; world
• Images of Time and Timelessness: A Musical Reading of Death in Venice by De Munck, Marlies (2014) - © 2014 by the Trustees of Columbia University in the City of New York 113 Images of Time and Timelessness: A Musical Reading of Death in Venice Marlies De Munck This essay is based on an old, well–known question in aesthetics: how to represent time in its fleetingness without halting, appropriating, objectify- ing, or transcending it? 114 Current Musicology In and Out of Time In its play of presence and absence, the experience of time is closely re- lated to the fear of death. Keywords: apollonian; aschenbach; death; experience; film; images; life; mann; music; story; time; timelessness; venice; visconti
• Beat Hierarchy and Beat Patterns—From Aksak to Composite Meter by Vojcic, Aleksandra (2014) - Another juxtaposition of three–beat and four–beat meters with nine pulses occurs in Sting’s London (2004) and Arom (1991) each wrestle with the issue of metri- cal accents (or the lack thereof) in asymmetrical meters and conclude that no accent is necessary due to the intrinsic differentiation among beats in beat patterns comprising short and long beats. Keywords: aksak; beat; composite; duple; example; level; measure; meta; meter; metric; music; pattern; signature; tactus; time; triple
• Song Form and the Mainstreaming of Hip-Hop Music by Duinker, Ben (2021) - I characterize song sections in hip hop by whether they participate in the core sequence of a song, or function as framing areas to this core. I have established flexible descriptions of four main types of song section in hip-hop music. Keywords: beat; chorus; core; corpus; example; form; framing; hip; hip hop; hook; hook sections; hop; hop music; instrumental; jay; lyrics; music; pop; rap; rock; sections; sequence; song; time; university; verse; vocals
• The Subdominant Tritone in Film and Television Music by Osborn, Brad (2021) - James Horner 45:50 APT C 1995 Christopher Lennertz 45:00 APT C 2016 The Magnificent Seven A hunter realizes his trade is no longer valid after government stops paying for Crow scalps. Keywords: chord; composer; degree; example; film; key; love; lydian; major; music; mvt; nct; scale; scale degree; sdtt; subdominant; sus; television; theme; time; tritone; year

• Table of Contents: Masthead by Seltzer, Cheryl (2019) - Pestelli Richard Marlowe Josephine M. Mason Niels Martin Jensen Winifried Kirsch Karl-Werner Giimpel Michael Tilmouth Othmar Wessely Anthony Ford Rita Egger Anna Amalie Abert Anne-Marie Bragard Andrej Rijavec Ian D. Bent Theodor Gellner John Steele Marie Briquet Robert Guilloux Willem Elders J. E. Maddrell Hans Conradin Ake Berglund University of Texas, Austin, Texas University of Toronto, Ontario, Canada University of Washington, Seattle, Wash. University of Wisconsin, Madison, Wis. Washington University, St. Louis, Mo. Western Reserve University, Cleveland, Ohio Yale University, New Haven, Conn. Bartok Archives, Budapest, Hungary Bratislava University, Bratislava, C.S.S.R. Cambridge University, Cambridge, England Giittingen University, Giittingen, Germany Haile Selassie I University, Law Faculty, Addis Ababa, Ethiopia Hamburg University, Hamburg, Germany Humboldt University, Berlin, Germany Karl Marx University, Leipzig, Germany Karlova University, Prague, C.S.S.R. Martin Luther University, Halle-Wittenberg, Germany Munster University, MUnster, Germany Oxford University, Oxford, England Phillips University, Marburg, Germany Queens University, Department of Extra-Mural Studies, Belfast, Ireland Saint Andrews University, French Department, Fife, Scotland Svenskt Music History Archives, Stockholm, Sweden Turin University, Turin, Italy The University, Southampton, England University of Birmingham, Birmingham, England University of Copenhagen, Denmark University of Frankfurt, Frankfurt, Germany University of Freiburg, Freiburg, Germany University of Glasgow, Glasgow, Scotland University of Graz, Graz, Austria University of Hull, Yorkshire, England University of Innsbruck, Innsbruck, Austria University of Kiel, Kiel, Germany University of Liege, Liege, Belgium University of Ljubljana, Ljubljana, Yugoslavia University of London, London, England University of Munich, Munich, Germany University of Otago, Dunedin, New Zealand University of Paris, Paris, France University of Utrecht, Utrecht, Holland University of York, English Department, York, England University of Zurich, ZUrich, Switzerland Uppsala University, Uppsala, Sweden Communications to the corresponding editors should be addressed care of the music department of the university unless otherwise noted. Brandeis University, Waltham, Mass. Catholic University of America, Washington, D.C. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, City College, New York, N.Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. George Peabody College for Teachers, Nashville, Tenn. Indiana University, Bloomington, Ind. New York University, New York, N.Y. Keywords: college; england; germany; john; michael; mrs; n.y; new; new york; university; york
• Table of Contents and Masthead by Musicology, Current (2019) - Ohio State University, Columbus, Ohio Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. State University of New York at Buffalo, Buffalo, N.Y. Syracuse University, Syracuse, N.Y. Tulane University, Newcomb College, New Orleans, La. University of Arizona, Tucson, Ariz. University of California, Berkeley, Calif. University of California, Davis, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Colorado, Boulder, Col. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Miami, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School of Music, Rochester, N.Y. University of Southern California, Los Angeles, Calif. University of Texas, Austin, Tex. University of Toronto, Toronto, Ontario, Canada University of Washington, Seattle, Wash. University of Wyoming, Laramie, Wyo. Washington University, St. Louis, Mo. Yale University, New Haven, Conn. Foreign Karl-Werner Giimpel Laszlo Somfai Ladislav Burlas Alan Brown Anna Amalie Abert Reinhard Gerlach Peter Strauss Reiner Kluge Winifried Kirsch Hubert Unverricht Othmar Wessely Eberhard Klemm Olga Mikl6ssy Rita Egger Theodor GCillner Bernd Baselt J. D. Bergsagel Horst Heussner John C. G. Waterhouse Brian Jeffery Willem Elders Axel Helmer Se6irse Bodley Josephine M. Mason Niels Martin Jensen Michael Tilmouth Georg Borchardt Anthony Ford Anne-Marie Bragard Andrej Rijavec Ian D. Bent John Steele Marie Briquet Robert Guilloux Richard Marlowe Ludwig Finscher Georgio Pestelli J. E. Maddrell Hans Conradin Ake Berglund M. Witte Albert-Ludwig University, Freiburg, Germany . Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Louisiana State University, Baton Rouge, La. New York University, New York, N.Y. Keywords: college; department; england; germany; mrs; music; n.y; new; richard; state; university; york
• Table of Contents and Masthead by Musicology, Current (2019) - University of Colorado, Boulder, Col. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Miami, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School of Music, Rochester N.Y. University of Southern California, Los Angeles, Calif. University of Toronto, Toronto, Ontario, Canada University of Washington, Seattle, Wash. University of Wyoming, Laramie, Wyo. Washington University, St. Louis, Mo. Yale University, New Haven, Conn. Foreign Karl-Werner Giimpel Laszlo Somfai Ladislav Burlas Alan Brown Anna Amalie Abert Reinhard Gerlach Don Harran Reiner Kluge Winfried Kirsch Hubert Unverricht Othmar Wessely Eberhard Klemm Mrs. Olga Mikl6ssy Rita Egger Theodor Gellner Bernd Baselt J. D. Bergsagel Horst Heussner John C. G. Waterhouse Willem Elders Axel Helmer Se6irse Bodley Josephine M. Mason Niels Martin Jensen Michael Tilmouth Georg Borchardt Anthony Ford Anne-Marie Bragard Andrej Rijavec Ian D. Bent John Steele Marie Briquet Robert Guilloux Richard Marlowe Ludwig Finscher Georgio Pestelli J. E. Maddrell Hans Conradin Ake Berglund M. Witte Albert-Ludwig University, Freiburg, Germany Bartok Archives, Budapest, Hungary Bratislava University, Bratislava, Czechoslovakia Cambridge University, Cambridge, England Christian-Albrechts University, Kiel, Germany Georg-August University, G6ttingen, Germany Hebrew University, Jerusalem, Israel Humboldt University, Berlin, Germany Johann Wolfgang Goethe University, Frankfurt, Germany Johannes Gutenberg University, Mainz, Germany Karl-Franzens University, Graz, Austria Karl Marx University, Leipzig, Germany Karlova University, Prague, Czechoslovakia Leopold-Franzens University, Innsbruck, Austria Ludwig-Maximilians University, Munich, Germany Martin Luther University, Halle-Wittenberg, Germany Oxford University, Oxford, England Phillips University, Marburg, Germany Queens University, Department of Extra-Mural Studies, Belfast, Ireland State University of Utrecht, Utrecht, Holland Svenskt Music History Archives, Stockholm, Sweden University College, Dublin, Ireland University of Birmingham, Birmingham, England University of Copenhagen, Copenhagen, Denmark University of Glasgow, Glasgow, Scotland University of Hamburg, Hamburg, Germany University of Hull, Yorkshire, England University of Liege, Liege, Belgium University of Ljubljana, Ljubljana, Yugoslavia University of London, London, England University of Otago, Dunedin, New Zealand University of Paris, Paris, France University of Paris, Paris, France University of Southampton, Southampton, England University of the Saarland, Saarbriicken, Germany University of Turin, Turin, Italy University of York, English Department, York, England University of Zurich, ZUrich, Switzerland Uppsala University, Uppsala, Sweden Westfalische Wilhelms University, Munster, Germany Communications to the corresponding editors should be addressed care of the music department of the university unless otherwise noted. Keywords: college; editors; england; germany; mrs; music; n.y; new; new york; state; university; york
• Front Matter by Zaslaw, Neal (2019) - ADVISOR: Ernest Sanders Copyright © 1969, Department of Music Columbia University, New York Printed in Great Britain CORRESPONDING EDITORS Domestic Raymond, Kelton . Mrs. Ellen T. Winter Harlan D. McConnell David Leese William B. Pepper Robert D. Oursler Lee Patrick Thomas Stoner Warren Spaeth Sterling E. Murray Charles G. Boody Dan Broucek Don Gillespie Vicki Sue Carlson Peter Bloom Norris L. Stephens Priscilla M. Drucker George S. James, III Zenoby Lawryshyn Jean M. Walkinshaw Bellamy Hosler Bostf?n University, Boston, Mass. Brandeis' University, Waltham, Mass . Keywords: calif; california; college; england; germany; mrs; n.y; new; university; york
• Table of Contents and Masthead by Zaslaw, Neal (2019) - University, Providence, R.I. Bryn Mawr College, Bryn Mawr, Pa. Carnegie-Mellon University, Pittsburgh, Pa. University of Toronto, Toronto, Ontario, Canada University of Washington, Seattle, Wash. University of Western Ontario, London, Ontario, Canada University of Wisconsin, Madison, Wisc. Keywords: california; editors; england; germany; music; n.y; new; state; university; york
• Table of Contents and Masthead by Musicology, Current (2019) - Mary Ann Grigsby Richard Evidon Sue Vinks Hough Rosalie Schellhous Warren Spaeth Elizabeth Bartlet John H. Hajdu Anne Amerson Sister Bertha Fox Gordon S. Rowley George C. Foreman Lee Patrick Ramona H. Matthews Jack Crawford Sterling E. Murray Janice C. Teisberg Julia Anne Griffin & Dan Broucek Richard Benedum Frank Carey Norris L. Stephens Carol Lee Irwin Robert D. Lynch James Wheat Frederick A. Hall Paul F. Marks Boston University, Boston, Mass. Brandeis University, Waltham, Mass. Brown University, Providence, R.I. Bryn Mawr College, Bryn Mawr, Pa. Carnegie-Mellon University, Pittsburgh, Pa. Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College, New York, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Louisiana State University, Baton Rouge, La. Manhattan School of Music, New York, N.Y. McGill University, Montreal, Quebec, Canada Michigan State University, East Lansing, Mich. New York University, New York, N.Y. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. Keywords: calif; california; city; college; editors; music; n.y; new; new york; state; university; york
• Table of Contents and Masthead by Musicology, Current (2019) - Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College, New York, N. Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Juilliard School, New York, N.Y. Louisiana State University, Baton Rouge, La. Manhattan School of Music, New York, N.Y. McGill University, Montreal, Quebec, Canada Michigan State University, East Lansing, Mich. New York University, New York, N.Y. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. State University of New York at Buffalo, Buffalo, N.Y. Tulane University, Newcomb College, New Orleans, La. University of Arizona, Tucson, Ariz. University of Arkansas, Fayetteville, Ark. University of California, Berkeley, Calif. University of California, Davis, Calif. University of California, Los Angeles, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Colorado, Boulder, Col. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Coral Gables, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School of Music, Rochester, N.Y. University of Southern California, Los Angeles, Calif. Foreign James H. Cook Michael Evans Paul F. Marks David Schroeder Paul D. Ledvina Edgar J. Lewis Thom Lipiczky Glenn L. Gore Arsen R. Papakhian George Loomis Laszl6 Keywords: calif; california; city; college; germany; music; n.y; new; new york; state; university; york
• Table of Contents and Masthead by Musicology, Current (2019) - Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College, New York, N.Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Juilliard School, New York, N.Y. Louisiana State University, Baton Rouge, La. McGill University, Montreal, Quebec, Canada Memphis State University, Memphis, Tenn. Michigan State University, East Lansing, Mich. New York University, New York, N.Y. Northwestern University, Evanston, Ill. Pennsylvania State University, University Park, Pa. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. State University of New York at Buffalo, Buffalo, N.Y. Tulane University, Newcomb College, New Orleans, La. University of Arizona, Tucson, Ariz. University of Arkansas, Fayetteville, Ark. University of California, Berkeley, Calif. University of California, Davis, Calif. University of California, Los Angeles, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Coral Gables, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School, Rochester, N.Y. Keywords: calif; california; city; college; music; n.y; new; new york; state; university; york
• Table of Contents and Masthead by Musicology, Current (2019) - Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College, New York, N.Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Juilliard School, New York, N.Y. Louisiana State University, Baton Rouge, La. McGill University, Montreal, Quebec, Canada Memphis State University, Memphis, Tenn. New York University, New York, N.Y. Northwestern University, Evanston, Ill. Pennsylvania State University, University Park, Pa. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. State University of New York at Buffalo, Buffalo, N.Y. University of Arizona, Tucson, Ariz. University of Arkansas, Fayetteville, Ark. University of California, Berkeley, Calif. University of California, Los Angeles, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Colorado, Boulder, Colo. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Coral Gables, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School, Rochester, N.Y. University of Southern California, Los Angeles, Calif. University of Texas, Austin, Tex. Keywords: anne; calif; city; germany; n.y; new; new york; state; university; york
• Table of Contents and Masthead by Musicology, Current (2020) - Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College,NewYork,N.Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Juilliard School, New York, N.Y. Louisiana State University, Baton Rouge, La. McGill University, Montreal, Quebec, Canada Manhattan School of Music, New York, N.Y. Memphis State University, Memphis, Tenn. New England Conservatory, Boston, Mass. New York University, New York, N.Y. Northwestern University, Evanston, Ill. Pennsylvania State University, University Park, Pa. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. State University of New York at Buffalo, Buffalo, N.Y. University of Arizona, Tucson, Ariz. University of Arkansas, Fayetteville, Ark. University of California, Berkeley, Calif. University of California, Los Angeles, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Colorado, Boulder, Colo. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Coral Gables, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School, Rochester, N.Y. Keywords: american; calif; city; germany; music; n.y; new; new york; state; university; york
• The Hodges and Newland Collections in the Library of Congress: A Preliminary Report by Kaufman, Charles H. (2020) - Dr. Hodges served as music director of the school, but unfortunately the Trinity School During the Lenten season of 1854 Dr. Hodges suffered an attack of paralysis that temporarily disabled his left hand. Keywords: church; collection; edward; hodges; manuscripts; music; newland; organist; service; trinity; works; york
• Review of Wayne Schneider, ed. 1999. The Gershwin Style: New Looks at the Music of George Gershwin. New York: Oxford University Press by Schiff, David (2000) - The latter task is a particularly challenging lacuna in Gershwin scholarship given the fact that none of Gershwin's shows have proven revivable. The question that C. Andre Barbera addresses in his George Gershwin and Jazz-why are jazz musicians so attracted to Gershwin's tunes-is a seductive red herring. Keywords: gershwin; new; university; york
• Porgy and Miles by Tucker, Mark (2001) - Porgy and Miles* By Mark Tucker Miles Davis traced his rising fame in the 1950s to changes taking place in society. 1957; Verve Russ Garcia issued 1959 Miles Davis with orchestra ree. Keywords: album; american; baraka; bess; davis; evans; gil; jazz; miles; music; new; porgy; york
• Da Ponte in New York, Mozart in New York by Biba, Otto (2006) - Da Ponte in New York, Mozart in New York Otto Biba One might be surprised to learn that relatively few of Lorenzo da Ponte's letters have been preserved. In one of these, written in New York in 1824 to an unknown recipient, Da Ponte names what he considered to be five of his most important and successful libretti: La cosa rara, L' arbore di Diana, La capricciosa corretta, Le nozze di Figaro, and Don Giovanni. Keywords: america; da ponte; haydn; italian; london; lorenzo; mozart; music; new; new york; opera; philadelphia; ponte; york
• Periods in Progressive Rock and the Problem of Authenticity by Sheinbaum, John J. (2008) - Of the numerous tropes surrounding progressive rock bands, some of the most pervasive and persistent concern the perception that these groups' music and public personae are indebted to the classical music tradition. These new industry demands required progressive rock bands to adapt if they were to continue to enjoy the benefits of active promotion from their labels and to command a large audience. Keywords: 1970s; album; authenticity; band; chorus; fans; genre; guitar; music; new; period; pop; rock; rush; sheinbaum; song; sound; style; verse; yes; york
• Review of Patrick Burke. 2008. Come In And Hear The Truth: Jazz and Race on 52nd Street. Chicago and London: University of Chicago Press. by Coleman, Kwami (2010) - Both of these discourses became commodities that jazz musicians came to use to their advantage. For Burke, Smith represents a reworking of the minstrel legacy that set a precedent for jazz musicians of the next generation, especially Dizzy Gillespie: one in which the black performer's cleverness is flaunted in the face of his white audience. Keywords: bebop; burke; jazz; musicians; new; second; street; white; york
• Variations V: "Escaping Stagnation" Through Movement of Signification by Hoover, Elizabeth (2010) - However, multiple collaborators contributed their electronic designs to make performances of Variations V possible. The purpose of this article is to move the discussion of Variations V away from pure descriptive accounts-whether historical or in regards to performance practice-and towards an understanding of its cultural mean­ ing, the importance of which was ascribed by the New York Times critic Allen Hughes only one day after the premiere performance: In a sense Variations V was a monumental symphony of the visual and aural banalities of our age and as such was highly successful (1965). Keywords: cage; company; cunningham; dancers; david; images; merce; movement; new; new york; notes; performance; sound; stage; variations; water; york

• Reverse Extensions and Multi-Layered Experiences of Harmony in Drake’s Harmonic Loops by Hudson, Stephen (2023) - This creates a feeling of dissociation between the chord loop and the bass, drawing on the double-function effect of reverse extension chords that I described above; the chords with E in the bass are in one sense Emaj7 chords, but in another sense they can be heard as G#m chords with a disconnected bass, and similar double- (or even triple-) hearings occur when the bass moves to C#. A reverse extension is thus both a harmonic-bass divorce and an integrated chord, which potentially can afford multiple different heard roots and chord identities. Keywords: bass; chord; drake; example; extension; harmony; hearing; jazz; loop; music; new; reverse; song; theory; tonic
• Transitional Functions: The Emergence of the Anticipatory Transition in Nineteenth-Century Sonatas by Luis Matos-Tovar (2023) - The copy-and- paste anticipatory transition copies material in the transition and pastes those musical subjects in a subsequent module that results in its main theme. 34 Luis Matos-Tovar ____________________________________________ Example 3: Charles Alkan, Piano Trio No. 1 in G Minor Op. 30, Mvt. 1, 106-112, developed TR theme in the Codetta of the Recapitulation. Keywords: example; material; minor; module; piano; schumann; sonata; theme; transition
• Deciphering Guarapachangueo: Formulas and Formulaic Variation in Contemporary Rumba Percussion by Frías, Johnny (2023) - It may have emerged out of the original guarapachangueo formula, which can be flipped in terms of its relationship with the clave. As Bodenheimer (2015, 195) notes, many contemporary rumba groups in the Cuban provinces outside Havana reflect the influence of the Havana-based groups’ ensemble roles, instrumentation, and rhythmic formulas. Keywords: afro; cajón; chinitos; clave; contemporary; cuba; drummers; example; formulas; guaguancó; guarapachangueo; havana; music; rumba; rumberos; style; tumbador
• Elliott Carter's Analysis of his Piano Sonata (1945-46): A Moment of Music Historical Agnosia? by Braus, Ira (2021) - Amusingly, Rosen imparts the backstory of the above example as follows (emphasis his own): I telephoned Mr. Carter one day to tell him that I had remarked that playing the B natural with considerable force stimulates the B flat harmonics on the piano but does not stimulate the A natural. I’ll conclude by proposing biographical factors that may have informed Carter’s seeming agnosia.1 For those familiar with Carter’s biography, it should not surprise that Beethoven’s name peppers much of the former’s writings on music. Keywords: beethoven; carter; development; example; form; maestoso; measures; movement; music; page; piano; second; sharp; sonata
• Giuseppe Sarti and Mozart's Quartet, K. 421 by Mitchell, William J. (2019) - Should the embellishing D of bars 43-45 have been written as and the entire section, bars 42-45, notated as a D# major chord moving eventually to the aug- mented sixth chord of bar 45? When this is done, it becomes apparent that, whatever significance might be accorded the E [, chord of bar 42, the inclusive plan is the connecting of the mediant chord, previously established as F major, and the A minor-major chord of bars 50 (A minor) to 66 (A major) as in Example 1. Keywords: bars; chord; example; sarti
• Three B's-Three Chaconnes by Cantrell, Byron (2019) - Variations 41, 42, and 43 feature a dominant pedal (Example 3 provides a partial quotation of Variations 41 and 42), which resolves on a tonic pedal in Variation 44. The accented second beat of the old chaconne style is immediately abandoned after the first variation, but it reappears for Variations 5, and 9 through 15, and makes its final full appearance in Variation 31. Keywords: bach; beethoven; brahms; chaconne; example; form; ostinato; variations
• Random Thoughts on the Preludes of Claude Debussy by Freundlich, Irwin (2019) - The fireworks on Bastille Day (alluded to by the evanescent quote of La Marseillaise at the conclusion of the piece) suggest to Debussy material that splutters or soars. As Deri said, the blurred impressionism in Debussy is by no means a result of confused thinking; rather, as we well know, it is the product of the most precise calculation in the control of musical materials. Keywords: activity; debussy; example; motive; music; piece; prelude
• The 20th-Century Performer as Interpreter of the Baroque Tradition by Newman, Anthony (2019) - The purpose of this essay is to utilize various of my conclusions concerning Baroque performance practice and to combine them with a linear (Schen- kerian) analysis, in order to arrive at a performance version for the first twenty-one measures of Bach's C Minor Praeludium, S.537, with the areas or notes of rubato indicated in the text. Before proceeding to the written-out version, it would, perhaps, be helpful to present my conclusions about Baroque performance practice and to illustrate these bars with a graph. Keywords: baroque; composer; example; notes; performance
• Gesualdo: Misguided or Inspired? by Silverman, Faye-Ellen (2019) - Gesualdo's music, however, stems from a pretonal, highly contrapuntal tradition and uses many notes purely as voice-leading dissonances. Faye-Ellen Silverman Gesualdo remains to this day one of the most controversial composers in the history of music. Keywords: chords; example; gesualdo; music; note; use
• The Evolution of Variation Form in the Music of Webern by Bailey, Kathryn (2019) - [ff 1 H=pp highest com- plexity one one many one many one many one one complete complete over lapping complete overlapping complete complete complete statement statement statements statement statements statement statement statement Again, as in Variation 1, the two sections at either end of the arch are very similar to inner sections 4 and 6. It is difficult to come to terms with variation form in the context of the twelve-tone system, a system which employs to such a high degree variation as a musical procedure. Keywords: example; form; motives; movement; opus; section; theme; variation; webern
• A Sonata Offering for the Prince of Tuscany by Cole, Malcolm S. (2019) - Although a specific dance term (Giga) appears only in the finale of the first court sonata, it is evident nonetheless that dance models fre- quently furnished the stylistic basis of individual movements. Cyclic relationships between movements are not in evidence. Keywords: allo; church; court; example; fanfani; movements; sonata
• Ragtime andf the Music of Charles Ives by Tick, Judith (2020) - In ragging well-known melodies, I ves was adopting the conventions of popular ragtime. =--f--- Despite the comparative textural simplicity of popular ragtime, it was nevertheless the inspiration for complex rhythmic textures. Keywords: example; ives; music; new; piano; ragtime; sonata
• Newly-Discovered Addenda to the Trouvère Repertoire by Tischler, Hans (2000) - J J 1)1 J I J I. Puis ke je sui de l'a me rou se loi, 3. Obviously cut from a chansonnier or from a section of a manuscript con­ taining trouvere songs, it was used to bind a codex from the second quar­ ter of the fourteenth century, now located in the Koninklijke Bibliotheek in The Hague and bearing the shelf number 72 J 17. Keywords: example; flyleaf; song; trouvere
• Discontinuity in the Music of Django Reinhardt by Givan, Ben (2001) - 4 f &1, &J J J J J J J J I R J J 7 Bb 3 Om 3 f &1, J ijJ d n J 4J &J I J nJ ~J j Melody Background PM m f' , e ,# r J J 'r J J ,# 0J. 3£1'_ C7 F Em Am Dm 07 C F. >-~ >- >-~ B. Keywords: chorus; example; hodeir; improvisation; j j; jazz; material; melody; music; new; r r; reinhardt; solo
• Outside Forces: “Autumn Leaves” in the 1960s by Waters, Keith (2001) - ,----- 3 -----, ,----- 3 -----, ,----- 3 -----, ,----- 3 -----, ,----- 3 -----, ,----- 3 -----, ~ c~ J J J J J IJ J J J J J IJ J J J J J i Example 13h: Reinterpretation, Jarrett mm. 17-24/4. Keywords: chorus; composition; example; hancock; harmonic; j j; jarrett; jazz; measure; metric; note; polymeter; section; solo
• Scat Singing: A Timbral and Phonemic Analysis by Bauer, William R. (2001) - Studying phonetic transcriptions of scat solos with these sequences in mind, we can observe the ways scat singers can create sudden timbral contrasts or smooth timbral transitions with vowels.9 306 CURRENT MUSICOLOGY Ii! lei leel liyl leyl layl pit pet pat Table 1 Trager-Smith phonemes: short vowel sounds Ipitl Ipetl Ipeetl Igl lehl cut pail Icgtl Ipehl/ Table 2 lui put lohl caught lal pot Trager-Smith phonemes: long vowels and diphthongs beat Ibiytl lyuwl dispute Idispyuwtl luwl boot bait Ibeytl loyl boy Iboyl lowl boat bite Ibaytl leewl bout Iputl Ikohtl Ipatl Ibuwtl Ibowtl Ibeewt! Using phonetic symbols, we can therefore notate the wide palette of vocal timbres available to scat singers and examine in detail how these WILLIAM R. BAUER 305 singers employ their sonic raw materials. Keywords: armstrong; bauer; blues; carter; duw; example; j j; jazz; lines; new; scat; singers; solo; sound; timbre; vocables; vowel
• Recombinant Melody: Ten Things to Love About Willaert's Music by Schubert, Peter (2003) - d J J J J J J J J . If J J J j ,~ o· I la I fa re re f' Keywords: example; inganno; j j; melodic; motive; notes; schubert; section; willaert
• The Concept of Ausweichungin Music Theory, ca. 1770-1832 by Saslaw, Janna K. (2003) - To this end, I shall examine the term Ausweichungas employed by five theorists-Johann Philipp Kirnberger and Johann Sulzer, Heinrich Christoph Koch, Georg Vogler, and Gottfried Weber-over a period spanning 1771 to 1832.1 In the writings of these five authors, A usweichung proves to be an extremely flexible concept, encom­ passing gradations from the briefest references to other keys to complete modulations in the modern sense. Complicating matters further, later in the nineteenth-century Modulation began designating a formal change of tonal center, while A usweichungwas reserved only for passing references to other keys. Keywords: ausweichung; der; ear; example; key; keys; kirnberger; koch; major; minor; modulation; new; scale; vogler; weber
• A Suggestive Detail in Weber's Freischutz by Taruskin, Richard (2003) - Karl Maria von Weber als Klavierkomponist. Carl Maria von Weber, 2nd ed. Keywords: agathe; example; weber
• “Paths of Harmony” in the First Movement of Brahms’s Cello Sonata in E minor, Op. 38 by Bernstein, David W. (2003) - 6 6 6 6 6 6 6 6 Example 7: Second theme, mm. 58-65. d r---------------l Example 9: Entrance of second theme as prepared by motive d, mm. 54-57. Keywords: dominant; example; motive; schoenberg; theme
• Musical Platonism in Modern Culture by Goehring, Edmund J. (2003) - Music, or any other art, conforms to taste, an external standard, not taste to music (1711). Describing music as that which imitates other music holds together two essential but often conflicting requirements of music (or any art): that it have autonomy and that it be coherent.8 An entirely autonomous art with no frame of refer­ ence for its language would be unintelligible. Keywords: argument; arts; bottum; example; idea; imitation; instrumental; meaning; mozart; music; passage; passion; poetry; set; text; theory; words
• Beyond the Beethoven Model: Sentence Types and Limits by Bailey Shea, Matthew (2004) - Put simply, all sentences begin with a presentation (the statement and repetition of a short, basic idea) but presentation alone cannot be equated with sentence form. Each of these examples highlights an important association between sentence types and syntactical function. Keywords: beethoven; caplin; continuation; example; form; idea; model; music; phrase; presentation; repetition; schoenberg; sentence; statement; theme
• “Lenin in Swaddling Clothes”: A Critique of the Ideological Conflict Between Socialist State Policy and Christian Music in Cold War Romania by Pieslak, Sabina Pauta (2004) - During this period, Romanian Communist leaders attempted to balance their allegiance to the Soviets with the need to legitimize their regime within Romanian culture, and colinde and star songs with their deeply-rooted his­ tory and nationalistic nuances, became an important part of this balancing act. Understanding this historical background helps elucidate why this type of music was chosen for Communist propaganda, and why the Communist Party adapted Romanian Christmas music to their ideology rather than abolish the tradition altogether. Keywords: bucharest; christian; christmas; colinde; communist; culture; dawn; day; editura; example; lenin; life; light; music; national; new; party; religion; romanian; songs; star; star songs; state; steaua; world; zit; ziurel
• Boris’s Bells, By Way of Schubert and Others by DeVoto, Mark (2007) - Stravinsky's appraisal of Glinka is perhaps more realistic: His music is minor, of course, but he is not; all music in Russia stems from him (Stravinsky and Craft 1959:48).Ruslan, with no actual bells in the score, gives us the earliest Russian example of bell chords thus far identified, and these are, naturally enough, at a dramatic high point in the poorly conceived libretto of a long and sprawling stage spectacle: the magic moment where Lyudmila, in the midst of a wedding revelry, is abruptly spirited away by the evil magician Chernomor. To wind up this necessarily limited tour of bell chords, we may begin with two examples of simple irregular resolution, by one of the most romantic and visionary harmonists of all. Keywords: bell; boris; chords; dominant; example; harmony; major; minor; movement; schubert; seventh; stravinsky
• “A Disturbing Lack of Musical and Stylistic Continuity”? Elliott Carter, Charles Ives, and Musical Borrowing by Thurmaier, David (2013) - Though in his writings and music Carter asserted his preferences for originality, progress, and, above all, consistency of musical language in keeping with modernist traits, he could not help being haunted in his compositional choices by his personal connection to Ives and his highly unique and idiosyncratic music. In a fascinating exchange from the documentary Elliott Carter: A Labyrinth of Time, Carter and the cellist Fred Sherry (for whom the piece was written) discuss certain sections of the piece, its inspiration, and how it should be performed (Carter 2006). Keywords: borrowing; carter; example; ives; movement; music; new; piece; quartet; quotation; section; sonata; use
• Milton Babbitt’s Glosses on American Jewish Identity by Maggart, Alison (2017) - “World War II and American Jewish Identity.” Subtitled “Musical Tradition and Creation in the Culture of the Jewish People—East and West,” the Congress was dedicated to detailing the ontology and morphology of Jewish music (Harrán 1979, 20). Keywords: american; babbitt; composers; example; glosses; god; history; hollander; identity; jewish; jews; meaning; milton; music; new; princeton; psalm; schoenberg; series; set; text; university
• From Idea to Institution: The Development and Dissemination of the Orff-Schulwerk from Germany to the United States by Spitz, Emily (2019) - Their mission statement reads as follows: to demonstrate the value of Orff Schulwerk and promote its widespread use; to support the professional development of our members; and, to in- spire and advocate for the creative potential of all learners. What is Orff Schulwerk? Keywords: american; aosa; children; dance; education; elemental; example; exercises; günther; ibid; keetman; mainz; margaret; movement; murray; music; music education; new; orff; orff schulwerk; school; schott; schott music; schulwerk; students
• Alternative Facts in Musicology and Vechnaya Pamyat' in Shostakovich's Symphony No. 5 by Mah, Eileen (2021) - A number of authors in the 2000s have offered analyses that strike a balance between (or among) the various prominent—and polarized—sides of Shostakovich interpretation. Two notorious examples are the musicological “wars” concerning Tchaikovsky’s Symphony No. 6 and Shostakovich’s Symphony No. 5. Keywords: example; facts; interpretation; meaning; motif; movement; music; mvt; note; pamyat; rehearsal; shostakovich; step; symphony; taruskin; vechnaya

• There goes the Berimbau: An Africa-Brazil-Germany Musician-Body Trajectory by Grundner, Simone (2023) - Such language, which becomes part of the gestures and movements of capoeira practitioners, provides a sensorial link between their bodies and the culture originating in the Congo region, where Angola is located today, and directly or indirectly acts in transformations for freedom. These are geared towards capoeira practitioners and potential future teachers and reveal how instruction has been adapted in a new context. Keywords: berimbau; body; capoeira; german; gross; instrument; mestre; movement; music; portuguese; practitioners; roda; sound
• Introduction: Music literacy and the teaching of music in school, college, and university by Clarkson, Austin (2019) - Unless the most responsible and imaginative professionals work creatively together to prepare the needed software, music education may soon be sad- dled with expensive but misbegotten programs that might do the cause of musical literacy more harm than good. • SPECIAL SECTION: ARTICLES, REPORTS, AND REVIEWS ON MUSICOLOGY AND MUSIC EDUCATION Introduction: Musical literacy and the teaching oj music in school) college) and university Austin Clarkson NPRAISALS OF THE RELATION BETWEEN THE MUSIC EDUCATIONAL ESTAB-J-\. LISHMENT from grade to graduate school and the culture at large should take at least cursory note of John Kenneth Galbraith's warning that education is being shaped more than we realize by the needs of modem in- dustry. Keywords: concepts; education; educators; literacy; music; new; sound; structure; teaching
• Musicology and Performance: The Common Ground by Koston, Dina (2019) - My own schooling in music was in many ways typical for an instru- mentalist. Let me hasten to add, lest it seem that I am promoting my own kind of schooling, that it has nonetheless been my deficiencies in music theory which have proven the most troublesome. Keywords: music; sound
• Some Observations on Performance Practice by Stevens, Denis (2019) - It is therefore not enough, when performing early music, to state that we do not know how it originally sounded or how it was performed. The presentation of early music in terms of sound brings with it in- numerable problems, but most of these can now be solved by expert minds. Keywords: instruments; music; performance; sound; verses; way
• Review of Timothy D. Taylor. 2001. Strange Sounds: Music, Technology, and Culture. New York: Routledge by Zak, Albin J. III (2002) - Taylor's interest in the agency of everyday people and their use of everyday technologies (15), and his interest in pop music, would seem to indicate at least an encounter with the most everyday of 1950s music. It dismayed adults, but the sense of recklessness and bold abandon such behavior embodied became a touch­ stone for pop music thereafter. Keywords: aesthetic; age; artists; book; culture; digital; experience; fans; making; music; musicians; new; people; pop; recording; records; rock; roll; sound; space; taylor; technology; use; way; zak
• Meintjes, Louise. 2003. Sound of Africa! Making Music Zulu in a South African Studio. Durham and London: Duke University Press, 335 pp. by Pyper, Brett (2003) - Having presented the broad object and setting of the research, the remaining four cuts of the book share a concern for the ways in which discourses about social identities impinge on studio production processes and, in turn, are disseminated through them. Examples of such processes that are revealed seem suggestive: Meintjes makes tanta­ lizing mention of the roles of studio producers in dictating the sartorial personas of their artists, and alludes to the existence of a post-produc­ tion A&R committee charged with setting standards aI!d vetting record­ ings for commercial release. Keywords: book; cut; mbaqanga; meintjes; music; social; sound; south; studio
• Review of Dave Tompkins. 2010. How to Wreck a Nice Beach. Chicago and Brooklyn: Stop Smiling/Melville House. Steve Goodman. 2010. Sonic Warfare. Cambridge, MA, and London: MIT Press. by Marshall, Wayne (2010) - Goodman hears and feels the forceful-and often subsonic-projections of sound systems, whether playing dub reggae or funk carioca, as meeting a certain masochistic desire for the active production of dread (27) that he describes as fear activated deliberately to be transduced and enjoyed in a popular musical context (29). But while such subtle linguistic choices may stem from efforts to resist an ocularcentric framework, Goodman's focus on sound as physical force, as something subpolitical and pre-ideological, is intended to needle the more profound bias in music and sound studies toward an overriding emphasis on phenomenology and signification, rather than ontology and affective mobilization. Keywords: book; culture; goodman; hip; hop; music; sonic; sound; studies; tompkins; vocoder; warfare
• Review of Brandon LaBelle. 2010. Acoustic Territories: Sound Culture and Everyday Life. New York and London: Continuum by Fishbeck, Luke (2010) - In some ways it follows from where LaBelle began in his 2006 historical survey of sound art practices, Background Noise, now juxtaposing case studies and theoretical writing on sound with examples of artistic intervention, intentionally blurring the already vague boundaries between sound culture and sound art, traveling from site to site without historical linearity. (LaBelle 2006:ix) By choosing to elaborate on those relational networks that arise through the act of listening, LaBelle avoids direct overlap with other contemporary investigations into the materiality of sound per se, such as David Toop's Sinister Resonance (2010, also published by Continuum)-which constructs Luke Fischbeck a history of listening, unpacking the literary and artistic use of sound as a metaphor for the intangible and uncanny. Keywords: everyday; labelle; life; listening; sound; space; territories
• Review of Karin Bijsterveld and Jose van Dijck, eds. 2009. Sound Souvenirs: Audio Technologies, Memory and Cultural Practices. Amsterdam: Amsterdam University Press. by Dayal, Geeta (2010) - Subsequent scholarship also did not explicitly address sound souvenirs as it did other ideas from Schafer's work, such as schizophonia;' or the splitting of a sound from its source (e.g., Feld 1994, Truax, 2001, Sterne 2006). Do they find value, in Pinch and Reinecke's words, in the uniqueness of analog sound, its imprecisions and imperfections, and the noise it produces, which [John, one of the musicians profiled] also thinks evokes human emotion (l65)? Keywords: memory; music; sound; souvenirs; technology; wop
• Review Essay: “Representing Recording Studios of the Past.”: Andy Bradley and Roger Wood. House of Hits: The Story of Houston’s Gold Star/Sugarhill Recording Studios; John Hartley Fox. King of the Queen City: The Story of King Records; Roben Jones. Memphis Boys: The Story of American Studios by Slaten, Whitney (2011) - Recording studios are social, electronic, architectural, acoustic, and creative technologies of representa­ tion. These works successfully document the local and national contexts in which these studios produced, as well as many accounts of individuals who were involved in the studios and specific recording sessions; however, these are books in which the representation of recording studios weighs heavily on celebrations of illustrious music makers and the popular music they produce. Keywords: american; bass; edit; engineers; fox; jones; king; man; music; musicians; porcello; recording; recording studio; records; sound; story; studios
• Voice as Action: Towards a Model for Analyzing the Dynamic Construction of Racialized Voice by Eidsheim, Nina (2012) - Voice as sound and voice as action, then, are themselves nested definitions of voice; the predominance of one definition or the other depends on the values and preconceptions harbored by individual perceivers (hence the existence of Layer 3). The first two contentions address distinct, but nonetheless intermingling and reinforcing, perceptions of vocal timbre as an indicator of race, bearing in mind the fact that vocal sounds are never experienced in a purely sonorous realm, divorced from contextual information. Keywords: action; american; body; choreography; dance; eidsheim; forsythe; material; new; person; race; singing; sound; throat; timbre; university; voice; way; white
• Contextualizing Hip Hop Sonic Cool Pose in Late Twentieth– and Twenty–first–century Rap Music by Bradley, Regina (2012) - Theorizing Hip Hop Sonic Cool Pose While numerous studies of cool pose have relied on visual and (popular) cultural interpretations of black manhood, there is a paucity of scholarship that addresses the sonic implications of black masculinity. Building upon Schur’s definition of hip hop, HHSCP negotiates complexities of black masculinity through presenting sonic signifiers of black manhood, experiences, and coolness. Keywords: black; blackness; commercial; cool; hip; hop; jay; manhood; masculinity; music; rap; sound; west
• Review of Julian Henriques. 2011.Sonic Bodies: Reggae Sound Systems, Performance Techniques, and Ways of Knowing. New York: Continuum. by Mulliken, Seth (2012) - Henriques willingly engages a perspective that troubles some inquiries in sound studies: the idea of sound as “radical” or subversive in itself. Reviewed by Seth Mulliken The evolution of sound studies over the past decade has been rapid. Keywords: bodies; henriques; sound; studies; system
• Review of Hillel Schwartz. 2011. Making Noise: From Babel to the Big Bang and Beyond. Brooklyn: Zone Books by Mattern, Shannon (2012) - (843) The ubiquity and utility of pink noise explodes the commonplace notion that noise is simply “unwanted sound.” [Pink noise] seems to be the optimal noise for catalyzing phase transi- tions and rescuing systems out of whack. Keywords: bang; book; hearing; history; making; new; noise; pages; schwartz; sound
• Review of Barbara Lorenzkowski. 2010. Sounds of Ethnicity. Listening to German North America 1850–1914. Winnipeg: University of Manitoba Press by Feiereisen, Florence (2012) - In the beginning, the German language was the ticket of admission to membership in this community and self–declared gatekeepers of German ethnicity made it their life task to preserve German language and culture. In her second chapter, “Languages of Ethnicity,” Lorenzkowski tells the story of German language instruction at Waterloo County’s schools. Keywords: america; chapter; english; ethnicity; german; history; language; lorenzkowski; sound; studies
• Suspicious Silence: Walking Out on John Cage by Lunberry, Clark (2012) - As a result of such thought, such thoughtful listening, instead of these discursive sounds being necessarily “antithetical to Cagean listening” and in “competition with sounds in themselves,” might such sounds have been heard by Cage as vital, constituting components of “sounds themselves”? (10) Nor, one might add, is one required to hear such sounds unthinkingly either, without the interpretive “theoretical” mediations that, for Cage, finally imply a listener’s “response ability” (10), one’s ability to respond at all. Keywords: cage; feldman; listening; present; silence; sound; thought
• Nonsense and Unmusic by Albright, Daniel (2013) - So aardvark would Current Musicology 80 be word number 10; zymurgy would have a very high number. In other words, the more abolished a text is, the more sublime: the applica- tion of violence necessary to annihilate meaning is the highest form of verbal art. Keywords: gods; language; music; new; nonsense; numbers; poetry; sense; sound; things; way; word
• The Historical Soundscape of Monophonic Hi-Fidelity by Dineen, Murray (2014) - The act of sound imagination need not necessarily be realized in concrete terms. By analogy, it was never dif- ficult to distinguish fresh from canned in both peas and music: older forms of sound reproduction sound like canned peas taste, “tinny.” Keywords: campbell; equipment; fidelity; imagination; listener; music; new; reproduction; sound; soundscape
• Prognosticating Echoes: Race, Sound, and Naturalizing Technology by Chude-Sokei, Louis (2017) - Where Capek used machines to express deeply troubling racial concerns, here blacks are used to placate deep anxieties about technology to market machines and sustain a racist status quo through technology. “Talking machine” was what phonographs and gramophones were colloquially called in the early days of their display and eventual commodification. Keywords: american; black; culture; machine; new; slave; sound; technology; williams
• “Hear What You Want”: Sonic Politics, Blackness, and Racism-Canceling Headphones by Blue V, Alex (2017) - In the end, we can take these narratives of resistance and existence to form a useful dialectic with which to investigate black life and black sound. The website also promised consumers the ability to “cancel out the haters,” and implored them to “join the #BeatsArmy,”2 positioning Beats headphones as some sort of subversive, anti-establishment, righteous weapon in a world full of enemy combatants. Keywords: athletes; beats; blackness; bose; canceling; dre; headphones; hear; listening; music; noise; people; race; sound; space; technology; white
• Review of Kajikawa, Loren. 2015. Sounding Race in Rap Songs. Oak-land: University of California Press. by McMullen, Tracy (2017) - Google “godmother of hip hop” and Sylvia Robinson’s bio and picture will appear at the top of your page. Rap music has remained an overt signifier of blackness, not just lyrically and visually, but sonically. Keywords: analysis; black; form; gender; hip; hop; kajikawa; music; new; race; rap; sound; women
• Fink, Robert, Melinda Latour, and Zachary Wallmark (eds). 2018. The Relentless Pursuit of Tone. New York: Oxford University Press. by Lavengood, Megan L. (2018) - One issue that plagues all of timbre studies is the individuation necessary in our methodologies of timbre study. Also in 2018, McGill University hosted an entirely timbre-themed interdisci- plinary conference, titled Timbre Is a Many-Splendored Thing, and another compendium of approaches to timbre analysis, The Oxford Handbook of Timbre, edited by Emily Dolan and Alexander Rehding, is also in the pro- cess of being published.1 All of this evidence shows an enormous uptick in musicologists’ interest in timbre. Keywords: analysis; book; chapter; music; production; sound; source; timbre; voice
• Yasar, Kerim. 2018. Electrified Voices: How the Telephone, Phonograph, and Radio Shaped Modern Japan, 1868–1945. New York: Columbia University Press. by Cressy, Thomas A. (2018) - He treats rhetoric on Japanese sound in the Heian and earlier pe- riods as a continuity of literary and oral practices that were interrupted by an encounter with “sonic alterity” (Western music) and the importation of machinery and technology; he continues that further subjectivity changes in the modernization process can be seen in the phenomenon of Japanese intellectuals’ appreciation of Western classical music. Overall, in the context of a dearth of Anglophone scholarship on Japanese sound between 1868–1945, the complete reliance on limited secondary literature in the early chapters should not take anything away from Yasar’s achievement of an excellent survey applying recent theoretical frameworks to literature previously inaccessible to non-Japanese speakers. Keywords: chapter; japanese; language; music; new; sound; tokyo; yasar
• Reflections on Teaching Music 17: Hip Hop by Chodos, Asher Tobin (2019) - Despite the ambivalence about the institution in Hip Hop studies, such qualifications do exist. Consider the three texts often regarded as foundational to Hip Hop studies: Tricia Rose’s Black Noise (Rose 1994), Jeff Chang’s Can’t Stop Won’t Stop (Chang 2005), and the edited collection That’s the Joint! Keywords: course; hip; hip hop; hop; music; sound; students
• Empirical Explorations of Guitar Players’ Attitudes Towards Their Equipment and the Role of Distortion in Rock Music by Herbst, Jan-Peter (2020) - Instrument The survey included three parts addressing owned gear and preferred equipment, attitudes towards guitar sounds, and person-related data.2 Questions on equipment and personal data had nominal and ordinal an- swer choices plus optional open comments fields. The scale ‘importance of guitar sound’ comprised items addressing the relevance of being able to precisely control one’s sound, a general statement on the importance of a high-quality sound, and about having a clear vision of one’s personal sound. Keywords: amplifiers; blues; distortion; equipment; genres; guitar; guitarists; herbst; metal; music; players; playing; rock; sound; styles

• Fake Radiolab: Audio and Ideology by Zamcheck, Akiva; Mirza , Adam (2023) - Fake Radiolab: In Fake Radiolab we try to magnify these audio maneuvers to draw attention to their underlying nihilistic snark, inscrutable postmodernism, and withdrawal into pure aesthetic experience. Keywords: adam; audio; live; new; performance; radiolab; studio
• Music-ology by Doris, Hubert (2019) - No one living in the 20th century can be unaware of what has happened in music in the past 400 years if, during his education, he has ever taken even one course in music history. It represents a complete rejection of the concept of a mainstream of music and may be called a denial of history and of the concepts of music in other times as explained to us by historical students of the art. Keywords: music; past; performance
• Interrelations between Musicology and Musical Performance by Fuchs, Peter Paul (2019) - The second and even more important reason is that certain performance practices of earlier periods, which must have been part and parcel of every musical education in those days, have since quietly disappeared and can be unearthed only through ardent musicological labor. To this question the past hundred years of performance practice have certainly supplied solutions of the most extreme kind in both directions, with a full spectrum of variations 104 in between. Keywords: beethoven; conductor; mozart; order; performance; performer
• On the Training of Musicologists and Performers in Great Britain by Hedges, Anthony (2019) - The cathedral tradition quickly waned, together with the rapid decline of church-going as a mark of social respectability, and musicology became virtually the fundamental constituent of university music courses. I doubt that many British academicians just a few years ago reasoned quite 118 like this, but whatever their motives, or perhaps dissatisfaction with the prevailing abstract state of affairs, the notion began to spread for one reason or another that performance might, after all, be a respectable branch of music study. Keywords: language; music; performance; study
• Do the Findings of Musicology Help the Performer? by Landau, Siegfried (2019) - As a conductor, I will discuss orchestral scores; let me begin with Mozart's Haffner Serenade, K. 250. The discovery of slight differences between the initial statement of a theme and its reappearance in the recapitulation, variants which a study of contemporary orchestral scores reveals as either erroneous or definitely desirable, is a very useful product of musicological research. Keywords: composer; performance; performer; score
• What Questions Should a Performer Ask a Musicologist? by Little, Meredith Ellis (2019) - The admonition caveat emptor might well be placed on every modern edition of earlier music. Of course there are limits in the personal application of performance practices to a piece of earlier music, and these occur when an interpretation results which was probably not within the range of possibilities envisioned by the composer. Keywords: composer; music; musicologist; performance; performer; piece; questions
• The First Opera Repertoire of the Castle Theater in Český Krumlov by Záloha, Jiří (2019) - The First Opera Repertoire of the Castle Theater in Ceskj Krumlov ]iN Za10ha The South Bohemian city of Cesky Krumlov was first mentioned in 1253 as an estate of the Lords of Krumlov, a branch of the Vitkovci family. Cesky Krumlov has been declared a historic shrine and has become a center of lively tourism in the southern Sumava mountain range. Keywords: castle; krumlov; performance; place; premiere; sign; theater; vienna; vienna performance
• Cerebration or Celebration by McAllester, David (2019) - When Robert E. Brown joined the Wesleyan faculty, his dedication to non-Western performance formed a true marriage with our own well- established dedication to Western performance. We prefer to think of the Good as the combination, and so far we have found that even the highest levels of attainment in performance skills have not tended to supplant scholarship but have, instead, given it a deeper meaning. Keywords: arts; indian; music; performance
• Review of David Levin. 2007. Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky. Chicago and London: University of Chicago Press by Casadei, Delia (2009) - Had the author chosen opera on DVD as his specific field of inquiry, this problem would not have arisen: it is the fact that Levin uses the DVD as a substitute for live performance that is troubling. Levin suggests that operatic productions in Europe and the United States have amply paid homage to academic concerns about the production of meaning and other post-modern enthusiasms. Keywords: chapter; dvd; levin; opera; performance; production; staging; voice
• Cover to Cover by Varzi, Achille C. (2013) - Improvisations may also provide a good context for “quoting” mate- rial from other melodies, including classical music. However, if you think about it, things get messy in classical music, too. Keywords: album; ali; baba; cover; jazz; lyrics; melody; music; new; original; performance; piano; song; things; think; way
• Editor’s Note by Fogg, Thomas (2013) - In “A Psychological Approach to Musical Form: The Habituation– Fluency Theory of Repetition,” David Huron investigates the psychological experience of musical repetition. Jeremy Coleman provocatively reviews two books dealing with issues of gender and sexuality in Wagner’s operas: Laurence Dreyfus’s Wagner and the Erotic Impulse and a translation from German of Eva Rieger’s Richard Wagner’s Women. Keywords: issue; performance; reviews
• Davies, J.Q. 2014. Romantic Anatomies of Performance. Berkeley: University Of California Press. by Pierce, J. Mackenzie (2014) - To conclude, Davies brings the discussion of individual voice to reflect on national voice, drawing on the collaboration between Adolphe Nourrit and Joseph Mainzer, in which untrained French voices were to be made capable of singing. Ultimately, for Davies, such attempts only go to show the inherently politicized nature of voice, but it is a politics independent of any inherent or natural relation between bodies and vocal production. Keywords: body; davies; hands; music; performance; voice
• Feeling Pain/Making Kin in the Brooklyn Noise Music Scene by Farrow, David (2020) - DIY community within Brooklyn emerges from the network of DIY venues frequented by artists and art patrons bound together by, as Pelly puts it, “the process of locating a sense of pur- pose around music.” The ability to have these experiences within DIY venues is double-edged, both enabling community formation and rendering DIY communities complicit in gentrification. Keywords: artists; brooklyn; collective; communities; community; diy; gentrification; kinship; mosh; music; new; noise; pain; people; performance; queer; scene; silent; spaces; trans; venues

• Simon, Andrew. 2022. Media of The Masses: Cassette Culture in Modern Egypt. Stanford, CA: Stanford University Press. by Rubin, Jessie (2023) - Launching his investigation around cassette players (rather than cassettes themselves), Simon uses the photograph to contextualize Egypt’s changing economic landscape and growing consumer culture under Anwar Sadat’s infitah (Egypt’s economic opening, or ‘Open Door Policy’). In general, aside from electronics store owner Mansur ‘Abd al-’Al interviewed in Chapter 6, contemporary listeners and appreciators of sha’bi are absent from the narrative, and I think Simon’s compelling claims about the democratization of sound via cassette culture would have been strengthened with concrete interview material from the “working class, such as bus drivers and microbus drivers” who are described as enjoying the music (160). Keywords: book; cassette; chapter; class; egypt; egyptian; music; simon
• Authur Michael Daniels: The De musica libri septem of Francisco de Salinas by Bergquist, Peter (2019) - In Book II Salinas studies the numerical ratios which define intervals and classifies the intervals as consonant or dissonant. This last book contains the examples of Spanish and other folk music which have been Salinas' chief claim to fame. Keywords: book; daniels; music; salinas
• Review of Bryan R. Simms. 2000. The Atonal Music of Arnold Schoenberg, 1908-1923. New York: Oxford University Press by Haimo, Ethan (2000) - Thus, in some important ways, Simms's book discusses at least parts of all three of Schoenberg's principal compositional approaches: tonal, atonal, and serial. Simms quotes extensively from Schoenberg's writings, coordinates stylistic developments with biographical events, carefully examines Schoenberg's choice of texts, analyzes the meanings of those texts, discusses Schoen­ berg's interactions with his contemporaries, weighs the rationale for his use of a particular stylistic approach, describes the philosophical and aes­ thetic ideas that lay behind specific compositional decisions, and much else besides. Keywords: book; discussion; music; pitch; schoenberg; simms; works
• Review of Thomas F. Heck. 1999. Picturing Performance: The Iconography of the Performing Arts in Concept and Practice. Rochester: University of Rochester Press by Russano Hanning, Barbara (2000) - Seebass also edits the most important and long-standing (since 1984) journal in the field of music iconography, Imago musicae. Although this originally New York-based world project is now largely under European coordination and auspices, the RIdIM Newsletter-started in 1975 by REVIEWS 127 Professor Barry Brook of The Graduate Center of The City University of New York and published continuously since then-has been transformed by Zdravko Blazekovic into a new international journal for music iconography called Music in Art. Keywords: art; book; heck; history; iconography; iconology; music; new
• Review of Eric Chafe. 2000. Analyzing Bach Cantatas. New York: Oxford University Press by Ito, John (2000) - Chafe's theory of the harmonic role of hexachords and systems serves as a guide to his discussion of the development of tonal theory and prac­ tice and of the remnants of earlier practice therein. Early tonal theory, on the other hand, tended to be preoccupied with small-scale local issues, as the system of the circle of keys and methods of control of chromatic pitches were still developing. Keywords: allegory; analysis; bach; book; cantata; chafe; chapter; chorale; final; melody; music; system; theories; theory
• Review of E. Taylor Atkins. 2001. Blue Nippon: Authenticating Jazz in Japan. Durham, N.C.: Duke University Press by Condry, Ian (2001) - The ways in which Japanese jazz musicians moved be­ tween identitying as authentically 'Japanese (more or less) and authenti­ cally 'Jazz (more or less) is precisely the dynamic that gives Atkins's narrative momentum. Despite the democracy and new social freedoms of the postwar years, Japanese jazz musicians were not really free to be 542 CURRENT MUSICOLOGY creative. Keywords: american; artists; atkins; authenticity; book; culture; dance; japanese; jazz; music; musicians; new; style; university; ways
• Review of Thomas Goldsmith, ed. 2004. The Bluegrass Reader. Urbana: University of Illinois Press by King, Jonathan T. (2003) - Jonathan T. King In a world of increasingly uncertain American identity, it is hardly surpris­ ing that an interest in bluegrass music, so tied to notions of white America, should be enjoying a revival. As is belied by these subheadings, the editor conceives of bluegrass history as two large revivals of an initial creative impulse. Keywords: bill; bluegrass; book; festival; goldsmith; history; monroe; music; notes; piece; reader
• Review of Walter Frisch. 2005. German Modernism: Music and the Arts. Berkeley and Los Angeles: University of California Press by Painter, Karen (2005) - Frisch proceeds thematically, not chronologically, yet the historical logic is unassailable. As a group, these compositions resonate powerfully with the themes Frisch teases out of a rich historical fabric. Keywords: arts; bach; book; chapter; finale; frisch; german; history; mahler; modernism; music; symphony; wagner
• Review Essay: Lullaby for Broadway? by Frisch, Walter (2006) - Already in 1998, Sondheim, as noted above, announced the dissolution of virtually all the categorical rules of musical theater, a situation which, moreover, he found nice:' That suggests we should not lament the demise of American musical theater; reports of its death may be greatly exaggerated. Having read Grant's chapter, one is struck by how even the best writing on American musical theater may give the composers-great tune writers though they were-too much credit. Keywords: american; book; broadway; grant; knapp; musical; new; rodgers; sondheim; song; swayne; theater; university
• Review of Tim Brooks. 2004. Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919. Urbana and Chicago: University of Illinois Press by Graham, Sandra Jean (2006) - Black recording artists, 143 144 Current Musicology even if they were recording classical music, would not be admitted to the elite red label. The book addresses a motley group of recording artists, encompassing a street musician performing coon songs, jubilee groups singing folk music, stars from musical theater, monologuists performing comedy and oratory, classical artists, novelty performers, and syncopated orchestras playing early jazz. Keywords: black; book; brooks; chapter; fisk; johnson; jubilee; music; recordings; singers; songs; white; williams
• Review of William T. Dargan. 2006. Lining Out the Word: Dr. Watts Hymn Singing in the Music of Black Americans. Berkeley and Los Angeles: University of California Press by Miller, Kiri (2008) - Dargan suggests that Dr. Watts singing has been sidelined or dismissed by music scholars, many African American worship communities, and some prominent black intellectuals (e.g., Zora Neale Hurston) because of a wide­ spread perception that the tradition is not authentically African American and has persisted as a legacy of the enforced illiteracy of the slavery era. Dargan shows how Dr. Watts singing has been regarded as both too black-indeed, so utterly black ... that few middle class or well-educated blacks care to contemplate it for long (238)-and as insufficiently African. Keywords: african; american; book; dargan; lining; music; singing; watts
• Review of Heath Lees. 2007. Mallarmé and Wagner: Music and Poetic Language. Aldershot, UK, and Burlington, VT: Ashgate Publishing by Code, David J. (2008) - Telling points of reference include his ongoing contacts with such leading musical figures as Augusta Holmes and the musical minutiae noted in La Derniere Mode, the magazine about fashion and current events Mallarme himself edited for a short while in 1874. Chapter 4 begins by elaborating further on Baudelaire's transmission of Wagnerian principles-e.g., the leitmotif as the means of fusing feeling with understanding (88) and the new ideal of melody that replaced the four-bar song mould of the 'typical' opera with a continuous performance of musical prose (96)-before introducing Mallarme's close friends Catulle Mendes and Villiers de l'Isle Adam. Keywords: book; language; lees; mallarme; music; wagner
• Review of Bennet Zon. 2007. Representing Non-Western Music in Nineteenth-Century Britain. Rochester, NY: University of Rochester Press by Revuluri, Sindhumathi (2009) - Recognizing this connection, Zon argues, allows us to see Myers as an innovator who was willing to hear and treat non-Western musics as counterpoints to European music, rather than the primitive ancestors of contemporary Western musics. Through detailed descriptions and discussions of these sources, Zon shows how discourse around non-Western music in this time and place was shaped by and indebted to broad intellectual trends in anthropology and psychology, as well as musicology and travel literature. Keywords: book; music; myers; zon
• Review of Ralph Locke. 2009. Musical Exoticism: Images and Reflections. Cambridge and New York: Cambridge University Press by Riggs, Kristy (2009) - The overarching goal of Musical Exoticism is to survey the vast and varied repertoire of Western musical works that evoke exotic locales (i). Because of the prevalence of such narrowly focused accounts of musical exoticism, Locke chooses to take a broader, more comprehensive perspective that seeks to examine exoticism throughout Western art music. Keywords: book; context; exoticism; locke; music; notes; scholars
• Review of Tricia Rose. 2008. The Hip Hop Wars: What We Talk About When We Talk About Hip Hop-And Why It Matters. New York: Basic/Civitas Books by Bothwell, Beau (2010) - For Rose, the primary effect of an unquestioning defense of commercial hip hop, whether on the grounds of artistic freedom, ghetto authenticity, or anything else, leads to the absence of a constructive, healthy critique, which might allow hip hop to grow into an effective progressive force. In one of the most trenchant chapters, Rose explores what she calls the Mutual Denials in the Hip Hop Wars:' Among these are a willingness to accept homophobia as acceptable or at least unavoidable, a tendency to ignore the role of white consumption in the creation and development of commercial hip hop, and a disregard for the creative content of the music, whether by critics who dismiss it as worthless or supporters whose defense of hip hop extends so far as to require no creative standards at all-a position which she sees as equally dismissive. Keywords: black; book; hip; hip hop; hop; music; new; rose
• Morgan, Robert P. 2014. Becoming Heinrich Schenker: Music Theory and Ideology. New York: Cambridge University Press. by Parkhurst, Bryan (2014) - While there is plenty to be learned from Becoming Heinrich Schenker, and while everyone who likes to think about Schenker should read it (faute de mieux), I have reservations about how successfully it prosecutes the goals it sets for itself. “Becoming Heinrich Schenker” Curiously, Becoming Heinrich Schenker has little to do with how Heinrich Schenker became Heinrich Schenker. Keywords: book; heinrich; ideology; language; morgan; music; schenker; schenkerian; theory; way
• Review of Pierrepont, Alexandre. 2015. La Nuée. L’AACM: Un Jeu de Société Musicale. Marseille: Éditions Parenthèses. by Citton, Yves (2017) - After hav- ing worked for several years in organizing concerts and educational events for the Banlieues Bleues and Sons d’hiver festivals in Paris, as well as for the Museum of the Quai Branly, Alexandre Pierrepont, along with a few friends and partners, has launched his own association for the advance- ment of creative musicians, entitled The Bridge. Subtitled A Game-Play of Musical Society, it offers a profound and joyous analysis of the many strata simultaneously developed in Chicago beginning in 1965 by African American musicians who had no alternative but to invent new social relations in order to survive economically and thrive artistically as creators, in a country doubly biased against African Americans and against artistic experimentations and lifestyles. Keywords: aacm; book; chicago; history; musicians; pierrepont
• The Wonder of Delays by Vazquez, Alexandra T. (2018) - 239 The Wonder of Delays Alexandra T. Vazquez There are many things feminist music critics must too often defer by force or by choice. Fiol-Matta tracks and notes all the players, promoters, producers, press agents, and fans that stopped by the musician’s respective careers, and given the decades and publics they did and didn’t share, hurts in its analytic immeasurability. Keywords: book; fiol; matta; place
• Seeing and Hearing the Thinking Voice by Gopinath, Gayatri (2018) - Fiol-Matta demands that we remember these artists differently, out- side the typically misogynist and homophobic interpretive frames through which they emerge in the historical record. We can read the nothing not as a space of simple erasure or eradication, but rather, as Fiol-Matta puts it, as one of “productive density” (134), a “clear- ing to reconstruct the event of voice in multiple displacements” (171). Keywords: book; fiol; matta
• David Brackett. 2016. Categorizing Sound: Genre and Twentieth-Century Popular Music. Berkeley: University of California Press by Johnson, Thomas (2018) - To grapple with as slippery and cumbersome a topic as popular music catego- ries, the book deftly moves from sharply focused comparative analyses of songs to grand narratives of popular music history in the United States, in- vestigating the ways musical groupings intertwine with their technological, social, and cultural contexts. Brackett’s book is a nuanced and far-reaching addition to recent musicological publications on genre—including works about genre and gender in popular music (Burns 2000), social mediation of genres and identities (Born 2011), genre in twentieth-century art mu- sics (Drott 2013), metal (Smialek 2015), twenty-first century “new music” scenes (Robin 2016), and recent popular music (James 2017a, 2017b). Keywords: book; brackett; categories; country; genre; identity; industry; mainstream; music; race
• Crawley, Ashon. 2020. The Lonely Letters. Durham: Duke University Press. by Chevan, Jesse (2020) - Ashon Crawley has created a page on his personal website called “Letters to A.” where readers can respond to letters from the book and become further entangled. The web of entanglements extends beyond The Lonely Letters: as Crawley explains in the book’s opening chapter, “and3,” The Lonely Letters intricately relates to Blackpentecostal Breath, Crawley’s 2016 monograph investigating Blackpentecostal practices through the disciplinary lens of performance studies. Keywords: book; chapter; crawley; forms; joy; letters; practices; worship
• Stockton, Will and D. Gilson (eds.). 2020. The 33 1/3 B-Sides: New Essays by 33 1/3 Authors on Beloved and Underrated Albums. New York: Bloomsbury by Davila, Richard Cruz (2021) - The book is divided into three sections: “Juvenilia,” albums that were in some way formative for the authors in the section; “Marginalia,” albums on the margins of a genre or an artist’s catalog; and “Memorabilia,” albums tangential to an artist’s catalog, such as live albums or film soundtracks (viii). Later, albums rereleased on CD might come in an expanded edition with a second disc titled something like “B-Sides and Rarities.” Keywords: album; book; chapter; essays; music; sides; stockton

• Music education needs musicology by D'Andrea, Frank (2019) - A revised college program that introduces musical systems other than triadic tonality, contrapuntal and instrumental procedures other than four-part chorale harmonizations, and compositional skills for achieving greater insight into historical styles and problems of performance will sub- stantially improve the teaching of school music. Only in this way will the quality of teacher education and, ultimately, of school music be improved. Keywords: education; educators; history; literature; music; school
• Musical Research in Israel: Its History, Resources, and Institutions by Harran, Don (2019) - 120 Kestenberg, as far-sighted in his own right as was his teacher Busoni, geared his reform to encompass both the past with its 2,OOO-year-old history of Jewish music and the present with its colorful ethnic practices. The history of Jewish music from the 16th century on has been explored along the following lines of investigation: later developments in the various synagogal traditions; the division of the Ashkenazic line into an eastern and a western European branch; the incorporation of melodically fixed chants=- drawing no little sustenance from the style and content of Gentile music-into the synagogue service (e.g., Kol Nidre, Ma-oz Tsur, Adonai Melech, etc.); the paths of assimilation to or alienation from European art traditions in the synagogal music of western Europe; the institution of reform movements in the same; the popular religious songs (niggunim) of the Hassidim; the zmirot or table chants employed for the singing of grace; art music in the Jewish communities of the Diaspora; the life and works of the internationally- famed Jewish composers of the 19th and 20th centuries (e.g., from Mendels- sohn to Schonberg) ; and art music and its composers in Israel from the time of the first waves of immigration to the founding of the State (1948) and down to the present. Keywords: bach; berlin; center; hebrew; history; israel; jerusalem; materials; music; research
• Review of Phil Powrie and Robynn Stilwell, eds. 2006. Changing Tunes: The Use of Pre-existing Music in Film. Ashgate Popular and Folk Music Series. Aldershot, UK, and Burlington, VT: Ashgate Publishing by Biancorosso, Giorgio (2007) - We are then treated to chapters on the use of Mascagni in The Godfather III (Lars Franke), the history of Carmen on the big screen (Ann Davies), Mozart as film music (Jeongwon Joe on the film Amadeus), and a close look at three different cinematic uses of Grieg's Peer Gynt (Kristi A. Brown). As Powrie and Stilwell point out in their introduction (xiv), Kubrick's 2001: A Space Odyssey (UK/USA, 1968) was in this respect a watershed moment in film history. Keywords: accordion; cinema; essay; film; gorbman; history; kubrick; music; powrie; use
• How Musical Is Gesture? Review of Mary Ann Smart. 2004. Mimomania: Music and Gesture in Nineteenth-Century Opera. Berkeley and Los Angeles: University of California Press by Cruz, Gabriela (2007) - I did not expect a history of romantic opera rewritten from the viewpoint of gesture to fit so snugly within traditional historical lineages. Opera critics who speak of a material sensibility in French opera do not generally mean it as a compliment. Keywords: body; gesture; history; mimomania; movement; music; new; opera; physical; presence; smart; stage; wagner
• Review of Joanna Demers. 2010. Listening Through the Noise: The Aesthetics of Experimental Electronic Music. Oxford, UK: Oxford University Press. Nick Collins and Julio d’Escriván. 2007. The Cambridge Companion to Electronic Music. Cambridge, UK: Cambridg by Polymeropoulou, Marilou (2010) - Reviewed by Marilou Polymeropoulou Electronic music is the mainstream,begin Nick Collins and Julio d'Escrivan in the Cambridge Companion to Electronic Music (CCTEM), referring to the impact of electronic music and technology on twentieth- and twenty-first century music making (1). The editors of the volume synthesize a history of electronic music based on perspectives by composers and scholars from a variety of disciplines, including communication studies, musicology, visual arts, music technology, psychology of music, and computer science. Keywords: chapter; demers; history; music; university
• Review of Randall Sandke. 2010. Where the Dark and Light Folks Meet: Race and the Mythology, Politics, and Business of Jazz. Lanham, Maryland: The Scarecrow Press by Gridley, Mark C. (2011) - After recounting the history of audi­ ence profiles for jazz Sandke brings us up to date with a quote by Nicholas Payton, a currently prominent African-American jazz trumpeter: Jazz, sad to say, probably has no social significance to most black people's lives (161). Sandke also could have mentioned the influence of twentieth-century European music in African-American pianist-composer Mary Lou Williams' Zodiac Suite and the study of scores by twentieth-century European composers as part of the salon that she conducted for jazz musicians at her apartment in New York City during the 1940s. Keywords: african; american; black; blues; history; jazz; music; musicians; new; origins; orleans; sandke; white
• “Melanin in the Music”: Black Music History in Sound and Image by Carson, Charles (2012) - The impetus behind this project concerns the ways in which important voices in Black music history (and in this article, the United States specifically) have been ignored, overlooked, written out, or silenced in favor of what seem to be more or less widely accepted teleological narratives. But the point is not that the Carolina Chocolate Drops’ version can sound like contemporary R&B. Rather, in this track, the Carolina Chocolate Drops recover some of the possibilities of Black musical expression perhaps lost by the exclusion of roots music from the narrative of Black music history. Keywords: african; american; artists; banfield; carolina; chocolate; culture; drops; history; moran; mos; music; musicians; past; pinder; robinson; works

• Launcelot Allen Pyke, II: Jazz, 1920 to 1927: an analytical study by Gillis, Frank J. (2019) - Third, in his treatment of a representa- tive selection of New Orleans jazz the author fails to include even one of at least a dozen significant recordings made by Jelly Roll Mor- ton's Red Hot Peppers in 1926-27, a group that many jazz critics, writers, and enthusiasts would quickly name as one of the two out- standing jazz units-the other being King Oliver's Creole Jazz Band, represented in the dissertation by four selections-playing in the New Orleans ensemble style. Pyke's work, a study based upon ten transcribed jazz tunes recorded during what might be called the classical period of New Orleans improvised ensemble jazz, is divided into two parts. Keywords: jazz; study
• Editor's Preface by Burford, Mark (2001) - Judith H. Blezzard John Caldwell Tim Carter David Charlton Geoffrey A. Chew Nicholas Cook Barry A. R. Cooper Jonathan M. Dunsby Mark Everist Anthony Ford Frederick Hudson Andrew Jones Christopher Kent Nicholas Marston Thomas Messenger Susan K. Rankin Nicholas Sandon Benedict Sarnaker FRANCE Olivier Delaigue Nasreen Hussein University of Birmingham Royal Academy of Music, London University of Liverpool University of Oxford Royal Holloway and Bedford New College, Egham Royal Holloway and Bedford New College, Egham Royal Holloway and Bedford New College, Egham University of Southampton University of Manchester Editor-at-Large, Reading University of Southampton University of Hull University of Newcastle upon Tyne Cambridge University University of Reading University of Oxford University of Surrey, Guildford Cambridge University University of Exeter Goldsmiths' College, London National Conservatory Universite de Paris-Sorbonne GERMANY Jeffery Bossin Albrecht Schneider Herbert Schneider Hubert Unverricht GHANA Technical University, Berlin University of Hamburg University of Heidelberg Katholische Universitat, Eichstatt J. H. Kwabena Nketia International Centre for African Music and Dance HONG KONG Muzykal'naia Zhizn; Moscow Moscow Tchaikovsky Conservatory Government Institute of Theatrical Arts, Moscow Scientific Research Institute of the Arts, Moscow University of Edinburgh University of Edinburgh Winfried Ludemann University of Stellenbosch SWITZERLAND Max Luetolf University of Zurich WALES David R. A. Evans David WynJones University College of North Wales, Bangor University College, Cardiff / Open University, Cardiff Editor's Preface The increased presence of jazz studies at universities and cultural insti­ tutions in the United States and abroad has brought with it a recognition of how diffuse the community of those who research and write about jazz has become. Keywords: college; issue; jazz; life; music; new; review; studies; tucker; university
• Recollections: Mark Tucker (1954-2000) by Jackson, Travis A. (2001) - Mark Tucker (1954-2000) By Travis A. Jackson Mark Tucker was one of those rare individuals who excelled in all the areas one might invoke in assessing a musical scholar's importance. By situating Ellington in the complex worlds of Washington, D.C. and Harlem up to the 1930s, Mark helped open the door to a more nuanced investigation of jazz, going beyond hagiography or decontextualized musical analysis to render a complex portrait worthy of his subject. Keywords: jazz; mark; monk
• Review of Eric Porter. 2002. What Is This Thing Called Jazz?: African American Musicians as Artists, Critics, and Activists. Berkeley: University of California Press by Gabbard, Krin (2001) - Perhaps we should read what jazz artists say as skeptically as we read earlier generations of jazz critics. Eric Porter has taken this counterdiscourse ex­ tremely seriously and cast black jazz musicians as central figures in an in­ tellectual history of the music. Keywords: american; jazz; lincoln; marsalis; mingus; music; musicians; new; porter
• Phil Pastras. Dead Man Blues: Jelly Roll Morton Way Out West. Berkeley: University of California Press, 2001. xx, 246 pp. by Ogren, Kathy J. (2001) - That text is, of course, Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and Inventor of Jazz, which Morton recorded with folklorist Alan Lomax at the Library of Congress in 1938 (Lomax Any study of Morton must first contend with the main source of his self­ invention (in addition to his recordings) that Jelly Roll left for posterity. Keywords: anita; jazz; jelly; life; man; morton; new; pastras; roll; west
• Review of Andrew F. Jones. 2001. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham, NC: Duke University Press by Wilson, Dale (2001) - It is an excellent tool for teachers and students of Chinese music studies, and will appeal to scholars of anthro­ pology, cinema studies, cultural studies, Asian studies, gender studies, nationalism, and transnational studies. Jones's central argument is that Chinese popular music in the 1930s must be understood as a musical, technological, financial, linguistic, and racial transaction conducted within the boundaries of the complex colo­ nial hierarchies peculiar to that time and place (7). Keywords: american; china; chinese; era; jazz; jones; music; republican; shanghai; shidai
• Review of Daniel Goldmark. 2005. Tunes for ‘Toons: Music and the Hollywood Cartoon. Berkeley and Los Angeles: University of California Press by McQuiston, Kate (2006) - Scott's music, particularly the tune, Powerhouse, which has served as the Cartoon Network's sonic signature since the late 1990s, has arguably become as emblematic of cartoon music as the song Merrily We Roll Along. As cartoon music studies develop, it is likely that investi­ gations of different kinds of viewing behavior will also grow. Keywords: audience; cartoon; chapter; goldmark; jazz; music; opera; scott; stalling
• Review of Fabian Holt. 2007. Genre in Popular Music. Chicago and London: University of Chicago Press by Keenan, Elizabeth K. (2008) - These individual case studies, from reactions to Elvis Presley in Nashville to a portrait of the lesser­ known Chicago jazz and rock musician Jeff Parker, enable Holt to develop a multifaceted theory of genre that takes into consideration how discourse and practice, local experience and translocal circulation, and industry and individuals all shape popular music genres in the United States. Central to Holt's approach is the idea of genre culture, a concept for the overall identity of the cultural formations in which a genre is constituted (19). Keywords: chapter; country; genre; holt; jazz; music; pop; rock; roll

• Joseph Emilio Rotondi: Literary and musical aspects of Roman Opera, 1600-1650 by Hanning, Barbara Russano (2019) - It gives special consideration to the problem of the origins of comic opera, and finally presents a section that treats of the subtitles of 17th-century opera. Mr. Rotondi offers very little information about the nature or whereabouts of his primary sources. Keywords: chapter; commedia; elements; libretti; opera; rotondi; works
• Ernest H. Sanders-Medieval English Polyphony and its Significance for the Continent by Maddrell, J. E. (2019) - Sometimes Dr. Sanders permits himself an aside: It is ext,raordinary how the field of English medieval music particularly is littered with the fractured bones of theorists, who, for the sake of a theory, are presumed to be of limited competence (p. 314,f.n.). J. E. Maddrell The amount of scholarly work on medieval English music published since the 1920's is quite daunting inits sheer bulk, and production in post-war years has increased to such an extent that one can hardly call the subject neglected. Keywords: chapter; dissertation; medieval; music; sanders
• Carlton T. Russell - The Southern French Tonary in the Tenth and Eleventh Centuries by Brockett, Clyde W. (2019) - In Chapter 2, Dr. Russell compiles impressive statistics to elucidate the limited number of southern French tonaries by comparing their lists of chants with those examples mentioned in the preceding chapter. But whatever the reasons, the fact remains, as Dr. Russell reminds us, that this type of half-theoretical, half- practical plainsong treatise has not commanded the attention of students to the extent one might wish. Keywords: chants; chapter; paris; russell; tonaries; tonary
• Charles Perrone and Cristopher Dunn, eds .. Brazilian Popular Music and Globalization. Gainesville: University Press of Florida, 2001. xii, 288 pp. by Araujo, Samuel (2002) - While a useful and detailed reconstruction, this introduction is built on a chronology of the development of national genres that reproduces a number of minor albeit persistent mistakes found in the more readily avail­ able historical sources for Brazilian popular music (for instance, the song Pelo Telefone incorrectly given as the first samba ever recorded). Avelar finds particularly suggestive the emergence of a movement that, in his view, contradicts basic rules of good conduct in Brazilian popular music, which place value on folk roots or tradition, at a moment (ca. 1995) when a full return to democracy, after years of military rule, was being frustrated by the political elites' defense of the status quo. Keywords: brazilian; chapter; globalization; music; salvador; styles; veloso
• Review of Peraino, Judith. 2006. Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig. Berkeley and Los Angeles: University of California Press by Raykoff, Ivan (2006) - Plato's anxieties about music and social order continue to resonate in the present era, as Peraino notes with a nod to Allan Bloom's paroxysm over Mick Jagger's ambiguous sexuality and to the 1997 US Senate hearings on music violence (discussed more extensively later in the book). Peraino's roadmap is inviting: the premise of the book, in part following Adorno, is the idea that music has always opened a space for ambivalence, productively serving the complexities of personal identity and subjectivity; at the same time it has also provoked anxiety, society's frequent response in trying to contain those complexities through categorical hierarchies and ideological superstructures. Keywords: chapter; desire; foucault; identity; music; peraino; power; queer; self
• Review of Wayne D. Bowman and Ana Lucía Frega, eds. 2012. The Oxford Handbook of Philosophy in Music Education. London and New York: Oxford University Press. by Abramo, Joseph (2012) - In this review, first I briefly provide the historical progression of music education philosophy over the last forty years in order to situate the ideas and themes for readers outside the field of music education. While philosophers going back to ancient history have recognized that music is implicated, somehow, in a diversity of values, and music education practioners have always promoted music study as serving a great variety of associated benefits, the turn [toward praxial music education] more recently allies music education with strikingly more substantial social issues, and the service of them as being an inherent dimension of music and the proper if not primary source of the aims of music education . . . Keywords: chapter; education; education philosophy; educators; music; music education; new; notes; philosophy; practice; students; theory
• Review of Heather Wiebe. 2012. Britten’s Unquiet Pasts: Sound and Memory in Postwar Reconstruction. New York: Cambridge University Press by Penner, Nina (2013) - Although anticipating the Britten centenary by one year, Britten’s Unquiet Pasts is much in keeping with the spirit of other Britten publications to be released this year, not least Paul Kildea’s (2013) biography. Cambridge: Cambridge University Press. Reviewed by Nina Penner Britten as a public figure. Keywords: britten; chapter; music; past; purcell; requiem; war; wiebe; works
• Barz, Gregory, and Cheng William. 2019. Queering the Field. Sounding Out Ethnomusicology. New York: Oxford University Press. by Barriere, Louise (2020) - Contrary to the “unmarked category” of “straight white cis male” ethnomusicologists, whose identity is always- already recognized and visible, queer ethnomusicologists may have to face the cornelian choice to out or cover themselves. Moreover, as queer ethnomusicologists do not often fit the norms of their hometowns and countries they should use their experiences as an invitation to think outside “belonging-not belonging” and structured binaries that are part of the traditional ethnomusicological canon. Keywords: barz; chapter; dance; ethnomusicology; field; fieldwork; gender; queer; research
• Fast, Susan and Craig Jennex. 2019. Popular Music and the Politics of Hope: Queer and Feminist Interventions. New York: Routledge. by Liu, Runchao (2020) - Reviewed by Runchao Liu Popular Music and the Politics of Hope (2019) weaves together diverse scholarship rooted in the political promise of popular music to envision and construct alternative realities for queer and feminist individuals and allies. The epistemology of critical hope is to see “making and consuming popular music as activities that encourage individuals to imagine and work toward a better, more just world”; in doing so, it is possible to unveil “the diverse ways popular music can contribute to the collective political projects of queerness and feminism” (i). Keywords: artists; chapter; gender; music; musicians; new; politics; pop; queer; studies; women
• Knapp. Raymond. 2018. Making Light: Haydn, Musical Camp, and the Long Shadow of German Idealism. Durham: Duke University Press. by Churchill, Jon (2020) - Beyond investigating the overlooked camp sensibilities of popular genres, Knapp suggests an intriguing link between art music and popular music, long viewed as discrete entities. Chapter five explores the attempts to rehabilitate such popular music as “authentic,” a process that involved a distancing of vernacular genres from their social roots. Keywords: camp; chapter; dynamic; german; haydn; idealism; knapp; music
• Fischlin, Daniel and Eric Porter (eds). 2020. Playing for Keeps: Improvisation in the Aftermath. Durham: Duke University Press. by Ford, Mike (2021) - Stephanie Vos’s chapter is a tour de force using a film, The Exhibition of Vandalizim (2010), as the starting point; and through elegant argument, she theorizes improvisation through ritual, community, and politics to arrive at the conclusion that musical improvisation reflects non-musical improvisation and 215 the negation of basic recognition of humanity that often necessitates it. The editors Daniel Fischlin and Eric Porter lay the foundation for the collection in the volume’s introduction, emphasizing several points rehearsed above, including the transferability of the tenets of musical improvisation to non-musical domains, the situatedness of improvisatory response, and the potential utility of improvisation during and following crises: “in the aftermath of chaos and trauma, improvisatory modes of being provide generative alternatives based on risk taking and nonconformity rooted in cocreative connections” (2). Keywords: aftermaths; chapter; crises; improvisation; music; practices; present; violence; war; ways
• Redmond, Shana. 2020. Everything Man: The Form and Function of Paul Robeson. Durham, NC: Duke University Press by Hogg, Aldwyn (2021) - Through his Voice, Robeson was “multiply present, embodied, and accessible beyond his immediate time and space” (19), a potentiality that Beah Richard’s poem, “Paul Robeson Speaks for Me” (1951), convincingly performs. Redmond first takes us to Cardiff, Wales in 2001 to tour the exhibit at the National Museum, Let Paul Robeson Sing! Keywords: chapter; paul; play; politics; redmond; robeson; voice
• Brown, Rae Linda. 2020. The Heart of a Woman: The Life and Music of Florence B. Price. Champaign: University of Illinois Press. by Shepherd, Lauren (2021) - In Chapter 10 (“Spirituals to Symphonies”), Brown describes the critical reception of Price’s works and emphasizes the fact that Prices was one of very few African American composers to write large-scale classical music forms, such as symphonies and concertos, during this time. Examples include Price orchestrating music for Louis White’s radio broadcasts on WGN radio (110) and the Chicago Symphony Orchestra premiering Price’s First Symphony in E minor. Keywords: american; brown; chapter; florence; life; music; price; symphony

• Il Teatro Alla Moda, or A Safe and Easy Method of Producing Baroque Operas According to Modern Practice by Cooper, Kenneth (2019) - Handel's Susanna is especially rich in this particular subtlety of characterization, but many operas contain these elements inherently if one is sensitive to them. It teatro alta or A Sofe and Easy Method oj Producing Baroque Operas According to Modern Practice Kenneth Cooper It has often been maintained that Baroque opera (whatever that catch-all term may include) is dramatically dull, literarily inane, socially ridiculous, and musically uneven, if not stagnant. Keywords: baroque; character; handel; music; opera; susanna
• Opera at Columbia University, 1941-1958 by Beeson, Jack (2000) - Its purpose is to provide young composers of opera-Moore Fellows-with residence in opera companies that produce new works; to learn the ways of singers, conductors, and stage directors; to experience the pleasures and perils of collaboration; and perhaps to play rehearsals, coach singers, and conduct a bit. Through these changes in leadership, and with the Ditson Fund made available to commission and underwrite the produc­ tion of a new opera each spring, a modus operandi was established which was to continue for about thirteen years, though with several changes of stage director. Keywords: assistant; columbia; composer; conductor; cta; department; director; ditson; librettist; music; opera; performances; stage; stage director; workshop
• Review of Philip Rupprecht. 2001. Britten’s Musical Language. Cambridge: Cambridge University Press by Whitesell, Lloyd (2002) - Refreshingly, Rupprecht's holistic approach to musical utterance also takes in subtleties of timbre and texture. Rupprecht's project is a major contribution to this quest for convergent perspectives. Keywords: analysis; approach; britten; model; music; narrative; opera; peter; rupprecht; speech; utterance; voice; words
• Editor's Preface by Stanley, Glenn (2003) - H. Kwabena Nketia International Centre for African Music & Dance HONG KONG Greta Olson Chinese University of Hong Kong IRELAND Harry White University College, Dublin ITALY Paul Terse Pontificio Istituto de Musica Sacra, Rome PORTUGAL Manual Carlos de Brito Universidade Nova de Lisboa Salwa EI-Shawan Castelo-Branco Universidade Nova de Lisboa SLOVENIA Svanibor Petan University of Ljubijana SOUTH AFRICA Winfried Ludemann University of Stellenbosch SWITZERLAND Laurenz Lutteken University of Zurich UNITED KINGDOM Stephen D. Banfield University of Bristol Barry A. R. Cooper University of Manchester Jonathan M. Dunsby Editor-at-Large, Reading David R. A. Evans University College of North Wales, Bangor Mark Everist University of Southampton Piers Hellawell Queen's University of Belfast Sarah S. Hill University of Southampton David WynJones Cardiff University Elaine Kelly University of Edinburgh Nicholas Marston King's College, Cambridge University Gerald R. Seaman St. Antony's College, Oxford University Editor's Preface The papers in this Festschrift honor Christopher Hatch in a way that says something crucial about the nature of his contributions to the music de­ partment of Columbia University for more than four decades. Glenn Stanley The University of Connecticut Preface Ernest H. Sanders It is my great good fortune to have known Christopher Hatch since the fall of 1950, when both of us entered Columbia University as graduate stu­ dents of historical musicology. Keywords: chris; christopher; columbia; editor; music; opera; quarterly; students; university
• Preface by Sanders, Ernest H. (2003) - H. Kwabena Nketia International Centre for African Music & Dance HONG KONG Greta Olson Chinese University of Hong Kong IRELAND Harry White University College, Dublin ITALY Paul Terse Pontificio Istituto de Musica Sacra, Rome PORTUGAL Manual Carlos de Brito Universidade Nova de Lisboa Salwa EI-Shawan Castelo-Branco Universidade Nova de Lisboa SLOVENIA Svanibor Petan University of Ljubijana SOUTH AFRICA Winfried Ludemann University of Stellenbosch SWITZERLAND Laurenz Lutteken University of Zurich UNITED KINGDOM Stephen D. Banfield University of Bristol Barry A. R. Cooper University of Manchester Jonathan M. Dunsby Editor-at-Large, Reading David R. A. Evans University College of North Wales, Bangor Mark Everist University of Southampton Piers Hellawell Queen's University of Belfast Sarah S. Hill University of Southampton David WynJones Cardiff University Elaine Kelly University of Edinburgh Nicholas Marston King's College, Cambridge University Gerald R. Seaman St. Antony's College, Oxford University Editor's Preface The papers in this Festschrift honor Christopher Hatch in a way that says something crucial about the nature of his contributions to the music de­ partment of Columbia University for more than four decades. Glenn Stanley The University of Connecticut Preface Ernest H. Sanders It is my great good fortune to have known Christopher Hatch since the fall of 1950, when both of us entered Columbia University as graduate stu­ dents of historical musicology. Keywords: chris; christopher; columbia; editor; music; opera; quarterly; students; university
• Review of Hilary Poriss. 2009. Changing the Score: Arias, Prima Donnas, and the Authority of Performance. Oxford: Oxford University Press by Cairns, Elliott S. (2011) - In Changing the Score, Poriss seeks to trace the practice of aria insertion and its role in performances of bel canto operas during the first half of the nineteenth century, the pivotal stage ... during which the practice inched slowly toward extinction (5). It was during this time that singers ofItalian opera had to confront the rise of the work-concept as described by Lydia Goehr (1994), either asserting their own authority in performance by attempting to perpetuate the practice of aria insertion, or surrendering their authority to that of the composer's original vision. Keywords: aria; insertion; opera; poriss; singers
• Sarah Hibberd and Richard Wrigley, eds. 2014. Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions by Doe, Julia (2021) - In this view, visual artists and playwrights grappled with analogous tensions, as each group negotiated the demands of two current—but foundationally contradictory—paradigms of spectatorship (one based on direct, emotional appeal and another rooted in detached, intellectual analysis). Patricia Smyth argues that the 127 Julia Doe “theatricality” so often identified in Delaroche’s salon paintings stemmed not from commonalities of subject matter (between specific paintings and specific dramatic works) but rather from coinciding methods of interac- tion with the spectator. Keywords: art; essays; media; opera; visual; volume
• Kreuzer, Gundula. 2018. Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera. Oakland, CA: University of California Press. by Rothe, Alexander K. (2018) - In summary, Kreuzer draws attention to how Wagner incorporated existing technologies, in many cases from composers and genres that he elsewhere attacked and/or dismissed (e.g., Meyerbeer, grand opéra, Rossini). More specifi- cally, she interprets the Venusburg scenes as a proto-Gesamtkunstwerk, where Wagner first experimented with seamlessly integrating the various media and technologies into a single, all-encompassing experience. Keywords: curtain; gong; kreuzer; opera; steam; technologies; wagner

• Some Observations on the Row Technique in Webern's Opus 25 by Chittum, Donald (2019) - In keeping with other rows used by Webern, it has an internal symmetrical organiza- tion'! This is followed by a statement of 12, which shares certain pitches of the 0 form. Keywords: forms; row; song; webern
• Percy Grainger: "Country Gardens" and Other Curses by Josephson, David S. (2019) - Given this dispersion of materials, Grainger scholars can be thankful for the dupli- cation of some of the major documents: the autobiographical studies at the Library of Congress just cited, for example, are copies of the Grainger Museum originals, while the British Institute of Recorded Sound (London) has copies of the Grainger wax cylinder collection at the Library of Congress. [Ed. Note,' This is the first in a series of writings conceived by the author as an essay in bibliography, seeking to provide the foundation for a thorough and broadly-based study of the life and music of Percy Grainger.] Keywords: folk; grainger; library; life; man; music; new; percy; society; song
• Thomas Carl Slattery - The Wind Music of Percy Aldridge Grainger by Josephson, David S. (2019) - It contains notable essays on the Free Music by Grainger and by his associate in that project, Burnett Cross, as well as invaluable discographies by Eric Hughes (The Recorded Works of Percy Grainger), A. F. R. Lawrence (Records of Percy Grainger as an Interpreter), and Gerald Stonehill (Piano Rolls Played by Percy Grainger). In the introduction to the volume of Photos of Rose Grainger, printed privately thirty-five years earlier, Grainger dates his departure for Germany as Middle of 1895, and his arrival in Frankfurt as Summer 1895.8 An early letter from his father9 corroborates this date. Keywords: band; composer; folk; grainger; life; music; new; percy; settings; slattery; song; wind; works
• Robert J. Dietz - The Operatic Style of Marc Blitzstein in the American "Agit-Prop" Era by Berlin, Edward (2020) - Edward Berlin As part of an ongoing study of music in the United States between the World Wars, Dr. Dietz focuses in this dissertation upon the period of the Depression and on a single artistic manifestation of that era, as represented by Marc Blitzstein. On p. 262 Dr. Dietz states: With Marc Blitzstein again at the piano-this time in the orchestra pit .... Keywords: blitzstein; dietz; music; song
• I Am/Was the Walrus by Beller-McKenna, Daniel (2002) - Other Lennon songs featuring descending bass lines are Lucy in the Sky with Diamonds, Being for the Benefit of Mr. Kite, A Day in the Life, Dear Prudence, Cry Baby Cry (in the bridge), and All You Need is Love. 10. Like many Lennon songs from 1967-68, I am the Walrus dwells on descending (and also in this case ascending) bass lines and chord pro­ gressions.9 Keywords: album; beatles; end; epstein; film; god; group; identity; image; john; john lennon; later; lennon; like; new; public; recording; self; song; tour; walrus
• Review of Aaron Fox. 2004. Real Country: Music and Language in Working-Class Culture. Durham, NC: Duke University Press by Sanjek, David (2004) - Many of the dialogues Fox transposes take place as guitars are strummed, harmonies ironed out, and precious lyrics recalled from memory as, once again, this circle of peers, parents, and progeny take up the music that amplifies their lives. That conundrum of what distinguishes the true-to-life and the artifi­ cial has plagued the scholarship, as well as the informal social discourse, attached to country music-if not popular music altogether-for quite some time. Keywords: ann; class; country; culture; fox; miss; music; real; song
• The Cyberpolitics of Music in Ukraine’s 2004 Orange Revolution by Helbig, Adriana (2006) - The significant role played by Internet streaming of audio and video in the mediation of political information, activism, and communication during the Orange Revolution can serve as a case study for a broader analysis of the relationship between cyberactivism (Kreimer 2001; McCaughey and Ayers 2003) and what I term cybermusicality: an engagement with Internet music and its surrounding discourses that has meaning in listeners' lives both online and off. Much of the literature has Western biases, however, and neglects the local social and political contexts in which Internet music is situated. Keywords: campaign; election; government; internet; kyiv; language; maidan; music; nas; new; november; orange; orange revolution; people; revolution; song; technology; ukraine; ukrainian; university; yanukovych; yushchenko
• Toward a Revised Understanding of Young Children’s Musical Activities: Reflections from the “Day in the Life” Project by Gillen, Julia; Young, Susan (2007) - Existing accounts of music for young children and the versions of musi­ cal childhoods that they convey place emphasis on traditional repertoires of children's songs: lullabies, play songs, and ring games. Whereas adults may assume the boundaries to be clear between these changing media, this is less likely to be the case for young children. Keywords: activities; activity; childhood; children; culture; early; family; figure; gillen; home; music; new; song; video; young
• A Message for Peace or a Tool for Oppression? Israeli Jewish-Arab duo Achinoam Nini and Mira Awad’s Representation of Israel at Eurovision 2009 by Belkind, Nili (2010) - Arab-Jewish Duo Chosen to Represent Israel at Eurovision. Israeli Jewish-Arab duo Achinoam Nini and Mira Awad's Representation of Israel at Eurovision 2009 NiH Belkind Israel's contenders for the 2009 Eurovision Song Contest (known as the ESC or, as here, Eurovision) were the Israeli Jewish-Arab duo Achinoam Nini and Mira Awad. Keywords: arab; arabic; article; awad; collaboration; countries; culture; duo; esc; eurovision; following; gaza; hebrew; international; israel; israelis; music; national; nini; online; palestine; palestinian; peace; process; song; state; war
• Bethany Klein. As Heard on TV: Popular Music in Advertising by Pinson, Heather (2011) - She introduces reception theory as discussed by socio-musicologists Simon Frith, Sound Effects (1981) and Music for Pleasure: Essays in the Sociology of Pop (1988), and Leonard B. Meyer, Emotion and Meaning in Music (1956), who examine the mass appeal of popular music. Through these and other case studies, Klein traces the development of the music industry's use of popular music in advertising which she argues is a way to have music heard, but hardly the ideal way, giving to advertisers a tool for branding through the reinterpretation of songs (136). Keywords: advertising; commercial; klein; media; music; song; use
• Nigun Poems by Marmer, Jake (2013) - © 2013 by the Trustees of Columbia University in the City of New York 381 Nigun Poems Jake Marmer Preface This set of poems grew out of my experiences of listening and finding myself inside nigunim (pl; singular nigun or nign), Chassidic chants—mystical, usually wordless songs used as accompaniment for rituals—weddings, prayers, candle–lightings—collective beckoning of transcendence. this yontef commemorates what has never happened but the paint the paint rolls like walls stands like sea walls standing mercurially Jake Marmer 385 Nigun Au Rebours this song is not an act but erasure the way other songs reach into you this one retreats, taking with it stuff that seemed nailed to the floor this song is cinematic in its reel you may find yourself humming its residue you may wonder who you’re feeding— through the song’s straw that ascends to the pouting mouth of the vanishing point Current Musicology 386 Root–Note Nigun this nigun is about a stick figure and the wind over canvas that bared it— it’s about a two–bone abstraction, a solitary root note, resounding its stripped chorus no aesthetics beyond instinct— this nigun is about a scratch, a typo, doodle of person—dropped into an impressionist painting amidst the ball of flesh and color and it knows there must be a mistake and mumbles all it ever knows to mumble —“I exist”—“I exist”—“I exist”— a note bent in and out of the question this nigun is about a stick figure imagining it could change its fate by lifting its stick–figure hands heavenward Jake Marmer 387 Cecil’s Scarecrow Nigun for Anthony Coleman this nigun is a scarecrow in your old clothes it looks a little bit like you— a no–thanks–prophecy— the fence: scarecrow’s stage and metalepsis melody lint, limp sleeves and run–on paint everybody here forgets what they came for— newly unknotted, turn into congregants dissipating in their coats the nigun shuckles, rocks alone victorious creaking guardian in the field of pure color Current Musicology 388 Amphibian Nigun needle threads nothingness hunks of it transparent slices of ice  a dress good for running up and down the stairs of the ancestral dream ice quickly goes New York ice always does melting ripples around your face it’s the puddle–waltz— for a minute you remember there’s a world at the bottom of your stomach peopled with memories sad eyes, winking— and when you raise your head and ask for a drink someone shows you to the ocean and says welcome to your new life under the water Keywords: nigun; paint; song
• “Sing About Me”: Social Media Memorial and Inventory Form by Redmond, Shana L. (2017) - Musicians have picked up on and expanded upon the labors of social media, which have turned the changing same of state violence into rallying cries delivered in 140 characters or less, hashtags, and memes. Social media is animated by the local crowd sourcing of its partici- pants, growing attention and information at a pace that outstrips network competition. Keywords: black; form; media; music; names; new; song; talmbout; twitter
• “Organic and Beautiful and Imperfect”: An Interview with Queer Pop Musician Be Steadwell by Mulliken, Seth (2017) - Be’s stated lack of excitement about music technology implies a much more complicated idea: the idea that highly technologized music doesn’t need to follow a single narrative line of its creation. In her interview with the members of the band Le Tigre, the idea of what constitutes “innovation” with music technology is highly gendered. Keywords: loop; music; people; song; voice

• Musicians by Anderson, Donna K. (2019) - In the vast and complex discipline of music, there are, to be sure, many areas of specialization, such as musicology, composition, performance, and music education, all of which require detailed study. To the musicologist, the composer, the performer, and the educator, the enhancement of musical experience and understanding should mean a knowledge of music not as an entity in itself, separated from the broad ebb and flow of culture and history, but as an integral part of the history of man- kind and as an important factor contributing to the evolution of man's ideas and progress. Keywords: composer; music; musicians; musicologist
• “On stage, everyone loves a Black”: Afro-Ukrainian Folk Fusion, Migration, and Racial Identity in Ukraine by Helbig, Adriana (2011) - How might musically reconceptualized ideas of Ukrainian folk music influence public attitudes towards migrants living in Ukraine today? I befriended the members of Alfa­ Alfa, the Kharkiv-based Ugandan group performing Ukrainian folk music with whom Chornobryvtsi had performed in the past. Keywords: africans; afro; alfa; chornobryvtsi; folk; folk music; group; kharkiv; language; migrants; music; musicians; reggae; russian; soviet; ukraine; ukrainian

• Imanuel Willheim: Johann Adolph Scheibe: German musical thought in transition by Wolff, Konrad (2019) - Willheim investigates the personal relations between Bach and Scheibe thoroughly and arrives at the convincing conclusion that there was no personal feud (as some Bach biographers believe). Willheim is objective enough to sympathize with Scheibe's criticism that Bach wrote too unvocally. Keywords: bach; composer; dissertation; german; music; scheibe; willheim
• Musicology and the Composer by Luening, Otto (2019) - I like libraries and have often used them but offer, as an important innovation that will help composers and perhaps others, a new cataloguing system. It is used to express the scientific study of music in the widest sense. Keywords: composer; music; teaching
• Michael John Shott - Hugo Wolf's Music Criticisms: Translation and Analysis According to Pepper's Four World Hypotheses by Morgan, John (2019) - Because copies of the Batka-Werner original are difficult to 10cate,3 and since few institutions are likely to own appropriate numbers ofthe Salonblatt- which was, after all, little more than a fashion sheet-Shott's dissertation takes on major importance as a readily available source for Wolf's significant essays. Objec- tions to Shott's completed translation are of two kinds: errors of judgment and policy in the mechanical process of converting Wolf's ideas from Ger- man into English, and failure to provide the translation with the critical apparatus necessary for utilizing it as a research tool. Keywords: composer; criticisms; die; english; shott; translation; wolf
• Come Out to Show the Split Subject: Steve Reich, Whiteness, and the Avant-Garde by Biareishyk, Siarhei (2012) - In his article “Steve Reich and Discourse on Non–Western Music” Sumanth Gopinath demonstrates that Reich’s interest in non–Western music was by no means an exception in his social milieu; in fact, other pioneering minimalist composers of the time, such as Glass, Riley, and La Monte Young, showed deep interest in non–Western music. In “Non–Western Music and the Western Composer” (1988) and other articles and interviews, Reich continuously emphasizes that his interest in studying non–Western music does not lead him to absorb a non–Western sound.3 He writes, “I didn’t want to sound Balinese or African, I wanted to think Balinese or African” (Reich 2002b:148). Keywords: composer; garde; hamm; music; noise; non; reich; split; subject; subjectivity; whiteness
• Preface to Gesprochene Musik, 1. “O-a” and 2. “Ta-tam” by Caines, Christopher (2014) - As Toch of course well knew, the use of spoken instead of or in addition to sung text has deep roots in German music, especially music for the theater. In the United States, where Toch eventually settled, his major achievements in orchestral, chamber, and operatic music remain less familiar than those of his American and European peers. Keywords: composer; ernst; fugue; music; score; suite; tam; toch
• A Reappraisal of the Relationship Between Benjamin Britten and Walter Greatorex by Coyle, Jim (2020) - Here is a clear example of Greatorex modeling the sort of musician Britten would become. 42 A Reappraisal of the Relationship Between Benjamin Britten and Walter Greatorex Jim Coyle The Authorized Version That the young Benjamin Britten disliked Walter Greatorex, his school mu- sic teacher, is an apparently permanent part of the Britten narrative; speak- ing, as it does, to the idea that the prodigious teenager’s musical persona and compositional output were beyond the comprehension of a provincial and conservative schoolmaster who, in Kildea’s memorable phrase, was “emblematic of English philistinism” (Kildea 2013, 45). Keywords: britten; composer; greatorex; gresham; home; kildea; london; music; musician; reid; school

• Music as the Form of World by Hall, Robert L. (2019) - With regard to cultural World forms, we now come to the historical aspect of Miss Carpenter's paper and to a brief commentary on her distinction between primitive, medieval, and modem Western musical apprehension. The parallel of musical pattern to World pattern could not be 108 more complete. Keywords: form; music; space; way; world
• Bach's Place in the World-view of the Goethe Era by Wiora, Walter; Weiss, Piero (2019) - Diese Grundlichkeit ist mit der Grundlichkeit religioser Musik bei Bach verwandt. Man muB nicht Goethe und sein Zeitalter uberspringen, urn Bach zu verstehen. Keywords: bach; goethe; hegel; music; works; world
• Review of Jean-Luc Nancy. 2007. Listening. Translated by Charlotte Mandell. New York: Fordham University Press by Gallope, Michael (2008) - Or: Musical listening seems, then, to be like the permission, the elaboration, and the intensification of the keenest disposition of the 'auditory sense))' (27). Musical listening is not the accurate perception of musical form. Keywords: entendre; listening; music; nancy; self; sense; world

• The Speculative Content of Schoenberg's "Harmonielehre" by Spratt, John F. (2019) - May we not say that Schoenberg's preoccupation with musical law is another commentary upon Plato? Schoenberg's reverence for natural law is not shared by all philosophers of science. Keywords: culture; law; nature; schoenberg; system
• Review of Timothy D. Taylor. 2012. The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. Chicago: University of Chicago Press. by Whyte, Ralph (2014) - Despite these profuse examples, Taylor steers clear of close readings, preferring to engage with the words of those involved in the world of advertising music. Taylor provocatively proclaims “there is no popu- lar music that is not, to varying degrees, advertising music” (8). Keywords: advertisers; advertising; culture; jingle; music; new; taylor
• Tunbridge, Laura. 2018. Singing in the Age of Anxiety: Lieder Performances in New York and London Between the World Wars. Chicago: University of Chicago Press. by Duncan, Stewart (2021) - 147 Reviewed by Stewart Duncan In Singing in the Age of Anxiety, Laura Tunbridge shows how performing, discussing, and listening to German Lieder in the United States and Britain came to carry significant cultural and political meaning during the interwar period. Examining a variety of formats and venues from throughout the interwar period, Tunbridge focuses on the ways in which artists and audiences used Lieder performances for self-definition, commercial gain, or political statement. Keywords: culture; german; lieder; music; new; performances; tunbridge; war

• Dal Bon, Bruno. 2020. La Gioia Sovrana: Nietzsche e la Musica come Filosofia. Milano: Mimesis Edizioni. by Molteni, Pietro (2023) - In the gorgeous central hall of said Waldhaus Hotel in Sils-Maria, after speaking at a concert conference about the string quartets by two Nietzsche’s friends, Bruno Dal Bon told me about the book he had just finished writing: La Gioia Sovrana (“The Sovereign Joy”). Writing about Nietzsche and music is a hard task – the subject is indeed well-known and covered. Keywords: bon; dal; life; music; nietzsche; operetta; piano
• I misunderstand you by Chakrapani, Rajnesh (2023) - The conversation about trauma and boundaries doesn’t take into account that in many cases people and entities set up alienating boundaries for Amma. When people are in positions of power over me and create boundaries to preserve a racist and toxic status quo, Amma taught me to cross them. Keywords: amma; boundaries; cream; life; strawberry
• Review of David Monod. 2005. Settling Scores: German Music, Denazification, and the Americans, 1945-1953. Chapel Hill: University of North Carolina Press by Tompkins, David (2006) - The Germans took full control of musical life beginning in 1947 and used their control to whitewash the Nazi past, as the primary task of American music officers became the promotion of American culture inside Germany. Although many individual initiatives failed, he maintains that the denazification policies-both those designed to remove Nazis from public life as well as those intended to punish and rehabilitate individual Nazis and sympathizers-indeed implemented core democratic values and that, as a result, German musical life changed for the better. Keywords: american; denazification; germans; life; monod; music; officials
• Tia DeNora. 2013. Music Asylums: Wellbeing Through Music in Everyday Life by Still, Jonathan (2017) - Music Asylums: Wellbeing Through Music in Everyday Life. By contrast, Music Asylums, part of Ashgate’s Music and Change: Ecological Perspectives series, sets out to explore “how, where and when music makes a difference.” Keywords: asylums; denora; health; life; music

• Rudolf Arnheim by Arnheim, Rudolf (2019) - Many speculations of theorists derive the origin of music from bird song because early music has a continuous texture, in which one activity persists. Unless they do they are not new music but the denial of art. Keywords: art; music
• Concepts of the Architectural Object by Kaiser, Kenneth (2019) - Contrasting their work with Gothic building, we see a strong shift from semiotic to symbolic meaning, matching the change from ritualized building activity to the self-conscious piece. It seems fairly certain that the exploitation of numerical proportions in building depended heavily on the idea of central perspective, particularly for a theory of proportional diminution with distance. Keywords: architecture; art; buildings; corbusier; fig; iconology; object; use
• Music as Sound and Idea by Berleant, Arnold (2019) - Any clarification of what a piece of music is must necessarily involve reference to musical experience. th the primary sense of the notion of musical object or pIece m .. e t I experience and ass. Keywords: art; experience; form; music; object; perceptual; piece
• Review of Andy Hamilton. 2007. Aesthetics and Music. London and New York: Continuum by Kane, Brian (2008) - Published as part of Continuum's new series of introductory texts on art and aesthetics, Hamilton's book is more than a student text and less than a specialist's essay. These latter chapters-titled The Concept of Music;' The Sound of Music;' Rhythm and Time;' and Improvisation and Composition -contain the substance of Hamilton's thinking. Keywords: adorno; aesthetics; art; hamilton; music; philosophy; rhythm; scruton
• Daniel Albright. 2014. Panaesthetics: On the Unity and Diversity of the Arts. New Haven and London: Yale University Press. by Ricketts, Matthew (2014) - Six whole pages are eaten up quoting Leonardo da Vinci in the section on pseudomorphs (“From Painting to Music”), yet da Vinci doesn’t even describe anything related to music but rather ruminates on the superiority of painting as a medium, which grates against the framework of Albright’s discussion of 142 Current Musicology music born of painting. In other words, since clichés in language tend to either ossify mean- ing or distract from the process of signification, semantic codes in music rely on a certain extant currency within a musical community, but as cur- rency they also risk inflation whereby more music is needed to mean as much as was signified earlier. Keywords: albright; art; arts; language; medium; music; narrative; panaesthetics; theory

• Review of Neil Lerner and Joseph N. Straus, eds. 2006. Sounding Off: Theorizing Disability in Music. London and New York: Routledge by Schmalenberger, Sarah (2007) - There are numerous topical cross-references throughout the anthology, which seem to be intentional strategies to prevent readers from classifying musical disability along an exact continuum or set of criteria. The authors cite musical styles and genres that narrate these experiences, and the repertoire encompasses popular song (past and present), film music, and classical music. Keywords: authors; disability; essays; film; music; new; studies
• Editor's Note by Dawes, Laina (2020) - Steven Moon’s literature review introduces the queering of music stud- ies with an overview of the history of queer studies within ethno/musico- logical (his phrasing) projects and within our courses of study, and queer methods that over time, have prominently appeared in popular music studies, both in relation to the positioning of the writing subject, but also in the merging of identity, performance and politics in our ethnographic work. We wanted to create a collection of writings that acknowledged the transi- tions we have seen within music scholarship within the past four decades, and highlight contemporary scholarship that reflected how queering and quaring scholarship within today’s academic research holds promise in the future of musicology. Keywords: queer; scholarship; studies

• Review of Kelley Harness. 2006. Echoes of Women’s Voices: Music, Art, and Female Patronage in Early Modern Florence. Chicago and London: University of Chicago Press by Marshall, Melanie L. (2006) - The main focus is on Archduchess Maria Magdalena of Austria, widow of Cosimo II Judith is a symbolic conflation of widow-regent Archduchess Maria Magdalena with the embodiment of Florence. Keywords: florence; harness; magdalena; maria; music; patronage; women
• Review of Eileen M. Hayes. 2010. Songs in Black and Lavender: Race, Sexual Politics, and Women’s Music. Urbana and Chicago: University of Illinois Press by Burrell, Jalylah (2010) - Black women, Hayes claims, battle subjugation ... in the discourse of women's music and unfamiliarity in Black expressive culture (45). Her nine relatively short chapters leap from black women's early participation in women's music festivals as performers and patrons (chapter 3, ''After the Golden Age: Negotiating Perspective); to the implementation and impact of idealistic platforms and multicultural prac­ tices at women's music festivals (chapter 5, Ideal Relationships: Women's Music Audiences); and to the alternate spaces provided by black women and black lesbian exclusive festivals (chapter 6, Redistricting: Gay and Black Outdoors). '' Keywords: festivals; hayes; lavender; music; songs; women
• Pamela Fox. Natural Acts: Gender, Race, and Rusticity in Country Music by Heidemann, Kate Ellen (2011) - Fox presents her readers with a realistically dynamic conception of country authenticity, one that is redefined by practitioners of country music almost as often as it is invoked. Fox thus points future scholars of country music authenticity toward archetypes still in formation. Keywords: authenticity; class; country; fox; gender; honky; music; new; tonk; women
• A Great Desire: Autobiography in Louise Talma’s Three Madrigals by Leonard, Kendra Preston (2011) - Talma modulates from F minor through A~ major back to E major over the course of two measures, returning to the material of the A section and ending the song with emphatic statements of Farewell, unkist! and an affirmative V IV - V-I cadence in the piano. Talma was born in 1906 to opera singer Alma Cecile Garrigues Talma in Arcachon, France. Keywords: alto; beloved; boulanger; lover; narrator; nay; piano; relationship; talma; thou; voices; women; works
• Archival Nothing by Fiol-Matta, Licia (2018) - I found very little of jíbaro music reported on in any print venue, of record or gossip. It seems obvious, but bears repeating, that, at the beginning of the twenty-first century, most music writing on Latin America did not engage in a hermeneutic with regards to gender. Keywords: diva; music; silva; terms; voice; women

• Review of Nicholas Cook. 2007. The Schenker Project: Culture, Race and Music Theory in Fine-de-siecle Vienna. Oxford and New York: Oxford University Press by Tunbridge, Laura (2009) - Rather, we move Beyond Assimilation (as he entitles his chapter): to the aesthetics of the analytical method itself, specifically the problem of late Schenker-his codification in Der freie Satz of the Urlinie. The challenge in part is that by the time the theory becomes more narrow and schematic, the social dimension of the theory withers away: we end up not with the Schenker project as [Cook has] described it, but rather with what Der freie Satz has traditionally been seen as-a work of music theory, through which are scattered a large number of rather gratuitous remarks pertaining to philosophy, religion, society, or the individual (268). Keywords: cook; music; project; schenker; theory
• Review of Janet Schmalfeldt. 2011. In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. New York: Oxford University Press by Hansberry, Benjamin Konrad (2011) - Such an analytical method is invaluable, especially in formal analysis, because it allows the analyst some way to express her personal connection to the music in terms other than dry, predetermined, analytical categories (if other formal theories could be caricaturized as such). Further, by basing her analyses on listener/ performer/analyst experience, Schmalfeldt's theory incorporates temporality into formal analysis. Keywords: form; hegel; music; process; schmalfeldt; sonata; theory
• Steingo, Gavin. 2016. Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa. Chicago: University of Chicago Press by Clark, Emily Hansell (2018) - Further, it would show that the ethnomusicological 260 Current Musicology theoretical canon has no particular claims to having figured out the “cor- rect” way to look at musical objects but could instead provide the grounds for interdisciplinary critical thought to encounter sonic objects and aural histories, with underdetermined results that could lead to important new insights. In doing so, Steingo joins a number of other ethnomusicologists since the 1980s who, rather than merely borrowing theory from other disciplines to apply to musical objects, bring humanistic theory and musical ethnography together in ways that contribute uniquely sonic perspectives to interdisciplinary conversations. Keywords: ethnomusicology; knowledge; kwaito; music; promise; steingo; theory

• Igor’s Goriest Tune and Selected Text Pieces by Barkin, Elaine R. (2013) - Composing music is serious business. fo lk i sh ly t radit ional & mundane, tunesnatches 1983 / rev.1992 75 Writing About Milton Babbitt’s Groupwise Elaine R. Barkin The Collected Essays of Milton Babbitt appeared in 2003 prompting me to take out and listen to Milton’s music on the many LPs and CDs I own, a collection spanning over 35 years . Keywords: babbitt; cage; milton; music; new; way
• Licia’s Lectures on Nothing by Moten, Fred (2018) - It’s like Las Nietas de Nonó literally obliterates the mathematics of a single subject’s relation to nation and the boundaries that structure what it is or is not to be a singer. It makes you want to consider, again, national moral perfectionism and the future (im)perfect—an action that will have been completed at some point toward which we incompletely tend with errant precision. Keywords: licia; lucecita; nation; way

• Bach's Wedding Music by Hudson, Frederick (2019) - Schweitzer4 suggests that BWV 97, In allen meinen Taten, and BWV 100, Was Gott tut, das ist wohlgetan, were used as wedding cantatas, while Schering 5 adds as possibilities BWV 9, Es ist das Heil uns kommen her, BWV 93, Wer nur den lieben Gott lasst walten, BWV 99 or 100, Was Gott tut, das ist wohlgetan, and BWV Ill, Was mein Gott will, das g'scheh allzeit. As St. Thomas' and St. Nicholas' were used equally, sharing the cantata choir and orchestra on alternate Sundays, we may speculate that as many wedding cantatas were performed in the latter as in the former. Keywords: bach; bwv; cantata; der; leipzig; libretto; movements; original; parts; score; thomas; wedding
• Richard Carroll Davis: Self Parody among the Cantatas of Johann Sebastian Bach by Marshall, Robert L. (2019) - Robert L. Marshall Scholars have been fascinated by J. S. Bach's practice of parody almost from the very beginnings of Bach scholarship. But if, for the moment, we share Mr. Davis' assumption that a parody often represented a considerable creative effort, then it puzzles one how often parody compositions are deemed by him to be of inferior quality, or how poor declamation can be put forth as a criterion for establishing that a work is a parody. Keywords: bach; bwv; davis; dissertation; parodies; parody; works
• Leon Crickmore-C.P.E. Bach: Six Harpsichord Concertos [Wq. 43i], Jane R. Steveris-The Keyboard Concertos of Carl Phillipp Emanuel Bach by Smith, Chester Fanning (2019) - Frequently Bach, like Haydn, modulates by bringing the music toa temporary pause and simply starting in the new key. To what extent, then, is C. P. E. Bach, whose father was his only teacher of composi- tion, influenced by the Baroque concerto? Keywords: bach; concerto; form
• Zur Stellung Bachs im Weltbild der Goethezeit by Wiora, Walter (2019) - und Hegel von seiner groBartigen ... Genialitat.7) Athanasius Kircher sprach von der harmonia nascientis mundi; Gott habe die Welt als eine monumentale· Weltorgel geschaffen.21 ) Goethe hat Keywords: als; auf; bach; das; den; der; die; goethe; hat; mit; musik; nicht; sich; und; von
• Beth Anna Mekota - The Solo and Ensemble Keyboard Works of Johann Christian Bach by Forsberg, Suzanne (2019) - Following is a list of Ph.D. dissertations, both completed and in progress: Edward O. D. Downes, The Operas of J. C. Bach as a Reflection of the Dominant Trends in Opera Seria, 1750-1780 (Harvard University, 1958); Marie A. H. Vos, The Liturgical Choral Works of Johann Christian Bach (Washington University, 1969); Joseph A. White, Jr., The Concerted Symphonies of Johann Christian Bach (University of Michigan, 1958); 119 Delores]. Beth Anna Mekota-The Solo and Ensemble Keyboard Works of Johann Christian Bach Ann Arbor: University Microfilms (UM order no. 69-18,059, 1969. Keywords: bach; keyboard; mekota; sonata; works
• Donald George Moe - The St. Mark Passion of Reinhard Keiser: A Practical Edition, with an Account of Its Historical Background by Malinowski, Stanley A. (2019) - In addition to the edition, Dr. Moe has provided a volume of historical background on Passion composition up to the time of Keiser. Keiser was not embarrassed by such Pietistic poetry; he welcomed it, as evidenced by the praise (quoted by Dr. Moe himself on p. 101) which Keiser lavished upon Brockes for his famous Passion poem Der fur die Sunden der Welt gemarterte und sterbende Jesu. Keywords: bach; edition; editor; keiser; mark; moe; passion
• A Context for Mozart's French Ariettes: The Wendling Family and Friedrich Schiller's Kabale und Liebe by Corneilson, Paul (2006) - Franziska von Hohenheim, mistress and later wife of Karl Eugen Lorenz Wittleder, assistant to Count Montmartin Johann Baptist Wendling, principal flautist at Mannheim court Dorothea Wendling, wife of J. B., and singer at Mannheim court Elisabeth Augusta Wendling, daughter of J. B. and Dorothea Duke Karl Eugen von Wiirttemberg Ferdinand: Miller, I scarcely remember how I came to your house.-What was the reason? Mozart und Mannheim. Keywords: augusta; bach; bauer; corneilson; court; das; daughter; der; des; deutsch; die; dorothea; elector; elisabeth; family; father; hat; ich; ist; mannheim; miller; mistress; mother; mozart; music; nicht; que; riaucour; schiller; sie; tochter; und; von; wendling

• Structural Revisions in the String Quartets: Opus 41 of Robert Schumann by Correll, Linda E. (2019) - The manuscript material drawn upon constitutes two sets of Schumann autographs-the sketches1 and the fair copy.2 However, the quartets appear to be the subject of several entries in Schumann's Haushaltbilcher,3 and it is probable that a set of preliminary sketches also exists.4 Schumann wrote the Op. Structural revisions in the String Quartets Opus 4I of Robert Schumann Linda E. Correll The study of sketches affords many insights into the compositional process. Keywords: bars; major; movement; schumann; sketches
• The Growth of a Musical Idea-Beethoven's Opus 96 by Obelkevich, Mary Rowen (2019) - There are four main manuscript sources which contain Beethoven's progressive work on Opus 96-Beethoven Autograph Ms. 41 of the Gesell- schaft cler Musikfreunde, Vienna; the Petter sketchbook; Ms. 60 of the Conservatoire National, Paris, Collection Malherbe; and the autograph score of the sonata owned by the Pierpont Morgan Library of New York City,! The earliest of these documents, Ms. 41, contains a draft of the melody which Beethoven utilized as the theme of the Finale of Opus 96, as well as sketches for the Chorfantasie, Opus 80, and the beginning of the Goethe song, fXAMPU I .. ,;,- --. .. - . . . Keywords: autograph; beethoven; der; movement; opus; score; sketches; sonata; version
• Some Relationships Between the Autographs of Beethoven's Sonata in C Minor, Opus 111 by Drabkin, William (2019) - Some Relationships Between the Autographs if Beethoven's Sonata in C Minor, Opus 1111 William Drabkin The complete autograph of the Piano Sonata, Opus Ill, is one of the most accessible, in reproduction, of Beethoven's manuscripts. The most significant research on the autographs of Opus III is to be found in Heinrich Schenker's pioneering edition3 and in Hubert Unverricht's critical examination of the autographs, early editions, and correspondence between Beethoven and publishers of the sonata.4 The present essay offers another examination of the autographs, particularly with respect to striking notational similarities and differences.5 I shall first enumerate the sources for the sonata, then make some observations con- cerning the general relationship between the autographs, and finally discuss some textual problems arising from a comparison of the autographs, as well as the significance of such a comparison for the understanding of Beethoven's compositional and copying processes. Keywords: autograph; beethoven; berlin; bonn; hand; movement; signature

• On Patricia Carpenter's "The Musical Object" by Treitler, Leo (2019) - To support this assertion I can only refer the reader to three of my own studies on the subject of unified form in the music of the Middle Ages: Musical syntax in the Middle Ages in Perspectives of new music IV (1965), p. 75; Tone system in the secular works of Guillaume Dufay in Journal of the American Musicological Society XVIII (1965), p. 131; On the structure of the Alleluya melisma: a Western tendency in Western chant in Studies in music history: essaysfor Oliver Strunk, to be published by Princeton University Press. The third thesis is the assertion that the history of Western music may be understood from the vantage point of the first and second theses. Keywords: ages; carpenter; form; music; renaissance; substance; thesis
• Some Thoughts on the Nature of the Musical Composition: Further Considerations of Professor Crocker's Reflections by Novack, Saul (2019) - The character of musical structure, however, has been far more elusive. To discern, therefore, the nature of musical structure, one must find the structural conditions that are unique or peculiar to a particular time style, conditions that are inherent in the system. Keywords: composition; design; form; music; structure; unity
• The Viennese Classical School: A Challenge to Musicology by Larsen, Jens Peter (2019) - It might be possible, through some sort of copying procedure (microfilm, microfiche, Xerox, or the like) to organize the distribution of copies to a certain number of leading music collections in the various countries. Musical analysis Compared to the work on source problems, which has really 108 made wonderful progress in the years since the last war, the studies in style problems have not been very conspicuous or revo,. Keywords: development; form; haydn; music; period; style
• Kaleidoscope and Silly Putty: An Appositive Inquiry by Singer, André (2019) - Whatever the degree of influence, however, we must keep in mind that the individual works of art and artifacts themselves are con- siderably richer in expressive meaning and import than any that Kaleido- scopic patterns or Silly Putty shapes might possess. Such symmetry is in- herent in the patterns of the Kaleidoscope and is also prominent (on several levels of organization) in literally thousands of musical compositions. Keywords: form; kaleidoscope; music; patterns; putty; symmetry
• Interpreting Discontinuity in the Late Works of Debussy by Wheeldon, Marianne (2004) - These ideas may never recur during the course of the composition, and they more often contrast with, rather than connect to, surrounding musical sections. Similarly, Stockhausen's writings of the 1960s describe new musical forms that are remote from the scheme of the finalistic, dramatic forms (1963a: 198).4 These writings, though they are intended to provide theoreti­ cal frameworks for his compositions, outline the same issues confronting Eimert and Boulez: that is, how to counter inherited notions of form, a legacy that Boulez describes as three centuries of architectural music:' Keywords: debussy; form; ideas; moment; mortes; music; new; ondine; prelude; repetition; section; stockhausen; succession

• Finn Mathiassen - The Style of the Early Motet (An Investigation of the Old Corpus of the Montpellier Manuscript) by Karp, Theodore (2019) - At no point does the author indicate the extent to which these unica are stylistic- ally similar or different from remaining motets preserved in other polyphonic sources, even though his use of unica as examples often seems to raise the question. In a penetrating study of the motets preserved in the Notre Dame MSS, Hans Tischler found that among motets 194 employing different modal patterns for tenor statements, changes from faster to slower rhythms are about as numerous as changes in the opposite direction. Keywords: author; motet; study; voice
• Nothing/Nada by Halberstam, Jack (2018) - Offering a wealth of biographical detail alongside elaborate performance histories and media archaeologies for each of the figures she explores, Fiol- Matta both refuses and expands our concept of the diva and situates it in an uneasy set of relations to nation, gender, and voice. The case histories to which Fiol-Matta is drawn, always, are those that defy the case and rethink history in the process or at least the way histories are relayed through indi- vidual lives, bodies, examples, and, in her new book, voices. Keywords: fiol; matta; voice
• Awakening the Sensorium in Puerto Rico’s Colonial Modernity by Cruz-Malavé, Arnaldo M. (2018) - I had migrated to the US in 1969 and completed high school here and was now returning to my island, to my homeland, as an adult, as an out gay young man with an insurrectional Afro and platform shoes seeking to connect, or better yet to reconnect, with my Puerto Rican cohorts and the thrilling, irreverent cul- ture they were forging. Deploying the figure of nada, Fiol-Matta seeks to register first the shocking effacement from the official archives and records of the sonic achievements of these extraordinary and influ- ential Puerto Rican women singers and the attempted appropriations and domestications of their image and sound by the modern colonial Puerto Rican state and the music industries, as well as the no-less-distorting pres- sures on them by supportive left-leaning cultural nationalist intellectuals. Keywords: puerto; singer; voice; woman

• The 1965 revision of the U.S. copyright law by Clarkson, Austin (2019) - The revision bill takes a giant step forward by requiring that protected works be fixed in any tangible medium of ex- pression now known or later developed, from which works can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. The inability of the producers and users of copyright works to agree on a definition of fair use betrays a lamentable cleavage in our culture. Keywords: bill; copyright; law; revision; use; works
• Ronald Cross - Matthaeus Pipelare: A Historic and Stylistic Study of his Works by Mixter, Keith E. (2019) - It is a pleasure for the reviewer to point to two further fruits of Dr. Cross's research: his article, The life and works of Matthaeus Pipelare, Musica Disciplina, XV: 97-114 (1963), which presents the biographical details and a list of works by genre, and his edition of the Opera Omnia of Pipelare (Rome: American Institute of Musicology, 1966-67, 3vols.). Dr. Cross has let Pipelare's works determine the course of the dissertation, since he feels that the problems are often related to specific compositions. Keywords: author; cross; dissertation; pipelare; works
• Roger Jacques Kamien-The Opening Sonata-Allegro Movements in a Randomly Selected Sample of Solo Keyboard Sonatas Published in the Years 1742-1774 by Warburton, Thomas (2019) - Thomas Warburton Roger Kamien has contributed a valuable service to musicology by showing how one might apply statistical methods to a study of sonata-allegro move- ments. Accompanied sonatas have been eliminated, as have sonatas by Domenico Scarlatti and works which originally appeared only in anthologies. Keywords: dominant; kamien; sample; sonata; works
• Philip Friedheim-Tonality and Structure in the Early Works of Schoenberg by Proctor, Gregory (2019) - Such devices are: motivic variation and transformation, and the combining of variously transformed motives into highly contrapuntal complexes; characteristic sonorities that give color to a work but do not represent a tonic in any classical sense; and harmonic devices, such as multiple interpretation of chords, including the variety of possible roots by supposition, enharmonic equivalents, and abbreviation of functional progressions by the omission of a typical chord, usually the dominant. 10, for which Friedheim refers to chords that represent momentary harmonic oasis within an atonal desert. Keywords: chord; dissertation; friedheim; music; schoenberg; tonality; works
• Early 16th-Century Manuscripts at Piacenza: A Progress Report by Weidensaul, Jane B. (2019) - Early 16th-Century Manuscripts at Piacenza: A Progress Report Collected and Edited by Jane B. Weidensaul The musical holdings of the Archivio del Duomo at Piacenza, Italy, were fully catalogued by Francesco Bussi in a volume published in 1967.1 Attracted by the early 16th-century items, Prof. Martin Picker obtained microfilms from the library and began a personal investigation of the materia1.2 Most of the pieces of the Piacenza repertory are incomplete owing to the lack of correspondence among the four part-books. Keywords: hymns; manuscripts; motets; music; piacenza; pieces; set; willaert; works
• Ulysses Kay Special Collection: Rare Book and Manuscript Library, Columbia University by Lee, Jennifer (2012) - African–American composer Ulysses Kay (1917–1995) wrote more than one hundred forty compositions in a wide range of forms—five operas, over twenty large orchestral works, more than thirty choral compositions, fifteen chamber works, a ballet, and numerous other compositions for voice, solo instruments, film, and television.1 Born in Tucson, Arizona to a musical family, Kay was encouraged by both his mother and her brother, Joe “King” Oliver, to study piano, violin and saxophone. As stated by Constance Tibbs Hobson and Deborra A. Richardson in Ulysses Kay: A Bio–Bibliography (1994): “Kay’s contribution to America’s cultural life and to its contemporary music scene is outstanding. Keywords: columbia; kay; music; new; orchestra; ulysses; university; works

• Mozart's String Quartet K. 465: The History of a Controversy by Vertrees, Julie Anne (2019) - Between 1824 and 1832 every article and book mentioning Sarti's :Mozart criticism spoke of the Osserva- zioni and usually quoted the closing line, thus indicating that their probable source was the 1824 communication rather than the manuscript itself. I venture to say that this 110 introduction is not good Mozart, that it has an uncertainty about it-not so much harmonic as aesthetic-that we do not often find in him; that the men of his own day were conscious that it was not good Mozart; and that they were quite justified in saying so. Keywords: amz; article; col; fetis; german; haydn; ibid; introduction; kiesewetter; leduc; lichtenthal; mozart; music; passage; quartet; sarti; vol; weber

• Reports on research and development in music education by Lazarevich, Gordana (2019) - For this project on experimentation in school music education, Ronald Thomas collected descriptions of 92 innovative programs from 132 schools in 36 states. Although the impact and effectiveness of these projects will obviously vary considerably according to a large number of factors, we hope that these reports will present the reader with some idea of what is being done in an area of music education of immediate concern to musicologists.-GORDANA LAZAREVICH. Keywords: development; education; listening; literature; materials; music; project; reports; research; school; students; study; teachers
• Review of Matthew Riley. 2004. Musical Listening in the German Enlightenment: Attention, Wonder and Astonishment. Aldershot, UK and Burlington, VT: Ashgate Publishing by Head, Matthew (2004) - Reviewed by Matthew Head Matthew Riley's impressive contribution to the history of music theory and psychology explores an Enlightenment ideal oflistener attentiveness. Even within the realms of attentiveness in music theory, Riley's focus is highly selective. Keywords: attention; attentiveness; listening; music; riley; study

• Musicology vs. Performance by Menuhin, Yehudi (2019) - Perhaps the musicologists should organize a sit-in on the steps of Carnegie Hall (this time with scythe, skull, and bones), or walk in front of Lincoln Center and carry banners reading Ban Beethoven, Silence to Beethoven, and Let's put Beethoven on ice for 200 years-then we'll make him better than ever before! In reanimating the silent scores of countless ancient libraries, the musi- cologist has restored the elaboration of a figured bass and the ornamentation of a melodic line from the realm of theoretical exercises to that of performing techniques: musicologist and performer have joined on common ground. Keywords: beethoven; fact; improvisation; musicologist

• Josiah Darnell: An evaluation of the bachelor of music education curriculum at Murray State College through an analysis of the opinions of its teaching graduates by McKinnon, James (2019) - Moreover, the subject of the survey is an important one, and the replies present a wealth of raw material for music educators to ponder. An example of the finished product is that the competency to develop music reading ability in the elementary grades was rated 2.8 (on a scale of 0.0 to 3.0) as to its importance and 2.0 as to the effectiveness of the Murray State preparation. Keywords: effectiveness; evaluation; murray; music; state

• Letter to the Editor by Seltzer, Cheryl (2019) - It aims to investigate modes of musicological description and explanation and to expand our understanding of musical works in themselves and in the context of tradition. She is concerned with the apprehension of a musical entity and considers such factors as distance and spatiality; the organization of time; music as object and music as process; the sense of hearing and musical perception; the re- lation of our linguistic and musical concepts; the relation of the object to changing notions of form. Keywords: composition; music; piece

• Edward Leon Kottick: The Music of the Chansonnier Cordiforme, Paris, Bibliotheque Nationale Rothschild 2973 by Schawran, Henrietta (2019) - In his all-too-brief discussion of pieces in Cordiforme that parody or para- phrase other songs, Kottick fails to note obvious similarities between the melodies of Chiara fontana (No.5) and J'ay pris amours (No. 18), particularly their identical openings. As a matter of fact, other songs in Cordiforme are likewise set to poems attributed to Giustiniani in contemporary literary sources or in modern literary writings: Keywords: cordiforme; italian; kottick; music; par; songs; sources; style; text; version
• Schoenberg's "George-Lieder:" The Relationship between Text and Music in Light of Some Expressionist Tendencies by Dill, Heinz J. (1974) - The lack of parallelism may well be due to an attempt at redefining the partnership between poetry and music in a situation where new music and traditional verse have to be reconciled to each other. Focusing particularly on the relationship between text and music, my article will deal with some of the aesthetic principles underlying these songs.2 Keywords: content; george; music; schoenberg; text

• Miriam Karpilow Whaples: Exoticism in dramatic music by Poladian, Sirvart (2019) - Early examples of exotic music are brought together from scattered sources, such as the Tupi melodies from Brazil (1592) and the Turkish tunes in Donado (1688). In spite of our widespread and intimate knowledge of exotic musics today, only one European composer, Alan Hovhannes, has succeeded in making exotic idioms his own musical vocabulary after years of intensive study. Keywords: author; european; music; style; whaples
• Ursula Kirkendale - Antonio Caldara: Sein Leben und seine Venezianich-Römischen Oratorien by Williams, Hermine Weigel (2019) - The biographical narrative begins with confirmation of the fact that Caldara, son of the violinist, Giuseppe Caldara, was indeed from Venice, for it was at San Marco that he began his musical career as one oftheboy singers for the ducal chapel. In Part I, which deals with the life of Caldara, Dr. Kirkendale not only greatly expands our knowledge of his early life but corrects many errors of fact that appear in the article, Caldara, in Die Musil; in Gescliichte und Gegenwart. Keywords: caldara; oratorios; rome; style

• A Memorial Tribute to Otto Deri by Shapiro, Jack M. (2019) - A Memorial Tribute to Otto Deri Jack M. Shapiro Otto Deri would have been pleased with this issue of Current Musicology. Four different approaches to commemo- rate Otto Deri were suggested, each symbolizing a vital concern of his professional life. Keywords: deri; friends; music; otto; students
• Dialectics of Debate: Reflections on Three Pedagogical Scenes in Chinese Music History by S. K. Lee, Gavin (2019) - While there is the difficulty inherent in teaching Chinese music to students who prefer Western music, the problem is exacerbated by the highly conceptual, abstract nature of Chinese philosophy of music, comprising several schools of thought. Video clips demonstrating the magical power of music—even if these clips embody contemporary film scriptwriters’s and composers’s imagination of ancient music (as in Ze Tian Ji)—thus have an important function of illuminating philosophical con- cepts in audiovisual form, which is far more appealing to the students in my class than abstract discussion; Longevity’s use of music to unveil the key in Ze Tian Ji demonstrates music’s magical power in an immediately comprehendible way. Keywords: bhabha; chinese; longevity; music; pedagogy; philosophy; students
• Making the Case for Equity Pedagogy by Thomas, Margaret (2021) - One Scholar’s experience in a theory fundamentals course exposed and personalized the inaccurate and biased assumptions we tend to make of students in music courses, assumptions that exemplify the implicit requirements for becoming a music major. The course instructor did not comprehend the Scholar’s experience, an experience that was no doubt shared by other students. Keywords: curriculum; education; equity; music; pedagogy; students
• Mentoring, Institutional Barriers, Structures of Justice: A Dialogue Across Positions of Privilege and Power by Dell'Antonio, Andrew; Ovalle, Matthew (2021) - How do we create that for other students? I have certain students who come into my office every week. Keywords: accommodations; class; students; university

• Review of Ignacio Corona and Alejandro Madrid, eds. 2008. Postnational Musical Identities: Cultural Production, Distribution, and Consumption in a Globalized Scenario. Lanham: Lexington Books by Garland, Shannon (2010) - Lanham: Lexington Books. Reviewed by Shannon Garland In Postnational Musical Identities, Ignacio Corona and Alejandro Madrid bring together twelve scholars working with (primarily) popular music in (primarily) Mexico and Latin America to consider the relationship between music, identity, and globalization. Corona and Madrid layout their frames for thinking about globalization and music (i.e., The Idea of the Postnational, Music Scholarship in Times of Postnationality, and The Collapse of Grand Narratives in Popular Music) in the introductory chapter, The Postnational Turn in Music Scholarship and Music Marketing. Keywords: globalization; identity; mexican; mexico; music; rock
• Laurie Stas, ed. She’s So Fine: Reflections on Whitness, Femininity, Adolescence, and Class in 1960s Music by Yamagata, Sayo (2011) - The academic and critical devaluation of girl singers, then, has little to do with our failure to acknowledge '60s girl pop and everything to do with a deliberate disempowerment of the teenage girls involved with its creation and reception. As much as there is an enduring fascination with '60s girl pop, scholars concerned with these girls as icons of Otherness run the risk of rearticulating marked and unmarked categories that ultimately defuse the political and creative agency of girl singers and their listeners. Keywords: 1960s; 60s; girl; music; pop; rock; singers; stras

• The Quarter-Tone System of Charles Ives by Perison, Harry (2020) - He bases his procedure on William Pole's adapta- tion of Helmholtz's theory of relationship between beats of adjacent partials of chord tones and the degree of aural roughncss. His first known effort (dating from as early as 1903 and certainly no later than 19141) was the Chorale for strings in quarter tones, in which his quarter-tone system is already fully developed. Keywords: chord; ives; major; pieces; quarter; system; tone

• Listening in Poppies by Czerner, Dorota (2013) - Other than I the voice the voice transcending a horizon of everything that I would take to be “maki...” as is or just so, a cell this here is efflorescence hardened from the sun’s chemistry alive now and under its influence the distinction between the intention and the display of appearances dissolves somehow so able to show, unshow all its loveparts all being one event leaving a centrifugal awareness of speaking, a stem along which chromosounds migrate as I lay there, warming myself in this fire, myself a thread between solutions super~saturated Language to the opposite ends of a figure surfacing: Current Musicology 116 “że maki” “są, że maki” “są maki, że” pre~language, pre~objects for crystals not quite what, to grow around, yet what they may or almost are interpenetrating, branching out, multi~stratal “.........maki są tak.......” sensations now enfolded, twice fastened to the sound in self, within running patterns becoming a succession of Myselves, eating away at becoming, sounding the gum bleeding somewhere between the envelopes of a twofold cloak through everything that spans over the direct me together with sound the feeling, experiencing me dotted sewn through the time~continuum, swarming on to the face of the real now becoming, now language becoming me as speaking is as is identity made own traced in various voicings a flower that swalllows the pleasure of surrendering unpredictable but already involved in a metamorphism from the unknown to familiar, being in/ /out birthed image events encrypted in word events being in, the second figure prefigured in the first encrypted in what/ being out “I am a memory coin, flipped”: word~image, flipped: it~me, being, and at every stage both expressing both the pleasure of watery pulsation being Dorota Czerner 117 birthed from color heard birthed as much as furthering of the sense recollected then transferred “poppies I remember” as my individual signing of being “freckles of the wind” onto the fabric of this, this language, the immanence of sense “a simple vocabulary of movement” roaming off in the arborescence of meaning myself psychedelic elided between “their frail shadows” the folds articulated from there on ~ Origins and chronology: I. October 2003. In parallel with ongoing sessions with Ben’s piano music (but also in response to Ben’s suggestion of my writing a text whose expression would be strictly framed by “thinking, that is, intellectual utterances,” to the exclusion of any conscious usage of a sensual image), I compose a dia–phonic poem “Listening in Poppies”—a personal take on poetic image, voice and its utterance, emergence and articulation of sound, or language identity, within an experience of music. Keywords: language; poppies

• Horses For Discourses? The Transition from Oral to Broadside Narrative in “Skewball” by Ó Cadhla, Seán (2012) - Despite this wide appeal among the buying public, broadside versions of SB began to disappear as the medium declined in the late nineteenth century. Besides obvious differences, broadside ballads differed significantly from their oral counterparts in two major aspects, one cultural, the other economic. Keywords: ballad; broadside; english; gore; grey; horse; library; london; mare; mervin; miss; narrative; race; rider; skewball; verse; versions

• Toward a rapprochement of musicology and music education:: Some practical considerations by Mayer, Frederick D.; Sacher, Jack (2019) - Because of this monstrous predicament, school music has taken a disastrous turn in the last decade or so. Before discussing the ways in which musicologists and music educators might recognize their interdependence and benefit from each other's work, let us examine some of the unique qualities of public school music education and of the training of its teachers. Keywords: courses; education; educators; music; school; teachers
• The challenge of educational reform by Palisca, Claude V. (2019) - Such a movement to revise the content of music education too has begun, but it has gathered only little momentum. The theory, history, and literature of music form only a small part of most undergraduate programs in music education and often this is bar-ely augmcnted in graduate programs. Keywords: arts; college; education; music; musicologists; research; school; teaching
• Martin Orville Johnson: The philosophies and attitude of selected music teachers toward music education by Daniels, Arthur (2019) - Of those who did respond, 50 percent were high school music teachers, 22.5 percent were supervisors of music education, and 27.4 percent were college-university teachers of music education subjects. In keeping with the nature of this special issue, CA1 here presents revie\vs of doctoral dissertations in music education. Keywords: education; johnson; music; statements

• A Cross-Cultural Grammar for Temporal Harmony in Afro-Latin Musics: Clave, Partido-Alto and Other Timelines by Vurkaç, Mehmet (2012) - The relationship between cyclical timelines that act as clave patterns and the specific role they play in their respective traditions is precisely explained here, in a manner that unifies these musical traditions under one regulative concept distilled from traditional practice as taught by cultural authorities and exemplified by recording artists. The present work builds on these earlier efforts to establish an understanding of clave direction that is precise, parsimonious (only two concepts suffice), and widely applicable. Keywords: 3–2; african; afro; bossa; clave; clave direction; direction; figure; half; music; note; offbeatness; onsets; pattern; second; sense; son; standard

• A Composer Reacts to Musicologists by Haines, Edmund (2019) - Fortunately, just before that era, there was a flowering of musicological research; and by the time I was engaged in what might be called the ad- vanced study of music, some aspects and periods of music history had been better dealt with, and more and more material was being made available in print and on recordings. I could not satisfy this curiosity readily at a distance, since practically nothing pertinent and recent about Spanish music had been written in the English language except for one article by Arthur Custer, in The Musical Quarterly.1 I applied for a grant to go to Spain and lived there for two years while engaged in research. Keywords: composers; music; musical; research; spain
• Review of Christina Bashford. 2007. The Pursuit of High Culture: John Ella and Chamber Music in Victorian London. Woodbridge, UK: Boydell by Solie, Ruth A. (2009) - Eventually it became Ruth A. Solie clear, to the chagrin of many of his contemporaries, that Ella had little use for the work of British composers or, by the end, for contemporary music (with the exception of Wagner). Reviewed by Ruth A. Solie Christina Bashford has titled and subtitled her new book appropriately: although it takes the overt form of a biography of Victorian musical en­ trepreneur John Ella, it is also a much broader project concerning musical life, repertory, and audiences in nineteenth-century Britain. Keywords: bashford; ella; london; musical; repertory; union

• Announcement by Musicology, Current (2019) - Anyone interested in submitting a pro- ject for consideration should contact Frederick Freedman (Chairman, Publications Committee, College Music Society) at the Music Library, Vassar College, Poughkeepsie, N.Y. 12601. The first group of projects planned for publication includes: George Gershwin by Charles Schwartz (Hunter College); Louis Moreau Gottschalk by John G. Doyle (Mansfield State College, Pa.); Charles lues by Frederick Freedman (Vassar College); John Knowles Paine by Kenneth C. Roberts, Jr. (Williams College); and Horatio Parker by William Kearns (University of Colorado). Keywords: college

• Review of Amy C. Beal. 2006. New Music, New Allies: American Experimental Music in West German from the Zero Hour of Reunification. Berkeley and Los Angeles: University of California Press. by Silverberg, Laura (2008) - Beyond the fact that this section avoids actually discussing the impact of the Berlin Wall on political-ideological interpretations of American music, the conclusion that American experimental music provided a temporary distraction barely begins to capture the shattering effects that the Wall's construction had on musical and political life in East and West Berlin. © 2008 by the Trustees of Columbia University in the City of New York 101 102 Current Musicology economic, and social conditions, combined with individual efforts to promote experimentalism, made West Germany a context of prolific exile for American experimental music (2). Keywords: american; beal; cage; cold; composers; germany; music; new; politics; university; war; west

• Review of James Buhler, Caryl Flinn, and David Neumeyer, eds. 2000. Music and Cinema. Middletown: Wesleyan University Press by McQuiston, Katherine (2000) - With great foresight, the editors point out the issue of canon formation for films and film music; with the availability of increasingly affordable technology, films can be made and distributed or transmitted quickly and easily, and it is likely that this trend will only grow. Paulin also identifies Wagner as the force behind the debate between those who believe film music should reinforce or sup­ port the image on the screen and those who advocate a so-called contra­ puntal relationship between music and image, a debate that has since broken down into more subtle questions of how sound and image inform each other and contribute to an aggregate effect. Keywords: article; cinema; film; film music; flinn; music; new; questions; soundtrack

• The Queer of Color Sound Economy in Electronic Dance Music by Black, Blair (2020) - This label is cur- rently home to a roster of queer, queer of color, and women of color artists who would eventually influence the eerily dissonant electronic club music that made its way into mainstream music.38 For example, former label dar- ling Kelela’s popularity illustrates the queer of color sound translatability for pop music.39 As a result of Fade to Mind’s success in promoting the ethnically di- verse sounds from queer dance music scenes, a new vanguard of queer activists, promoters, collectives, and DJs are emerging throughout the city. This was especially the case in the Dutch house music scene where they envisioned dance music scenes as escapist youth culture that “has no messages and gives no comfort. Keywords: black; chicago; club; color; communities; dance; djs; edm; house; june; music; new; party; people; politics; queer; scenes; underground

• Review of Jennifer Milioto Matsue. 2009. Making Music in Japan’s Underground: The Tokyo Hardcore Scene. New York and London: Routledge by Sollee, Kristen (2011) - Tower Records' infusion of its core local content with international products is analogous to Japanese hardcore in the sense that it inhabits a sonic space located within Japan and the history Kristen Sollee of Japanese music;' but at the same time is part of a global movement of similar hardcore sounds and scenes ... New York and London: Routledge. Reviewed by Kristen Sollee Jennifer Milioto Matsue's ethnographic account of Tokyo hardcore in the late 1990s situates the scene both within the context ofJapanese society and underground music scenes in urban centers around the world. Keywords: hardcore; japanese; matsue; music; scene

• Review of Fosler-Lussier. 2007. Music Divided: Bartók’s Legacy in Cold War Culture. Berkeley and Los Angeles: University of California Press by Walden, Joshua S. (2008) - Chapter 6 continues this discussion, detailing a critical turn in the Cold War history of Hungarian music: the Party's case against Mihaly. While some Hungarian composers, such as Mihaly, continued to cling to Bart6k's late style as an example for the way Hungarian socialist music should sound, the increasing pressure to follow Soviet standards meant a turn away from Bart6k's influence, as composers were discouraged from modeling their music on Bart6k's. Keywords: bartok; fosler; hungarian; lussier; music; reception; war

• The Trouvere Chansons As Creations of a Notationless Musical Culture by Van de Werf, Hendrik (2019) - Hundreds of trouvere chansons have been preserved.! Some medieval authors such as Chretien de Troyes, Richard de Fournival and Jean Bodel, who are prima- rily known for literary works, also wrote chansons, but the famous trouveres, except for Adam de la Halle, produced chan- sons exclusively. Keywords: chanson; melodies; melody; original; trouvere; versions
• Marvin C. Genuchi: The Life and Music of Jacob French (1754-1817), Colonial American Composer. Volume I: Background, Biography, Style Study. Volume II: Music Supplement of Anthems, Psalm Tunes, and Hymn Tunes by Kaufman, Charles H. (2019) - French, as a musician and as a man, appears to have existed in a cultural Should Dr. Genuchi consider revision of his text for publication, he would do well to provide a historical framework for French's life similar to the one he provided for French's music in Chapter I. Chapter III presents the General Characteristics of the Anthems, Psalm Tunes, and Hymn Tunes of Jacob French. Dr. Genuchi tells us that French's first composition ... was written for the 1783 publication of Oliver Brownson's Select Harmony (p. 44). Keywords: french; genuchi; melody; music

• Table of Contents and Masthead by Musicology, Current (2019) - Peste IIi Hans Conradin Ake Berglund M. Witte Ivo Supicic University of Washington, Seattle, Wash. University of Western Ontario, London, Ontario, Canada University of Wisconsin, Madison, Wise. University of Wyoming, Laramie, Wyo. Washington University, St. Louis, Mo. West Virginia University, .l\10rgantown, W. Va. Yale University, New Haven, Conn. Albert-Ludwig University, Freiburg, Germany Bartok Archives, Budapest, Hungary Bratislava University, Bratislava, Czechoslovakia Brussels, Belgium Cambridge University, Cambridge, England Christian-Albrechts University, Kiel, Germany Georg-August University, Giittingen, Germany Hebrew University, Jerusalem, Israel Humboldt University, Berlin, Germany Johann Wolfgang Goethe University, Frankfurt, Germany Johannes Gutenberg University, Mainz, Germany Karl-Franzens University, Graz, Austria Karl Marx University, Leipzig, Germany Karlova University, Prague, Czechoslovakia Leopold-Franzens University, Innsbruck, Austria Martin Luther University, Halle-Wittenberg, Germany Oxford University, Oxford, England Phillips University, Marburg, Germany Queens University, Department of Extra-Mural Studies, Belfast, Ireland State University of Utrecht, Utrecht, Holland Svenskt Music History Archives, Stockholm, Sweden University College, Dublin, Ireland University of Birmingham, Birmingham, England University of Copenhagen, Copenhagen, Denmark University of Glasgow, Glasgow, Scotland University of Hamburg, Hamburg, Germany University of Hull, Yorkshire, England University of Liege, Liege, Belgium University of Ljubljana, Ljubljana, Yugoslavia University of London, London, England University of Otago, Dunedin, New Zealand University of Paris, Paris, France University of Southampton, Southampton, England University of the Saarland, Saarbrucken, Germany University of Turin, Turin, Italy University of Zurich, Zurich, Switzerland Uppsala University, Uppsala, Sweden Westfiilische Wilhelms University, Munster, Germany Institute of Musicology, Zagreb, Yugoslavia Communications to the corresponding editors should be addressed care of the music department of the university unless otherwise noted. Foreign Paul Marks Murray Charters Paul D. Ledvina Edgar J. Lewis Robert J. Nicolosi Andre P. Larson Janet Schmalfeldt Karl-Werner Gumpel Laszl6 Somfai Ladislav Burlas Georges Franck Alan Brown Anna Amalie Abert Reinhard Gerlach Don Harran Reiner Kluge Winfried Kirsch Hubert Unverricht Othmar Wessely Eberhard Klemm Mrs. Olga Mikl6ssy Rita Egger Bernd Baselt J. D. Bergsagel Horst Heussner John C. G. Waterhouse Willem Elders Axel Helmer Se6irse Bodley Josephine M. Mason Niels Martin Jensen Michael Keywords: england; germany; music; new; university

• Peter Meyer: Béla Bartók's Ady-Lieder, Op. 16 by Stevens, Halsey (2019) - Aside from a number of songs from his student years composed to German texts (Heine, Siebel, Ruckert) and a few more in Hungarian (P6sa, Peres, Havas, Stank6), there are only two sets of composed songs: Opus 15 (1915-16) on unidentified Hungarian texts and Opus 16 (February-April, 1916) on texts by Endre Adyl By far the greater contribution or Bart6k to song literature is the large number of folksong transcriptions, ranging from the relatively literal harmonizations of 1906 to the highly imaginative settings of 1929. For that reason it may perhaps be advantageous to speak of art songs rather than original songs; but this dis- tinction cannot be clearly made in Bart6k, since the peasant songs become art songs in his hands (p. 10-11). Keywords: bart6k; meyer; music; songs
• Mensura and the Rhythm of Medieval Monodic Song by Maddrell, J. E. (2019) - Gregorian chant is still a living force among us, but what of the vast body of non-liturgical song? fIe has merely to enumerate the various scholarly theories, add some comment, and present the would-be transcriber with a choice between several forms of modal rhythm on one hand, and free rhythm on the other. Keywords: grocheo; medieval; mensura; music; non; rhythm; songs
• Meter and Word Setting: Revising Machaut's Monophonic Virelais by Maw, David (2002) - i J J J J :11 J de VOllS loin teins, J J J II de VOllS pro cheins; after ... i ij! I J J J J Keywords: beat; clos; dame; imperfect; j j; ludwig; machaut; meter; modus; music; p p; p r; r r; rhymes; schrade; second; setting; songs; sources; tempus; virelais; word
• Review of David Ferris. 2000. Schumann’s Eichendorff “Liederkreis” and the Genre of the Romantic Cycle. Oxford and New York: Oxford University Press by Kramer, Richard (2002) - Even if no two of us will agree precisely why that is so, even if Ferris and I (and no doubt others) will disagree strenuously as to the na­ ture of Romantic song cycle, his book opens up new avenues for the pur­ suit of these difficult issues, and in the process, forces us to think freshly upon some very old questions. Schumann's EichendorffLiederkreis and the Genre of the Romantic Cycle. Keywords: cycle; eichendorff; ferris; music; order; poems; schumann; songs
• Review of O’Neill, Mary. 2006. Courtly Love Songs of Medieval France: Transmission and Style in the Trouvère Repertoire. Oxford and New York: Oxford University Press by Boynton, Susan (2007) - O'Neill's study may not satisfy all expectations-at 226 pages including bibliography and indices, it is a slim volume for such a vast subject-but the analyses in Courtly Love Songs offer many insights into the structures and forms of trouvere song and provide ample material for further reflection. In the chapter entitled The grand chant of the Trouveres: An Introduction, O'Neill surveys the genre characteristics of trouvere song using a representative example by Gace Brule (a trouvere active at several French courts in the decades around 1200): N'est pas a soi qui aime coral­ ment:' In The Manuscript Tradition: Sources and Notation;' O'Neill divides the manuscripts into two chronological phases based on a taxonomy of their notation, while acknowledging that the phase two sources do not form a single cohesive group (38)-the periodization being necessarily loose because the individual manuscripts are difficult to date with precision (29). Keywords: music; o'neill; orality; songs; transmission; trouvere

• Michael Bruce Collins: The performance of coloration, sesquialtera, and hemiolia (1450-1750) by Hills, Arthur (2019) - The unequal tactus was used only when all parts moved in triple meter, either by mensural sign, or by black notes. Otherwise, the equal tactus prevailed, and black notes, sesquialtera proportion, or any other unequal proportion occurring in a single part, had to be reconciled somehow to that tactus. Keywords: black; collins; notes; tactus

• Handel and Leclair by Zaslaw, Neal (2019) - Beziehung •.•. Marpurg stellte Leclair in seinem Traite de laFugue auf eine Stufe mit In such a state of Handel- consciousness, this writer, beginning work on a dissertation on Jean-Marie Leclair l'aine, was intrigued by statements in the literature on Leclair which linked the latter's style to Handel's. Keywords: august; french; handel; leclair; london; music; paris; year

• Fulcher, Jane F. 2018. Renegotiating French Identity: Musical Culture and Creativity in France during Vichy and the German Occupation. Oxford: Oxford University Press by Stewart, Zachary Lee Nazar (2021) - It includes detailed discussions of shifting Vichy politics and ideologies, Vichy cultural institutions, the German administration in Paris, and the possibility of musical resistance, as well as Fulcher’s conception of “French identity,” discussed below. Nonetheless, the chapter does signal Fulcher’s aspiration to provide a systematic foundation for future research, and may prove to be a valuable collection of information for students of Vichy cultural institutions. Keywords: france; fulcher; identity; music; occupation; oxford; resistance; vichy

• Review of Peter Kivy. 2001. New Essays on Musical Understanding. Oxford University Press; and Lawrence Kramer. 2002. Musical Meaning: Toward a Critical History. Berkeley: University of California Press by Goehr, Lydia (2002) - Essay 1 describes the role of early (medieval) notation in shaping the work-concept (about which I'll say more in a moment); essay 2 treats Arthur Schopenhauer's philosophy of music, interestingly read as looking back to former, eighteenth-century representational theories of music's meaning and forward to romantic theories of music's liberational powers. Both are notable for their author's display of wit, musicianship, and deep commitment to writing seriously about music. Keywords: essay; kivy; kramer; music; new

• Review of Caroline Bithell. 2007. Transported by Song: Corsican Voices from Oral Tradition to World Stage. Europea: Ethnomusicologies and Modernities, no. 5 by Rosenberg, Ruth Emily (2008) - The Swiss ethnomusicologist Wolfgang Laade was the first to publish a monograph about Corsican traditional music, drawing on material he collected during the 1950s and 1970s. Because the major studies of Corsican music have previously only appeared in German and French, this is a welcome English-language exposition of its characteristic features. Keywords: bithell; corsican; island; music; paghjella; singers; singing; tradition

• Helbig, Adriana. 2014. Hip Hop Ukraine: Music, Race, and African Migration. Bloomington, IN: Indiana University Press. by Holt, Kevin (2014) - Helbig finds that many of those involved with hip hop in Ukraine assert commonalities between common themes in American hip hop and the lived experiences of dis- placed or socioeconomically marginalized Ukrainians. This is the plat- form on which Ukrainian hip hop developed. Keywords: blackness; helbig; hip; hop; ukraine
• Editor's Note by Dawes, Laina (2020) - 3 Editor’s Note This general issue of Current Musicology begins with a literature review that stresses the importance of ethnographic research within hip-hop scholarship. Similar to our past publications of Current Musicology, this issue is musically and as culturally diverse as our contributors. Keywords: hop

• Review of Tia DeNora. 2003. After Adorno: Rethinking Music Sociology. Cambridge and New York: Cambridge University Press by Roy, William G. (2006) - In Music in Everyday Life (2000), she reveals through ethnography what people do while they are doing music, from shopping to sex to aerobics to deliberative listening. Most recently, her study After Adorno offers a theoretically grounded program for music sociology. Keywords: adorno; denora; music; social

• Utrecht: Class of '52 by Stevens, Denis (2019) - elegance of style were virtues fre- quently lacking in musicological matter; and that sheer weight of learning and bulk of research needed to call on those virtues for support and sustenance, rather than reject them out of hand. Another paper, delivered in heavily-measured, polysyllabic pseudo-English of a type now familiar from doctoral dissertations, left little more than an abstract impression in spite of the fact that the author-reader clearly thought of himself as some latter- day Moses propounding musicological law. Keywords: meeting; society; utrecht

• Report from Fairfield:: The committee for Jesuits in the fine arts by Orceyre, Raoul (2019) - The Committee includes composers, musicologists, and performers whose influence will be of the greatest importance in shaping the future role of musical education in Jesuit high schools and colleges. Subsidiary aspects of the paper concerned performance prospects, some specifi- cally Christian aspects of musical education, and the field of popular religious music. Keywords: arts; jesuit; music
• A Performer's Perspective by Rabin, Michael (2019) - His deep interest in music education and in the sur- vival of the art of violin playing led him to teach privately, as well as at such colleges as Bowdoin, the University of Arizona, the University of Houston, and Yale. I do not think that the analytical approach to music is basically a musical one, since it tends to be exceedingly dry. Keywords: arts; concert; music; performer

• Letter from the Editor by Seltzer, Cheryl (2019) - Treating the apprehension and description of the musical work, philosopher Arnold Berleant proposes a dis- tinction between experiential and conceptual realms of musical perception. In the present issue Saul Novack, responding to Professor Crocker's question, what is a musical piece, investigates the cohesion ofmuIti-movement compositions and the criteria of musical structure. Keywords: composition; music

• Unfit for Subjection: Mental Illness, Mental Health, and the University Undercommons by Hankins, Sarah (2021) - What I’m suggesting is that the discourse of mental health in the University—limned by positivist, individualizing rhetorics of “wellness,” “self-care,” “symptom management,” and “adjustment”—gives little actual address to mental illness, which is an experience of psychic and bodily suffering that is always-already structured beyond the individual. 153 Sarah Hankins [content warning: mental illness and references to ableism] I would like to call attention to what can be politely termed “a gap in the discourse” surrounding mental illness in the dominion of professional academia. Keywords: discourse; health; illness; moten; self; undercommons; university

• A Discussion of Compositional Choices in Webern's "Fünf Sätze für Streichquartett," Op. 5, First Movement by Persky, Stanley (2019) - Then the final three pitches of that melody are separated and imitated by all the instru- ments at major third intervals. Among the more common techniques representative of this period and found in this piece are: a formal plan of the 19th century mixed with ideas about variation from Debussy and early Schoenberg; the use of operations from geometry in order to preserve an intervallic succession while providing pitch differentiation; the exploration of pitch intersection between trans- posed collections. Keywords: second; tetrachord; trichord
• Musical Articulation: A Synoptic View of Baroque Form by Lippman, Edward (2003) - A different kind of relationship of melodic phrases can be called a diagonal relationship. Melodic phrases related in this way, however, can­ not occur in a single voice. Keywords: phrase; second

• Our Project by Gatdula, Anna B. (2021) - This colloquy attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars. Our highest goal is that the project becomes moot—to create a world in which those -isms and -phobias would no longer structure higher education and music academia. Keywords: academia; music; pipeline; project; scholars; spectrum
• My Intersecting Quests as a Disabled Independent Scholar by Babyak, Tekla (2021) - 158 Tekla Babyak My life is shaped by two intersecting quests: advocacy for disabled scholars and advocacy for independent scholars. Moreover, I often contact editors and conference organizers to advocate for the inclusion of independent scholars in activities such as serving on editorial boards, writing book reviews, contributing to edited collections, giving keynotes, and chairing panels. Keywords: ableist; conference; faculty; guidelines; kerber; scholars

• The Manuscript of the Schumann Piano Concerto by Frager, Malcolm (2019) - Has anyone ever noticed, for instance, the unusual metronome marking in the major section of the Schumann Piano Concerto: Andante espressivo (d. = 72)? The Fantasia, i.e., the first movement of the concerto, is in Robert Schumann's hand with the exception of the solo part, which is extremely neat and may have been written out by Clara Schumann. Keywords: hand; manuscript; schumann

• Review of Alejandro L. Madrid. 2008. Nor-tec Rifal: Electronic Dance Music from Tijuana to the World. Oxford: Oxford University Press by Mueller, Gavin (2010) - Nor-tec music has appeared in television commercials, video games, and films. How does Madrid's ethnography of music produced by Latinos, who sample Mexican music, complicate this binary? Keywords: class; collective; madrid; music; practices; sampling; tec; tee; tijuana

• Mayer Joel Mandelbaum: Multiple division of the octave and the tonal resources of 19-tone temperament by Chalmers, John (2019) - Fokker has developed an interesting method which depends on the choice of certain intervals which Wiirschmidt termed defining intervals.6 If the factors of these intervals are taken as components of a set of vectors, the resulting octave division corresponds to a periodicity in the corresponding tone lattice. The other is a harmonic one, based on the accuracy of certain generating harmonic intervals such as the third, fifth, and harmonic seventh. Keywords: division; intervals; mandelbaum; system; temperaments; tone

• Handel and Kaiser: Further Borrowings by Dean, Winton (2019) - The greater richness of Handel's aria in invention and development emerges with the introduction of contrasted material (and su btler harmony) in the second half of the ritornello, and still more in the aria itself, a superb delineation of Po lines so's envious and vicious character. Handel and Keiser: Further Borrowings Winton Dean Reinhard Keiser's opera Die riimische Unruhe, oder Die edel- miithige Octavia, produced at Hamburg on August 5, 1705, has long been known as a source of Handel borrowings. Keywords: act; aria; handel; keiser

• How I Felt on 14 March 1972 by Sommer, Susan Thiemann (2019) - There have been audible results from the coopera- tion of sympathetic musicologists and knowledgeable performers in the field of early music in particular. Perhaps it would be kinder, however, to say not enough, because surely musicologists and performers do have something to say to one another. Keywords: music; musicologist; performer

• Review of John S. Powell. 2000. Music and Theatre in France, 1600-1680. Oxford: Oxford University Press by Heyer, John Hajdu (2002) - Musical examples, which are generously provided in the volume, are happily of a legible size. An excellent concise essay summarizing musical and theatrical aspects of the beginnings of French opera is found at the end of part 2 (293-320); it presents important reading for students of music history who can easily be distracted by the zesty politics of that historical episode. Keywords: french; music; new; powell; theater

• Report from Indiana: Inter-American Conference of ethno-musi by Sheldon, David A. (2019) - While the composers from Latin American countries were fairly well represented, major figures from North America were disappointingly few since most of those invited were unable to attend. Of the sixteen papers given in the ethnomusicology confer- ence (including the two given at the joint session), ten were presented by delegates from Latin American countries. Keywords: latin; music; university
• Deborah Pacini-Hernandez. Oye Como Va! Hybridity and Identity in Latino Popular Music by Calle, Simón (2011) - With Oye Como Va!, Deborah Pacini-Hernandez contributes to the literature on Latino music and culture by blending sophisticated and comprehensive socio-cultural analysis of several music genres performed by Latinos such as rock, salsa, meregue, reggaeton, hip­ hop, and cumbia, along with basic histories of the genres and a tracing of their multiple interconnections. © 2011 by the Trustees of Colum bia University in the City of New York 161 162 Current Musicology musical genre in its immigrant communities, but rather a macroscopic view of Latino music, acknowledging its diversity while unveiling another set of tensions that emerge from the different origins, population size, and visibility of the different Latino communities in the United States. Keywords: hernandez; latin; music; states; united

• Jay Weldon Wilkey-Certain Aspects of Form in the Vocal Music of Alban Berg by Hauptman, Fred (2019) - Dr. Wilkey examines all of Berg's published music with voice, including Der Wein and the two operas. Dr. Wilkey hypothesizes that Berg was influenced instead by Franz Schrecker and refers to Berg's piano reduction of Schrecker's Der ferne Klang for Universal Edition, as well as the friendship of the two composers. Keywords: berg; dissertation; wilkey

• Donald M. Mintz: The Sketches and Drafts of three of Felix Mendelssohn's Major Works by Salop, Arnold (2019) - Dr. Mintz goes about his task by first discussing any matters of background that seem relevant to the work or movement in question, then describing in more or less detail the published versions of the various movements-i.e. those of the Breitkopf & Hartel Gesamtausgabe (GA), and finally drawing comparisons with the versions found in draft form (MS). Dr. Mintz suggests that the more Romantic (i.e., Schumann-like) quality of the GA version can be traced to the fact that what was a direct, even prosaic, move from tonic to dominant in the MS comes to center around the mediant degree in the GA and only slips away to the dominant at the very end of the phrase. Keywords: kind; mendelssohn; mintz; music

• On Patricia Carpenter's "The Musical Object" by Burrows, David (2019) - Miss Carpenter points out herself, but it also corresponds roughly to the period of the objectivization of discourse in printed books, as Marshall McLuhan has been reminding us. If I have any real disagreement with Miss Carpenter, it is not with her idea, but with the extent to which she gives in to it. Keywords: carpenter; miss; music; object

• Musical Form: Product and Process by Maniates, Maria Rika (2019) - Our relationship to musical process is such that we tend to participate in depth in the musical activity; since our perception demands total involvement with internal succession of details, we find it difficult to conceptualize musical process in an abstract, objective way. Both these aspects operated within the conceptual arena of musical process-a process which historians call Western polyphony. Keywords: carpenter; miss; music; process; product

• Review of Susan Boynton and Roe-Min Kok, eds. 2006. Musical Childhoods and the Cultures of Youth. Music/Culture. Middletown, CT: Wesleyan University Press by Bickford, Tyler (2008) - In the last decade a number of books, articles, and dissertations have begun to argue that music and aesthetics are key elements in children's social practices, in the articulation of childhood identity, and in adult frameworks for understanding their own and others' childhoods, and that children and childhood deserve prominent attention from musicologists. Children are a marginalized group, and it is important to seek out and validate their knowledge and experience as children, and to allow them to speak back to dominant narratives about who children are, what they need, and how they should be addressed (topics that, I have found in my research with schoolchildren in the US, kids attend to closely). Keywords: adult; boynton; chapters; childhood; children; cohen; kok; music; new; study; volume; youth

• Artist and Teacher by Mann, Alfred (2019) - An intensification of the thorough-bass fabric through use of 143 imitation is suggested in the earliest examples, and a later systematic exposition of the technique of imitation and fugue, in turn, presents the unmistakable appearance of a continuation of examples for bass realization. Artist and Teacher Alfred Mann In his imaginative review of Paul Henry Lang's Handel biography (The New 'York Times, September 25, 1966), Gerald Abrahain noted an interesting point of comparison between Handel's career and the author's own: they settled in the countries of their choice at exactly the same age. Keywords: bass; examples; handel

• Charles Ives's Concept of Music by Ward, Charles W. (2020) - Music is, as Hegel expressed it, the sensuous incarnation of the Idea.14 That Idea was not a property of relational behavior but the substance, a quality which Ives believed to be all important in music. What has sound got to do with music ! Keywords: ibid; ives; music; sounds; thoreau

• Review of Sarah Kay. 2013. Parrots and Nightingales: Troubadour Quotation and the Development of European Poetry. Philadelphia: University of Pennsylvania Press. by Levitsky, Anne (2014) - Renart’s Rose and the Jeu de St. Agnès reveal that the musical components of troubadour lyric and Occitan texts can be quoted just like their textual counterparts, and that their inclu- sion in textual sources (whether or not musical notation is included) can similarly enter the web of supposed knowledge that is enacted with every quotation of Occitan lyric. Direct quotations of Occitan lyric, labeled the “parrots’ way,” are differentiated from cited instances, labeled the “nightingales’ way” (which emphasize re–creation of the lyric Occitan texts rather than repeating them word–for–word). Keywords: kay; knowledge; lyric; quotation; subject

• Margaret Hee-Leng Tan - The Free Music of Percy Grainger by Josephson, David S. (2019) - Of especial value are long extracts from important writings by Grainger that are not otherwise easily accessible: namely, extracts from the 130 Australian radio lectures of 1934-35 (pp. 11-12; RS, p. 24),3 from a state- ment on Free Music found at the Grainger Museum in Melbourne (pp. 13-14; Percy Aldridge Grainger, Free Music, RS, p. 16), and from a remark on the first Hill-Song in typescript at White Plains (pp. 39-44; RS, pp. 31-33). But the two dissertations that have been examined in the pages of this journal are among the longest essays on his life and work; and dis- appointment in them is only increased by the fear that their sheer size will mark them as central documents in future Grainger scholarship. Keywords: grainger; music; tan
• Editor’s Note by Wetmore, Tom (2017) - Indeed, by altering the meanings and feelings as- sociated with various urban spaces, these events “embedd[ed] the materi- ality of sound and sonically disciplined bodies into the stone and concrete of urban spaces, thus transforming them and Turkey’s public sphere.” By filling secular urban spaces with sacred sounds, Koymen asserts, these events underline the importance of sound to an “epochal neo-Ottoman shift in Turkish politics.” Keywords: article; babbitt; grainger

• Review of Benjamin Piekut. 2011. Experimentalism Otherwise: The New York Avant-Garde and Its Limits. Berkeley, Los Angeles, and London: University of California Press by Fogg, Thomas (2011) - Rather than offering a definition of experimentalism that seeks commonalities between different sorts of experimental music (a task that, referencing Michael Nyman's Experimental Music: Cage and Beyond, Piekut suggests has been the modus operandi for previous histories of experimental music), he asserts that Experimentalism is a grouping, not a group (6). Piekut's is one of those hard-to­ pin-down projects, cutting across the boundaries that separate music history, ethnomusicology, and broader humanistic study. Keywords: cage; choice; experimentalism; moorman; music; network; philharmonic; piekut

• Review of Susan Thomas. 2009. Cuban Zarzuela: Performing Race and Gender on Havana’s Lyric Stage. Urbana and Chicago: University of Illinois by Newland, Marti (2010) - love and theft theory in order to explain the simultaneous fear of black bodies and desire for black zarzuela characters in this Cuban context (82). Emerging as a well-received genre in Havana theaters during the early twentieth century, Cuban zarzuela incorporates Spanish light opera and Afrocuban musical characteristics into one-act operettas featuring a number of racial and nationalist archetypes endemic in turn-of-the-century Cuba: the mulatta woman, the black man, the white woman, and the white man. Keywords: cuban; genre; male; thomas; white; zarzuela

• Review of David Novak. 2013. Japanoise: Music at the Edge of Circulation. Durham, NC: Duke University Press. by García Molina, Andrés (2014) - And while Novak’s work pushes towards an approximation to Noise as a potent critique of many things (some of which will be addressed in this review), in Japanoise he manages to investigate generative questions around Noise without merely opposing it to other categories (like music, signal, or information), enacting an all–out critique of a tendency to define objects and subjects too neatly in ethnomusicological and anthropologi- cal research. In Novak’s hands, Noise can refer to an underground genre of music, forms of circulation, a commodity, and everyday techniques of creating and listening. Keywords: circulation; japanoise; music; noise; novak

• Eddie Covington Bass: Thematic Procedures in the Symphonies of Berloiz by Suttoni, Charles (2019) - The heart of the dissertation consists of separate analyses of Berlioz's initial statement of themes and his later development of them. Eddie Covington Bass's Thematic Procedures in the Symphonies of Berlioz is a welcome sign of growing interest in the music, and though its analytical approach is too limited to provide a truly satisfactory account of Berlioz's thematic structure, it does offer a thoroughly documented study of one method of constructing a melody. Keywords: bass; berlioz

• A Gentleman's Lute Book:: The tablature of Gabriello Fallamero by Newman, Joel (2019) - r r r I 1- Li via gen til, /. li3 #,J r r I r r f' I f' r r I F r r I r F r 1- Pre - so son i 0, /. Keywords: canzonette; che; del; fallamero; j r; lasso; lute; madrigal; music; parte; r f; r r; son; tablature

• Stoddard Lincoln: John Eccles: The last of a tradition by Zimmerman, Franklin; Zimmerman, Franklin (2019) - Its total worth is such that it is cer- tain to be an important item in the bibliographies of future scholars of English music of the late 17th and early 18th centuries. Placing Eccles in the as-yet-seldom-researched hiatus between the periods of Purcell and Handel in the history of English music, Mr. Lincoln first sorts out a few genealogical problems, then sets to work on his main task: to discover Eccles' significance in native musical de- velopments in London during the post-Purcellian twilight and to diag- nose the ills which brought these developments to nothing. Keywords: eccles; english

• Commentary by Crocker, Richard L. (2019) - As to the large point: I found both encouragement and horror in the fact that Miss Carpenter and seemingly all the respondents either explicitly asserted the decisive importance of historical concepts in resolving questions of aesthetics, or else tacitly agreed to such importance by invoking historical ideas to illuminate their arguments. Richard L. Crocker The articles by Miss Carpenter and myself have produced a gratifying divergence of responses. Keywords: carpenter; miss

• Concerning the Measurability of Medieval Music by Vanderwerf, Hendrik (2019) - They are specific and clear when discussing measurability in modal or mensural notation and in Latin poetry based upon classical quantitative verse feet, but they are vague, circuitous, or even incomprehensible when discussing duration in plainchant and other monophonic music, as well as in polyphonic music predating modal and mensural notation. I am very much intrigued with Maddrell's evaluations of some of the medieval statements in relation to rhythm and meter in medieval music, but 69 Keywords: grocheo; maddrell; music; rhythm; treatises

• Review of Carol Vernallis. 2013. Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press. by Harper, Paula (2014) - In the third and final section, Vernallis first considers music video aesthetics diachronically, juxtaposing the music video language of A Flock of Seagulls to that of Lady Gaga. Vernallis cares deeply about the material under scrutiny in her book—pop culture artifacts from the “Sneezing Baby Panda” video to Baz Luhrmann’s 2001 Moulin Rouge!—and the thesis of Unruly Media is, in part, that these objects are worthy of seri- ous scholarly attention. Keywords: aesthetics; media; music; vernallis; video; youtube

• Earl McLain Owen, Jr.-The Life and Music of Supply Belcher (1751-1836), "Handel of Maine" Volume I: Text, xvii + 152 pp., Volume II: Musical Supplement, vi + 204 pp.: Volume I: Text, xvii + 152 pp., Volume II: Musical Supplement, vi + 204 pp. by Murray, Sterling E. (2019) - Dr. Owen dis- proves this statement, however, by providing in an appendix the membership list of that school, a list which does not include the name of Supply Belcher. Lack of primary biographical source material is a handicap, but, in spite of this limitation, Dr. Owen manages to reconstruct the chronological frame- work of Belcher's life and to paint a vivid picture of the composer's relation- ship to his family and his community. Keywords: american; belcher; harmony; maine; music; owen

• Sister Mary Joachim Holthaus, O.S.B.: Beneventan notation in the Vatican manuscripts by Weakland, Rembert G. (2019) - Chapters 3 and 4 (Evolution of Beneventan Notation: A Study and Manuscripts with Beneventan notation found in the Vatican Li- brary, respectively) are for the most part a resume of the two works on notation cited above. Beneventan notation was from its inception somewhat diastematic in character but like the Beneventan script was a unique, localized style. Keywords: beneventan; manuscripts; notation
• Report from Oxford:: The thirteenth International Congress of Bysantine Studies by Stefanovic, Dimitrije (2019) - The analysis of the Greek hymns has shown that some of them arc in fact borrow- ings from, or partial or complete adaptations of, Byzantine hymns composed by earlier authors for other saints. Professor Oliver Strunk, who succeeded Professor Varsten Hoeg as director of Monumenta Musicae By;:::antinae, wrote a comprehensive and revealing main paper on Byzantine music in the light of recent research and publication. Keywords: byzantine; chant; greek; manuscripts; music; paper; slavic

• abstracts by Clarkson, Austin (2019) - Ht' concludes that the Reformation had both bmdicial and detrimental eff('Cts on Slovene music, and that after the triumph of the Counter-Reformation at the beginning of the 17th century, Slo\ene music took a considerably different course from what was the case in regions where Protestantism took permanent root. The musical instruments in these medieval frescoes bear out the evidence of written sources that instrumental music was perpetrated by traveling art- ists from whose ranks permanently employed musicians descended. Keywords: instruments; lisinski; ljubljana; music

• Robert Barclay Brown - The Early Atonal Music of Anton Webern: Sound Material and Structure by Gilbert, Stephen E. (2019) - In the first, entitled Problems of Analysis in Atonal Music, Dr. Brown places his ideas in their historical context and gives a discerning account of the various approaches to atonal music which preceded his own. For identification purposes, however, Dr. Brown chooses the one which lies within the smallest interval and (if this requirement is not satisfied uniquely) has the larger intervals on the left. Keywords: music; set

• Report: The current status of the copyright revision bill by Rosengard, Rose (2019) - Thus, since without Senate action the House would have to reintroduce the bill next session in any case, it will prob- ably refrain from acting this session. Assuming that the new Congress does not differ significantly from the old in its attitude towards copyright practice, a new law will in all likelihood be passed during the coming session. Keywords: bill; session

• William Sherman Casey: Printed English Lute instruction books, 1568-1610 by Sutton, Julia (2019) - The chief problem is that Casey has really attempted to handle two theses: a study of lute instruction books published in Elizabethan England and a study and transcription of Thomas Robinson's Schoole of Musick. A Briefe and Easie Instruction to Learne the Tableture to Conducte and Dispose Thy Hande unto the Lute. Translated by J. Alford Londoner. Keywords: books; casey; lute; music; robinson; roy

• Harold Brook Porter: An integrated course in music literature, theory, and ensemble performance for talented high school students by Hultberg, Cortland (2019) - (e) Knowing music: knowledge of music history, music theory, musical in- struments, and musical forms. Universities that are starting or have already begun such programs will be producing a brand of high school music teacher who will more easily be able to fully implement the Laboratory in Musicianship that Harold Brook Porter describes. Keywords: music; porter

• Reply to Michael Kassler by Hughes, Matt C. (2019) - Mr. Kassler writes: However, as will be evident, Hughes's characteriza- tion of his treatment of the Skriabin preludes as information-theoretic in the Shannon tradition is mistaken (p. 83). In a footnote Mr. Kassler states: I have made no attempt to check Hughes's numerical calculations in general, though ... Keywords: hughes
• Reply to Matt C. Hughes by Kassler, Michael (2019) - Hughes apparently believes that merely by naming the results of his internal-evidential procedures a 'measure of tonal complexity' he has 144 endued his procedures with the power to make significant musicological determinations. We find that Hughes neither articulates any specific hypotheses about Skriabin's preludes nor puts the data to any significant use (p. 86). Keywords: hughes

• The Mapping of Musical Classicism, a Little-known and Dangerous Period by LaRue, Jan (2019) - Typical of many problems in Classi- cism, the material grows and grows; still worse, some ofit changes like a chameleon: scarcely a week passes that does not produce a fresh problem in attribution. He should begin by producing a cogent theory of what musical Classicism means and how this central idea pervades the various forms of musical expression in the later 18th century. Keywords: classicism; source; specialist
• Problems in the "Neue Bach Ausgabe" of the "E Major Partita for Violin Alone" by Lester, Joel (2019) - Three principal sources were used in the preparation of the NBA edition: a Reinschrift score in Bach's hand (listed as source A), a copy in the hand of Anna Magdalena Bach (source B), and a third copy in an unknown hand (source C). To this end, editorial emendations are sometimes necessary to correct errors in autograph scores. Keywords: autograph; slur; source

• Grocheo and "The Measurability of Medieval Music": A Reply to Hendrik Vanderwerf by Maddrell, J. E. (2019) - E. Maddrell The pleasure I had in discovering that Dr. Vanderwerf had found my article on Mensura (Current Musicology IO: 64-68) worth replying to was some- what diminished by the realization that he had not recognized its purpose. If by treatises about Musica Dr. Vanderwerf means philosophical treatises in the Boethian tradition of musica speculativa, treatises that were not concerned with practical music, then one can only marvel at the eccentricity of a view which would associate Grocheo, of all theorists, with the speculative tradition-Grocheo, whose avowed intention was to avoid speculative theory and concentrate on the music of Paris as performed in his own day! Keywords: grocheo

• Excerpted from The Days and Nights of the Lotus Trio by Ives, Michael (2013) - Said Gibbs, “Sky god Vladimir Putin wrestles, Greco–Roman style, with the Caucasus during the fire eon of his cosmic reign.” “Revenge, Klaus quoted Nietzsche, “is the will’s revulsion against the ‘It was.’ Keywords: gibbs; hayes; junk; klaus; look; mark; phlox; plank; putin; sheik; table; vladimir; wahlberg

• Chávez, Alex E. 2017. Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño. Durham, NC: Duke University Press by Banerjee-Datta, Nandini Rupa (2018) - Chávez argues that huapango arribeño is crucial in meeting everyday needs for intimacy, place, and belonging—“beyond culture, beyond illegality, and irrespec- tive of geography; through it postnational subjectivities are fashioned and necessary, aquí (here), not allá (out there)” (54). Durham, NC: Duke University Press. Reviewed by Nandini Rupa Banerjee-Datta Alex Chávez’s bold and engaging study of huapango arribeño in the every- day lives of Mexican migrants fills a void in anthropological and ethnomu- sicological scholarship. Keywords: arribeño; chávez; huapango; mexican

• Five Saliences in Marco da Gagliano's Earliest Madrigals by Strainchamps, Edmond (2003) - Gagliano's setting of the poem devotes much attention to these verses; in fact, they take up more than half of the madrigal (thirty measures of the 86 CURRENT MUSICOLOGY Example 5: Marco da Gagliano, Un sguardo, un sguardo no, mm. 9-38. © 2003 by the Trustees of Columbia University in the City of New York 80 CURRENT MUSICOLOGY Example 1: Marco da Gagliano, 0 misera Dorinda, mm. 1-11. Keywords: bel; canto; del; gagliano

• Paul Henry Lang: An Enlightened Critic of the French Enlightenment by Fellows, Otis (2019) - Music is now viewed or conceived as a rational discipline with melody as its essence, and Leibnitz's definition is called to mind that music is a hidden mathematical exercise of the spirit unaware of its counting while making music. Professor Lang reminds us that Diderot arrived reasonably late at the conclusion that music is the most violent of all the arts. Keywords: enlightenment; lang; music

• Thomas Lee Noblitt: The Motetti Missales of the Late 15th Century by Crawford, David E. (2019) - Then Lowinsky goes even further, proposing that the 'substitution Masses' contained in the Gafori codices are simply motet cycles adapted by Gafori loco missae to suit his own taste and preference. Therefore, the motetti missales are of special interest, for here are several motet cycles which were used as substitutions at Mass. Chapter I lists the contents of the cycles, their manuscript sources, and concordances. Keywords: compere; cycles; elevation; missales; motet; motetti; noblitt; texts

• Serial Procedures in Schoenburg's Opus 23 by Graziano, John (2019) - The three rows again move simultaneously, and pitches not connected with any of the rows are added only when Schoen- berg finds it absolutely necessary for his purposes. For example, pitch 10 of Row C (shown in parentheses in Ex. 5) is not directly stated as part of that row but rather as pitch 13 of Keywords: pitches; row; rows

• In Tribute to Charles Edward Ives on the 100th Anniversary of His Birth by Musicology, Current (2020) - Charles Ives, Memos, edited by John Kirkpatrick (New York: W. W. Norton, 1972), p. 132. Once a nice young man ... said to Father, How can you stand it to hear old John Bell (the best stone mason in town) sing? ... Keywords: father

• Breathtails: A Song Cycle in 13 Breaths, Written for Anne LeBaron by Bernstein, Charles (2013) - Everything we are the air, the sky that falls into our mouths the passing of day into sobs of night belies the fact in the name of substance, motion, rhythmic erasure, as if the food we eat replaces the fools we are the air, the everything we take as fake, as Charles Bernstein 283 real, gains substance in its absence the air the relocates rhythmic erasure into mouths passing falls, fooled as we are by the care we are, or will become, in the name of sky that falls as if name of night sobs in its absence, the fool belies, or will become, the name of, sobs. Originally appeared in: Charles Berstein, Recalculating (Chicago: University of Chicago Press, 2013) 277 Breathtails: a Song Cycle in 13 Breaths Written for Anne LeBaron Charles Bernstein . . . Keywords: breath; charles
• Composing Breathtails (A Song Cycle in 21 Breaths) by LeBaron, Anne (2013) - œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ ! ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ ! ? Vc. 51 jœ ˙ jœ# œ# jœ œ ee ee ee jœ# œ# œ œ œ œ œ œ jœ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœb ..œœ J œœ ‰ œ œ œ œ œ œ œ œ œœ ..œœ œœ œœ ‰ œœ œœ œœ 3 & œœ # œœ# J œœ œœ# œœ ..œœ œœ .. Keywords: breath; ence œ; f œ; j œ; vln; y œ; œ arco; œ b; œ jœ; œ rœ; œ work; œ œ; œ œb; œ œœ; œn œ; ˙ œ

• John Malcolm Tait: The significance of musical understanding in music education by Martin, Gary M. (2019) - Five areas of musical understanding are identified as follows: (a) Hearing music: aural recognition of the components of music, such as, rhythm, melody, harmony, form, and so forth. Feeling music: imagining and feeling music are the most intangible of the five aspects of musical understanding. Keywords: music; understanding

• Table of Contents and Masthead by Musicology, Current (2019) - BIBLIOGRAPHICA ROBERT L. FOLSTEIN A Bibliography on Jacques Offenbach 129 Performance Practices Bibliography- Second Supplement 150 Contributors Keywords: bibliographica

• Terence William Bailey-The Ceremonies and Chants of the Processions of the Western Church: With Particular Attention to the Practice of the Cathedral Church of Salisbury by Roederer, Charlotte (2019) - 211-214 p.316 description of Sarum procedure, translation of some rubrics; transcription of Sarum special antiphons; footnote on relationship of Palm Sunday procession to practice of stational churches; form and constitution of the procession outside of Sarum; woodcut from Sarum processional of the Palm Sunday, Blessing of Branches. A more detailed examination of individual Sarum chants 111 would also have been interesting. Keywords: bailey; processional; sarum; study

• In Remembrance of Otto Deri (1911-1969) by Musicology, Current (2019) - In Remembrance of Otto Deri ( 1911- 1969) Photograph by Peter Vidor 24 Keywords: remembrance

• Improvising Compose Yourself by Gleason, Scott (2013) - A highly experimental document, Compose Yourself includes a kind of poem Current Musicology 248 of coming–into–being; a phenomenological yet didactic reading of a scene from Götterdämmerung; a study of computer generation of phonemes across world languages; a kind of extended memory of a train ride; a discussion of multiple theoretical contexts for a baseball game; and a trippy script for a television show probing the boundaries of music composition’s role in the potential revolution. The notion of there being such a thing as “Princeton Theory,” as distinct from other forms of music theory, has been with us for many decades, for Kerman (1963: 152–4) defined and problematized a “Princeton School”; Blasius (1997, 2) reports Godfrey Winham’s (1934–1975) unfortunately undated response to “a prospective ‘Princeton issue’ of the Journal of Music Theory”; and Kerman’s (1985, 60–112) critique can be read largely as a response to the composer/ theorists working at Princeton—Kerman’s own alma mater. Keywords: music; new; randall

• From Errata 5uite by Retallack, Joan (2013) - (La cantatrice chèvre) the words once chief fig now obs quasi-trans cog object to variant Germanic*res ras rushing medias race/mess Words’words streaming firth in fifths ers-a-to wander in causal debt errabund erroarious (produces sneezing) rerum, tears to zero Current Musicology 380 readafresh another Roman tic o postromodern time ‘n life a fresh ‘n new new fresh ‘n ergo blubber to this add read moist reeds should read musics AURORA5 & EROTEMA’s hethinks it wasn’t German (Russian Serb Khmer... per se’s apostrophe’s tragik musico philosophicus esophagus or 5th wheel’s cranial nerve in errant interval estate read hail o reads too close sesame leek feet (but not in the music) grosteste or pseudo-grostextuality the best is no music Mozart replide nicked vectors purpledicular alone alone unknown lone dis ordered fragments read erratic demon stranded p.5 on what sad eyes caress they cannot touch or hold or even to appear to interpret this as dawn i.e. to read o tu cara silènzio mia musica for late orts cracks figmenst dis coarse on terror incognita tort thud slipova girl light as 7 pt italic in which she only she appeared to know that he had asses ears (coughs in shrubbery) proverbial never no fortuitous timing the classical reference achieves the force of logic and yet but for theorem read either c or d read the giant transcendental (-ed up up and away) frown corrects the pagination this inter rhetoric is eating out my heaort reads the for every bauhaus dasein I sing choiristica’s bvent wood rocjer 5uite our peridoncal nite reade this liouminouscene ovsession rhubarbed re mark flesh with snakes/or/snacks in roots of speech no single act can find the music in © 2013 by the Trustees of Columbia University in the City of New York from Errata 5uite Joan Retallack We talk about and try to think through these notions—like sounds in music—and we forget what really happens. Keywords: errata; music

Epilogue

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Created: 2025-12-25