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Current Musicology
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Current Musicology is a leading journal for scholarly research on music. We publish articles and book reviews in the fields of historical musicology, ethnomusicology, music theory, and philosophy of music. The journal was founded in 1965 by graduate students at Columbia University as a semiannual review. This archive contains articles published in the journal starting in 1980. https://currentmusicology.columbia.edu/
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2. A Cross–Cultural Grammar for Temporal Harmony in Afro–Latin Musics: Clave, Partido– Alto and Other Timelines
3. “A Disturbing Lack of Musical and Stylistic Continuity”? Elliott Carter, Charles Ives, and Musical Borrowing
4. Adolphe Appia, Les maîtres chanteurs de Nuremberg: An Introduction and Translation
5. African Afro-futurism: Allegories and Speculations
6. A Great Desire: Autobiography in Louise Talma's Three Madrigals
7. Aida and the Empire of Emotions (Theodor W. Adorno, Edward Said, and Alexander Kluge)
8. A Knife All Blade: Deciding the Side Not to Take
9. Alexander Johnson and the Tennessee Harmony
10. Ambient Drone and Apocalypse
11. 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
12. A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950's
13. An Account of Emotional Specificity in Classic-Romantic Music
14. Analysis, Performance, and Images of Musical Sound: Surfaces, Cyclical Relationships and the Musical Work
15. An American Precursor of Non-tonal Theory: Ernst Bacon (1898-1990)
16. Anne Teresa De Keersmaeker’s Violin Phase and the Experience of Time, or Why Does Process Music Work?
17. A Nuyorican Son
18. A Paper Trail: Missa Jouyssance vous donneray, Uncertain Identity, and the National Institutes of Health's "Bathtub Collection"
19. A Picture is Worth a Thousand Words: Road Maps as Analytical Tools
20. Approaches to handwritten conductor annotation extraction in musical scores
21. A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition
22. Archival Nothing
23. A Reappraisal of the Relationship Between Benjamin Britten and Walter Greatorex
24. Arnold Schering, "Die Eroica, eine Homer-Symphonie Beethovens?": Translated with an Introduction and Commentary
25. Aspects of Trope in the Earliest Motets for the Assumption of the Virgin
26. As Time Goes By: Car Radio and the Travel Experience in Twentieth-Century America
27. A Timely Musical Discourse, or a Music Treatise from Lost Times, Part I
28. A View From Death: Ariadne auf Naxos as Failed Totality
29. A Voice Like Thunder: Corsican Women's Lament as Cultural Work
30. Awakening the Sensorium in Puerto Rico’s Colonial Modernity
31. Bach: Luther's Musical Prophet?
32. Beat Hierarchy and Beat Patterns—From Aksak to Composite Meter
33. Becoming Bach, Blaspheming Bach: Kinesthetic Knowledge and Embodied Music Theory in Ysaÿe's "Obsession" for Solo Violin
34. Berton’s Ludic Pedagogy and the Subdominant Otherwise: Tension and Compromise in the Early Paris Conservatoire Curriculum
35. Bethany Klein. As Heard on TV: Popular Music in Advertising
36. Better the Puppet?*
37. Beyond Sonata Deformation: Liszt's Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form
38. Beyond the Beethoven Model: Sentence Types and Limits
39. Black Labor and the Deep South in Hurston’s The Great Day and Ellington’s Black, Brown, and Beige
40. Brahms and Schubring: Musical Criticism and Politics at Mid-Century
41. Brahms, Autodidacticism, and the Curious Case of the Gavotte
42. Brahms, Developing Variation, and the Schoenberg Critical Tradition
43. Breathtails: a Song Cycle in 13 Breaths Written for Anne LeBaron
44. Cantilena and Antiphon: Music for Marian Services in Late Medieval England
45. Centers; Dissenters (Music, Religion, and Politics)
46. Cinderella; or Music and the Human Sciences. Unfootnoted Musings from the Margins
47. Come Out to Show the Split Subject: Steve Reich, Whiteness, and the Avant-Garde
48. Competition in the Sundanese Performing Arts of West Java, Indonesia
49. Composing Breathtails (a Song Cycle in 21 Breaths)
50. Composing Notes
51. Concerning the Liturgical Usage of Dufay's Fragmentary Masses
52. Contextualizing Hip Hop Sonic Cool Pose in Late Twentieth– and Twenty–first–century Rap Music
53. Correspondences
54. Cosmopolitanism and Race in Percy Grainger’s American “Delius Campaign”
55. Cover To Cover
56. C.P.E. Bach's Instrumental "Recompositions": Revisions or Alternatives?
57. Curious Intersections, Uncommon Magic: Steve Reich's It's Gonna Rain
58. Datable "Notre Dame" Conductus: New Historical Observations on Style and Technique
59. Debussy as Storyteller: Narrative Expansion in the Trois Chansons de Bilitis
60. Der Tod und die Forelle: New Thoughts on Schubert's Quintet
61. Dialectics of Debate: Reflections on Three Pedagogical Scenes in Chinese Music History
62. Disciplinary Movements, the Civil Rights Movement, and Charles Keil's Urban Blues
63. Discontinuity in the Music of Django Reinhardt
64. Disruptive Spatiality and the Experience of Recordings of Bach's Solo Cello Suites
65. “Django’s Tiger”: From Jazz to Jazz Manouche
66. Do as Some Said, or as Most Did?-A Foucauldian Experiment with Nineteenth-Century HIP
67. Dvořak's Armida and the Czech Oriental "Self"
68. Earl Hines and "Rosetta"
69. Editor’s Note
70. Editor's Note
71. Editor's Note
72. Editor’s Note to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
73. Eisler's Notes on Hollywood and the Film Music Project, 1935-42
74. Elements of a Style
75. Eleven Theses on Sound and Transcendence
76. Emcee Ethnographies: A Brief Sketch of U.S. Hip-Hop Ethnography
77. Empirical Explorations of Guitar Players’ Attitudes Towards Their Equipment and the Role of Distortion in Rock Music
78. Ethnography, Sound Studies and the Black Atlantic
79. Ethnomusicology as Interdisciplinary Musicology: A Case Study
80. Evolution and Structure in Flamenco Harmony
81. Excerpted from The Days and Nights of the Lotus Trio
82. Experiencing Alba Tressina’s Anima mea liquefacta est through Bodily Humors and the Sacred Erotic
83. Experiencing Structure in Penderecki’s Threnody: Analysis, Ear-Training, and Musical Understanding
84. Experimental Music in Black and White: The AACM in New York, 1970-1985
85. Feeling Pain/Making Kin in the Brooklyn Noise Music Scene
86. Felix Mendelssohn's Influence on Fanny Mendelssohn Hensel as a Professional Composer
87. Froberger in Rome: From Frescobaldi's Craftsmanship to Kircher's Compositional Secrets
88. From Coups that Silence Ezan-s to Ezan-s that Silence Coups!: Sonic Resistance to the 2016 Turkish Military Coup
89. From Errata 5uite
90. from From a Broken Bottle Traces of Perfume Still Emanate, Volume Five
91. From Idea to Institution: The Development and Dissemination of the Orff-Schulwerk from Germany to the United States
92. From the Center in the Middle: Working Tambura Bands and the Construction of the In Between in Croatia and its Intimates
93. From the Singer's Point of View: A Case Study in Hexachordal Solmization as a Guide to Musica Recta and Musica Ficta in Fifteenth-Century Vocal Music
94. Fruits and Vegetables
95. Gender and the Field of Musicology
96. Harriet Jacobs Gets a Hearing
97. Hearing and Feeling the Black Vampire: Queer Affects in the Film Soundtrack
98. Hearing Emerson, Lake, and Palmer Anew: Progressive Rock as "Music of Attractions"
99. Hearing Glenn Gould's Body: Corporeal Liveness in Recorded Music
100. “Hear What You Want”: Sonic Politics, Blackness, and Racism-Canceling Headphones
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