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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. Ethnography, Sound Studies and the Black Atlantic
3. Experiencing Structure in Penderecki’s Threnody: Analysis, Ear-Training, and Musical Understanding
4. Prognosticating Echoes: Race, Sound, and Naturalizing Technology
5. Approaches to handwritten conductor annotation extraction in musical scores
6. Listeners’ Bodies in Music Analysis: Gestures, Motor Intentionality, and Models
7. Editor’s Note
8. Editor’s Note to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
9. Images of Time and Timelessness: A Musical Reading of Death in Venice
10. Preface to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
11. The Historical Soundscape of Monophonic Hi–Fidelity
12. The Lost Movements of Ernst Toch’s Gesprochene Musik
13. The Musical Work Reconsidered, In Hindsight
14. Voice and Instrument at the Origins of Music
15. “A Disturbing Lack of Musical and Stylistic Continuity”? Elliott Carter, Charles Ives, and Musical Borrowing
16. Ambient Drone and Apocalypse
17. A Picture is Worth a Thousand Words: Road Maps as Analytical Tools
18. A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition
19. A Timely Musical Discourse, or a Music Treatise from Lost Times, Part I
20. Breathtails: a Song Cycle in 13 Breaths Written for Anne LeBaron
21. Composing Breathtails (a Song Cycle in 21 Breaths)
22. Correspondences
23. Cover To Cover
24. Editor's Note
25. Eleven Theses on Sound and Transcendence
26. Excerpted from The Days and Nights of the Lotus Trio
27. Experiencing Alba Tressina’s Anima mea liquefacta est through Bodily Humors and the Sacred Erotic
28. From Errata 5uite
29. from From a Broken Bottle Traces of Perfume Still Emanate, Volume Five
30. Igor’s Goriest Tune and selected text pieces
31. Improvising Compose Yourself
32. In Memory, Theory: Concluding Unscientific Postludes
33. Listening in Poppies
34. Memoirs of a Musical Object, Supposedly Written by Itself: It–Narrative and Eighteenth– Century Marketing
35. Nigun Poems
36. Nonsense and Unmusic
37. To Astonish the Roses: 7 e–mails to Walter Branchi
38. “Words for Music, Perhaps”? Texts, 1975-2013
39. A Cross–Cultural Grammar for Temporal Harmony in Afro–Latin Musics: Clave, Partido– Alto and Other Timelines
40. An Account of Emotional Specificity in Classic-Romantic Music
41. Come Out to Show the Split Subject: Steve Reich, Whiteness, and the Avant-Garde
42. Contextualizing Hip Hop Sonic Cool Pose in Late Twentieth– and Twenty–first–century Rap Music
43. Harriet Jacobs Gets a Hearing
44. Horses For Discourses?: The Transition from Oral to Broadside Narrative in “Skewball”
45. 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.
46. Suspicious Silence: Walking Out on John Cage
47. Troubadour Song as Performance: A Context for Guiraut Riquier’s “Pus sabers no’m val ni sens”
48. Ulysses Kay Archive: Columbia University Rare Book and Manuscript Library
49. A Great Desire: Autobiography in Louise Talma's Three Madrigals
50. Bethany Klein. As Heard on TV: Popular Music in Advertising
51. Do as Some Said, or as Most Did?-A Foucauldian Experiment with Nineteenth-Century HIP
52. From the Center in the Middle: Working Tambura Bands and the Construction of the In Between in Croatia and its Intimates
53. Here be Dogs: Documenting the Visual Culture of the Czech Indie Scene
54. Janáček's Chronoscope
55. Music for the Last Supper: The Dramatic Significance of Mozart's Musical Quotations in the Tafelmusik of Don Giovanni
56. "On stage, everyone loves a Black": Afro-Ukrainian Folk Fusion, Migration, and Racial Identity in Ukraine
57. Representing Recording Studios of the Past: A Review Essay
58. Review of Jennifer Milioto Matsue. 2009. Making Music in Japan’s Underground: The Tokyo Hardcore Scene. New York and London: Routledge
59. The 1990s "Kutaisi Wave": Music and Youth Movement in a Postindustrial Periphery
60. 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
61. Editor's Note
62. Music Smashed to Pieces: The Destructive Logic of Berlioz's Romeo au tombeau
63. Sex and Laughter in Women's Music, 1970-77
64. Signification, Objectification, and the Mimetic Uncanny in Claude Debussy's "Golliwog's Cakewalk"
65. Solving Elgar's Enigma
66. Variations V: "Escaping Stagnation" Through Movement of Signification
67. Aida and the Empire of Emotions (Theodor W. Adorno, Edward Said, and Alexander Kluge)
68. A Paper Trail: Missa Jouyssance vous donneray, Uncertain Identity, and the National Institutes of Health's "Bathtub Collection"
69. Hearing Glenn Gould's Body: Corporeal Liveness in Recorded Music
70. Kundry and the Jewish Voice: Anti-antisemitism and Musical Transcendence in Wagner's Parsifal
71. Rebel Girls and Singing Boys: Performing Music and Gender in the Teen Movie
72. Speaking and Sighing: Bellini's canto declamato and the Poetics of Restraint
73. Becoming Bach, Blaspheming Bach: Kinesthetic Knowledge and Embodied Music Theory in Ysaÿe's "Obsession" for Solo Violin
74. Beyond Sonata Deformation: Liszt's Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form
75. Debussy as Storyteller: Narrative Expansion in the Trois Chansons de Bilitis
76. Eisler's Notes on Hollywood and the Film Music Project, 1935-42
77. Medievalism and Exoticism in the Music of Dead Can Dance
78. Periods in Progressive Rock and the Problem of Authenticity
79. Producing Producers: Women and Electronic/Dance Music
80. The Filth and the Fury: An Essay on Punk Rock Heavy Metal Karaoke
81. Analysis, Performance, and Images of Musical Sound: Surfaces, Cyclical Relationships and the Musical Work
82. Bach: Luther's Musical Prophet?
83. Dvořak's Armida and the Czech Oriental "Self"
84. Musical Meaning for the Few: Instances of Private Reception in the Music of Brahms
85. Music of the Gods: Solo Song and effetti meravigliosi in the Interludes for La pellegrina
86. The Pastoral After Environmentalism: Nature and Culture in Stephen Albert's Symphony: RiverRun
87. Toward a Revised Understanding of Young Children's Musical Activities: Reflections from the "Day in the Life" Project
88. Disruptive Spatiality and the Experience of Recordings of Bach's Solo Cello Suites
89. The Aesthetics of Textural Ambiguity: Brahms and the Changing Piano
90. The Cyberpolitics of Music in Ukraine's 2004 Orange Revolution
91. The Foundations of Mozart Scholarship
92. The Idea of Transfiguration in the Early German Reception of Mozart's Requiem
93. Curious Intersections, Uncommon Magic: Steve Reich's It's Gonna Rain
94. Der Tod und die Forelle: New Thoughts on Schubert's Quintet
95. Disciplinary Movements, the Civil Rights Movement, and Charles Keil's Urban Blues
96. Hearing Emerson, Lake, and Palmer Anew: Progressive Rock as "Music of Attractions"
97. Opera at Columbia: A Shining Legacy
98. The German Musical Exile and the Course of American Musicology
99. The Snake Bites Its Tail: Cyclic Processes in Brahms's Third String Quartet, op. 67
100. Adolphe Appia, Les maîtres chanteurs de Nuremberg: An Introduction and Translation
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