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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. Feeling Pain/Making Kin in the Brooklyn Noise Music Scene
3. Hearing and Feeling the Black Vampire: Queer Affects in the Film Soundtrack
4. Julius Eastman: The Sonority of Blackness Otherwise
5. Music and Queered Temporality in Slave Play
6. Queer Theory, Ethno/Musicology, and the Disorientation of the Field
7. A Reappraisal of the Relationship Between Benjamin Britten and Walter Greatorex
8. Berton’s Ludic Pedagogy and the Subdominant Otherwise: Tension and Compromise in the Early Paris Conservatoire Curriculum
9. Brahms, Autodidacticism, and the Curious Case of the Gavotte
10. Dialectics of Debate: Reflections on Three Pedagogical Scenes in Chinese Music History
11. Emcee Ethnographies: A Brief Sketch of U.S. Hip-Hop Ethnography
12. Empirical Explorations of Guitar Players’ Attitudes Towards Their Equipment and the Role of Distortion in Rock Music
13. From Idea to Institution: The Development and Dissemination of the Orff-Schulwerk from Germany to the United States
14. Heuristic and supervised approaches to handwritten annotation extraction for musical score images
15. “It’s Awfully Important to Listen”: Ella Jenkins and Musical Multiculturalism
16. On Teaching the History of Nineteenth-Century Music
17. Reflections on Teaching Music 17: Hip Hop
18. The Politics of Music: Women’s Music Education in the United States in the late 18th Century
19. Wagnerian Singing and the Limits of Vocal Pedagogy
20. Archival Nothing
21. Awakening the Sensorium in Puerto Rico’s Colonial Modernity
22. Licia’s Lectures on Nothing
23. Ricardo Lorenz: A Post-Colonial/Modern Latin(o) American Composer
24. Seeing and Hearing the Thinking Voice
25. Telling Tales: A Survey of Narratological Approaches to Music
26. The Wonder of Delays
27. Through the Fabric of My Own: Louise Alenius and Embodied Interrelationality
28. Writing the City: The Cosmopolitan Realism of Offenbach’s La Vie parisienne
29. African Afro-futurism: Allegories and Speculations
30. As Time Goes By: Car Radio and the Travel Experience in Twentieth-Century America
31. Black Labor and the Deep South in Hurston’s The Great Day and Ellington’s Black, Brown, and Beige
32. Cosmopolitanism and Race in Percy Grainger’s American “Delius Campaign”
33. Ethnography, Sound Studies and the Black Atlantic
34. Experiencing Structure in Penderecki’s Threnody: Analysis, Ear-Training, and Musical Understanding
35. From Coups that Silence Ezan-s to Ezan-s that Silence Coups!: Sonic Resistance to the 2016 Turkish Military Coup
36. “Hear What You Want”: Sonic Politics, Blackness, and Racism-Canceling Headphones
37. Milton Babbitt’s Glosses on American Jewish Identity
38. “Organic and Beautiful and Imperfect”: An Interview with Queer Pop Musician Be Steadwell
39. Prognosticating Echoes: Race, Sound, and Naturalizing Technology
40. Rhythms of Relation: Black Popular Music and Mobile Technologies
41. “Sing About Me”: Social Media Memorial and Inventory Form
42. Toward A Rupture in the Sensus Communis: On Sound Studies and the Politics of Knowledge Production
43. Approaches to handwritten conductor annotation extraction in musical scores
44. Listeners’ Bodies in Music Analysis: Gestures, Motor Intentionality, and Models
45. Beat Hierarchy and Beat Patterns—From Aksak to Composite Meter
46. “Django’s Tiger”: From Jazz to Jazz Manouche
47. Editor’s Note
48. Editor’s Note to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
49. Images of Time and Timelessness: A Musical Reading of Death in Venice
50. Noticing Musical Becomings: Deleuzian and Guattarian Approaches to Ethnographic Studies of Musicking
51. Preface to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
52. The Historical Soundscape of Monophonic Hi–Fidelity
53. The Lost Movements of Ernst Toch’s Gesprochene Musik
54. The Musical Work Reconsidered, In Hindsight
55. Voice and Instrument at the Origins of Music
56. “A Disturbing Lack of Musical and Stylistic Continuity”? Elliott Carter, Charles Ives, and Musical Borrowing
57. Ambient Drone and Apocalypse
58. A Picture is Worth a Thousand Words: Road Maps as Analytical Tools
59. A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition
60. A Timely Musical Discourse, or a Music Treatise from Lost Times, Part I
61. Breathtails: a Song Cycle in 13 Breaths Written for Anne LeBaron
62. Composing Breathtails (a Song Cycle in 21 Breaths)
63. Correspondences
64. Cover To Cover
65. Editor's Note
66. Eleven Theses on Sound and Transcendence
67. Excerpted from The Days and Nights of the Lotus Trio
68. Experiencing Alba Tressina’s Anima mea liquefacta est through Bodily Humors and the Sacred Erotic
69. From Errata 5uite
70. from From a Broken Bottle Traces of Perfume Still Emanate, Volume Five
71. Igor’s Goriest Tune and selected text pieces
72. Improvising Compose Yourself
73. In Memory, Theory: Concluding Unscientific Postludes
74. Listening in Poppies
75. Memoirs of a Musical Object, Supposedly Written by Itself: It–Narrative and Eighteenth– Century Marketing
76. Nigun Poems
77. Nonsense and Unmusic
78. To Astonish the Roses: 7 e–mails to Walter Branchi
79. “Words for Music, Perhaps”? Texts, 1975-2013
80. A Cross–Cultural Grammar for Temporal Harmony in Afro–Latin Musics: Clave, Partido– Alto and Other Timelines
81. An Account of Emotional Specificity in Classic-Romantic Music
82. Come Out to Show the Split Subject: Steve Reich, Whiteness, and the Avant-Garde
83. Contextualizing Hip Hop Sonic Cool Pose in Late Twentieth– and Twenty–first–century Rap Music
84. Harriet Jacobs Gets a Hearing
85. Horses For Discourses?: The Transition from Oral to Broadside Narrative in “Skewball”
86. 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.
87. Suspicious Silence: Walking Out on John Cage
88. Troubadour Song as Performance: A Context for Guiraut Riquier’s “Pus sabers no’m val ni sens”
89. Ulysses Kay Archive: Columbia University Rare Book and Manuscript Library
90. A Great Desire: Autobiography in Louise Talma's Three Madrigals
91. Bethany Klein. As Heard on TV: Popular Music in Advertising
92. Do as Some Said, or as Most Did?-A Foucauldian Experiment with Nineteenth-Century HIP
93. From the Center in the Middle: Working Tambura Bands and the Construction of the In Between in Croatia and its Intimates
94. Here be Dogs: Documenting the Visual Culture of the Czech Indie Scene
95. Janáček's Chronoscope
96. Music for the Last Supper: The Dramatic Significance of Mozart's Musical Quotations in the Tafelmusik of Don Giovanni
97. "On stage, everyone loves a Black": Afro-Ukrainian Folk Fusion, Migration, and Racial Identity in Ukraine
98. Representing Recording Studios of the Past: A Review Essay
99. Review of Jennifer Milioto Matsue. 2009. Making Music in Japan’s Underground: The Tokyo Hardcore Scene. New York and London: Routledge
100. The 1990s "Kutaisi Wave": Music and Youth Movement in a Postindustrial Periphery
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