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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. Key Structure and Tonal Allegory in the Passions of J. S. Bach: An Introduction
3. On the Identity of Some Musicians At The Brescian Court of Pandolfo III Malatesta
4. Alexander Johnson and the Tennessee Harmony
5. Concerning the Liturgical Usage of Dufay's Fragmentary Masses
6. Felix Mendelssohn's Influence on Fanny Mendelssohn Hensel as a Professional Composer
7. Transformational Analysis: An Essay Toward an Analytic Model
8. Otto Luening (1900-) and the Theories of Bernhard Ziehn (1845-1912)
9. Evolution and Structure in Flamenco Harmony
10. 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
11. Aspects of Trope in the Earliest Motets for the Assumption of the Virgin
12. Cantilena and Antiphon: Music for Marian Services in Late Medieval England
13. Some Observations on the "Germanic" Plainchant Tradition
14. Subtiliter alternare: The Yoxford Motet o amicus / Precursaris
15. The "Arabian Influence" Thesis Revisited
16. The Song Sketches of Hugo Wolf
17. An American Precursor of Non-tonal Theory: Ernst Bacon (1898-1990)
18. In Defense of Close Reading and Close Listening
19.
Martin Ruhnke, ed. Georg Philipp Telemann: Thematisch-Systematisches Verzeichnis seiner Werke:
Telemann-Werkverzeichnis: Instrumental Werke 2.
20. The Rhythm of Text and Music in Ottocento Melody: An Empirical Reassessment in Light of Contemporary Treatises
21. Cinderella; or Music and the Human Sciences. Unfootnoted Musings from the Margins
22. Froberger in Rome: From Frescobaldi's Craftsmanship to Kircher's Compositional Secrets
23. Gender and the Field of Musicology
24. Musical and Intellectual Values: Interpreting the History of Tonal Theory
25. Musical Pasts and Postmodern Musicologies: A Response to Lawrence Kramer
26. Voice as Action: Towards a Model for Analyzing the Dynamic Construction of Racialized Voice
27. Centers; Dissenters (Music, Religion, and Politics)
28. Performance and Social Meaning in the Lied: Schubert's Erster Verlust
29. Reading and Misreading: Schumann's Accompaniments to Bach's Sonatas and Partitas for Solo Violin
30. The Prelude from Bach's Suite No.4 for Violoncello Solo: The Submerged Urlinie
31. C.P.E. Bach's Instrumental "Recompositions": Revisions or Alternatives?
32. Lieder, Listeners, and Ideology: Schubert's "Alinde" and Opus 81
33. Melodrama as a Compositional Resource in Early Hollywood Sound Cinema
34. Perspectives on Bruckner
35. The Turn from the Aesthetic
36.
Plot and Tonal Design as Compositional Constraints
in Il trovatore
37. Tia DeNora, Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803
38. Competition in the Sundanese Performing Arts of West Java, Indonesia
39. Kofi Agawu. African Rhythm: A Northern Ewe Perspective. Cambridge: Cambridge University Press, 1995. xx, 217 pp., 19 plates; compact disc.
40. New Musicologies, Old Musicologies: Ethnomusicology and the Study of Western Music*
41. Spatial and Psychoacoustic Factors in Atonal Prolongation
42. "Telling a Story": Louis Armstrong and Coherence in Early Jazz
43. Datable "Notre Dame" Conductus: New Historical Observations on Style and Technique
44. Ethnomusicology as Interdisciplinary Musicology: A Case Study
45. Introduction: The Ingredients of a Masterpiece
46. The Selection of Clausula Sources for Thirteenth- Century Motets: Some Practical Considerations and Aesthetic Implications
47. Voice Function, Sonority, and Contrapuntal Procedure in Late Medieval Polyphony
48. A Nuyorican Son
49. Composing Notes
50. Leaving the Ivory Tower
51. My Attitude Problem
52. Recent Developments at the Columbia University Computer Music Center
53. The Disc Jockey as Composer, or How I Became a Composing DJ
54. ...whence freedom
55. Arnold Schering, "Die Eroica, eine Homer-Symphonie Beethovens?": Translated with an Introduction and Commentary
56. In Search of Meaning in Context: Bartok's Duke Bluebeard's Castle
57. Musical Style and Experience in a Brooklyn Pentecostal Church: An "Insider's" Perspective
58. Patricia Carpenter in Commemoration
59. Spooning Good Singing Gum: Meaning, Association, and Interpretation in Rock Music
60. The Composer as Pole Seeker: Reading Vaughan Williams's Sinfonia antartica
61. The Question of Purpose in Music Theory: Description, Suggestion, and Explanation
62. A Knife All Blade: Deciding the Side Not to Take
63. A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950's
64. Better the Puppet?*
65. Discontinuity in the Music of Django Reinhardt
66. Earl Hines and "Rosetta"
67. Elements of a Style
68. Experimental Music in Black and White: The AACM in New York, 1970-1985
69. Fruits and Vegetables
70. I Am/Was the Walrus
71. "King Porter Stomp" and the Jazz Tradition
72. Latin Jazz: The Other Jazz
73. Listening and Composing
74. Mark Tucker (1954-2000)
75. Material Matters
76. Meter and Word Setting: Revising Machaut's Monophonic Virelais
77. middle/ground
78. Musical Literacy and Jazz Musicians in the 1910's and 1920's
79. Music Analysis and the Social Life of Jazz Recordings
80. Oblique Strategies
81. On Plurality
82. Outside Forces: "Autumn Leaves" in the 1960s
83. Porgy and Miles
84. Realizing Musical Gestures with the Computer: Paradigms and Problems
85. Scat Singing: A Timbral and Phonemic Analysis
86. The Role of Adele T. Katz in the Early Expansion of the New York "Schenker School"
87. Things I Think about, and Don't Think about, When I Compose
88. Tradition and Creation
89. Musical Platonism in Modern Culture
90. "Paths of Harmony" in the First Movement of Brahms's Cello Sonata in E minor, Op. 38
91. Recombinant Melody: Ten Things to Love About Willaert's Music
92. The Concept of Ausweichung in Music Theory, ca. 1770-1832
93. The Origins of the Orchestra Machine
94. Varese in vitro: On Attention, Aurality, and the Laboratory
95. Writing Under the Influence?: Salieri and Schubert's Early Opinion of Beethoven
96. Adolphe Appia, Les maîtres chanteurs de Nuremberg: An Introduction and Translation
97. A View From Death: Ariadne auf Naxos as Failed Totality
98. A Voice Like Thunder: Corsican Women's Lament as Cultural Work
99. Beyond the Beethoven Model: Sentence Types and Limits
100. Interpreting Discontinuity in the Late Works of Debussy
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