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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. Hearing and Feeling the Black Vampire: Queer Affects in the Film Soundtrack
3. Julius Eastman: The Sonority of Blackness Otherwise
4. Music and Queered Temporality in Slave Play
5. Queer Theory, Ethno/Musicology, and the Disorientation of the Field
6. A Reappraisal of the Relationship Between Benjamin Britten and Walter Greatorex
7. Berton’s Ludic Pedagogy and the Subdominant Otherwise: Tension and Compromise in the Early Paris Conservatoire Curriculum
8. Brahms, Autodidacticism, and the Curious Case of the Gavotte
9. Dialectics of Debate: Reflections on Three Pedagogical Scenes in Chinese Music History
10. Emcee Ethnographies: A Brief Sketch of U.S. Hip-Hop Ethnography
11. Empirical Explorations of Guitar Players’ Attitudes Towards Their Equipment and the Role of Distortion in Rock Music
12. From Idea to Institution: The Development and Dissemination of the Orff-Schulwerk from Germany to the United States
13. “It’s Awfully Important to Listen”: Ella Jenkins and Musical Multiculturalism
14. On Teaching the History of Nineteenth-Century Music
15. Reflections on Teaching Music 17: Hip Hop
16. The Politics of Music: Women’s Music Education in the United States in the late 18th Century
17. Wagnerian Singing and the Limits of Vocal Pedagogy
18. Archival Nothing
19. Awakening the Sensorium in Puerto Rico’s Colonial Modernity
20. Licia’s Lectures on Nothing
21. Ricardo Lorenz: A Post-Colonial/Modern Latin(o) American Composer
22. Seeing and Hearing the Thinking Voice
23. Telling Tales: A Survey of Narratological Approaches to Music
24. The Wonder of Delays
25. Through the Fabric of My Own: Louise Alenius and Embodied Interrelationality
26. Writing the City: The Cosmopolitan Realism of Offenbach’s La Vie parisienne
27. African Afro-futurism: Allegories and Speculations
28. As Time Goes By: Car Radio and the Travel Experience in Twentieth-Century America
29. Black Labor and the Deep South in Hurston’s The Great Day and Ellington’s Black, Brown, and Beige
30. Cosmopolitanism and Race in Percy Grainger’s American “Delius Campaign”
31. Ethnography, Sound Studies and the Black Atlantic
32. From Coups that Silence Ezan-s to Ezan-s that Silence Coups!: Sonic Resistance to the 2016 Turkish Military Coup
33. “Hear What You Want”: Sonic Politics, Blackness, and Racism-Canceling Headphones
34. Milton Babbitt’s Glosses on American Jewish Identity
35. “Organic and Beautiful and Imperfect”: An Interview with Queer Pop Musician Be Steadwell
36. Prognosticating Echoes: Race, Sound, and Naturalizing Technology
37. Rhythms of Relation: Black Popular Music and Mobile Technologies
38. Sarah Hibbert and Richard Wrigley, eds. 2014. Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions
39. “Sing About Me”: Social Media Memorial and Inventory Form
40. Toward A Rupture in the Sensus Communis: On Sound Studies and the Politics of Knowledge Production
41. Beat Hierarchy and Beat Patterns—From Aksak to Composite Meter
42. “Django’s Tiger”: From Jazz to Jazz Manouche
43. Editor’s Note
44. Editor’s Note to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
45. Images of Time and Timelessness: A Musical Reading of Death in Venice
46. Noticing Musical Becomings: Deleuzian and Guattarian Approaches to Ethnographic Studies of Musicking
47. Preface to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
48. The Historical Soundscape of Monophonic Hi–Fidelity
49. The Lost Movements of Ernst Toch’s Gesprochene Musik
50. The Musical Work Reconsidered, In Hindsight
51. “A Disturbing Lack of Musical and Stylistic Continuity”? Elliott Carter, Charles Ives, and Musical Borrowing
52. Ambient Drone and Apocalypse
53. A Picture is Worth a Thousand Words: Road Maps as Analytical Tools
54. A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition
55. A Timely Musical Discourse, or a Music Treatise from Lost Times, Part I
56. Breathtails: a Song Cycle in 13 Breaths Written for Anne LeBaron
57. Composing Breathtails (a Song Cycle in 21 Breaths)
58. Correspondences
59. Cover To Cover
60. Editor's Note
61. Eleven Theses on Sound and Transcendence
62. Excerpted from The Days and Nights of the Lotus Trio
63. Experiencing Alba Tressina’s Anima mea liquefacta est through Bodily Humors and the Sacred Erotic
64. From Errata 5uite
65. from From a Broken Bottle Traces of Perfume Still Emanate, Volume Five
66. Igor’s Goriest Tune and selected text pieces
67. Improvising Compose Yourself
68. In Memory, Theory: Concluding Unscientific Postludes
69. Listening in Poppies
70. Memoirs of a Musical Object, Supposedly Written by Itself: It–Narrative and Eighteenth– Century Marketing
71. Nigun Poems
72. Nonsense and Unmusic
73. To Astonish the Roses: 7 e–mails to Walter Branchi
74. “Words for Music, Perhaps”? Texts, 1975-2013
75. A Cross–Cultural Grammar for Temporal Harmony in Afro–Latin Musics: Clave, Partido– Alto and Other Timelines
76. An Account of Emotional Specificity in Classic-Romantic Music
77. Come Out to Show the Split Subject: Steve Reich, Whiteness, and the Avant-Garde
78. Contextualizing Hip Hop Sonic Cool Pose in Late Twentieth– and Twenty–first–century Rap Music
79. Harriet Jacobs Gets a Hearing
80. Horses For Discourses?: The Transition from Oral to Broadside Narrative in “Skewball”
81. 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.
82. Suspicious Silence: Walking Out on John Cage
83. Troubadour Song as Performance: A Context for Guiraut Riquier’s “Pus sabers no’m val ni sens”
84. Ulysses Kay Archive: Columbia University Rare Book and Manuscript Library
85. A Great Desire: Autobiography in Louise Talma's Three Madrigals
86. Bethany Klein. As Heard on TV: Popular Music in Advertising
87. Do as Some Said, or as Most Did?-A Foucauldian Experiment with Nineteenth-Century HIP
88. From the Center in the Middle: Working Tambura Bands and the Construction of the In Between in Croatia and its Intimates
89. Here be Dogs: Documenting the Visual Culture of the Czech Indie Scene
90. Music for the Last Supper: The Dramatic Significance of Mozart's Musical Quotations in the Tafelmusik of Don Giovanni
91. "On stage, everyone loves a Black": Afro-Ukrainian Folk Fusion, Migration, and Racial Identity in Ukraine
92. Review of Jennifer Milioto Matsue. 2009. Making Music in Japan’s Underground: The Tokyo Hardcore Scene. New York and London: Routledge
93. The 1990s "Kutaisi Wave": Music and Youth Movement in a Postindustrial Periphery
94. 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
95. Editor's Note
96. Music Smashed to Pieces: The Destructive Logic of Berlioz's Romeo au tombeau
97. Sex and Laughter in Women's Music, 1970-77
98. Signification, Objectification, and the Mimetic Uncanny in Claude Debussy's "Golliwog's Cakewalk"
99. Solving Elgar's Enigma
100. Variations V: "Escaping Stagnation" Through Movement of Signification
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