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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. The Promise of Music Therapy: Understanding and Treating Individuals With Comorbid Eating Disorders and Physical Disabilities
7. Focal Task-specific Dystonia among Professional Musicians in Latin America
8. Listeners’ Bodies in Music Analysis: Gestures, Motor Intentionality, and Models
9. Songs of the Century
10. Bring Back the Noise: How Cariou v. Prince Will Revitalize Sampling
11. Editor’s Note
12. Editor’s Note to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
13. Images of Time and Timelessness: A Musical Reading of Death in Venice
14. Preface to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
15. The Historical Soundscape of Monophonic Hi–Fidelity
16. The Lost Movements of Ernst Toch’s Gesprochene Musik
17. The Musical Work Reconsidered, In Hindsight
18. Voice and Instrument at the Origins of Music
19. Acoustic structure of the five perceptual dimensions of timbre in orchestral instrument tones
20. “A Disturbing Lack of Musical and Stylistic Continuity”? Elliott Carter, Charles Ives, and Musical Borrowing
21. Ambient Drone and Apocalypse
22. A Picture is Worth a Thousand Words: Road Maps as Analytical Tools
23. A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition
24. A Timely Musical Discourse, or a Music Treatise from Lost Times, Part I
25. Breathtails: a Song Cycle in 13 Breaths Written for Anne LeBaron
26. Composing Breathtails (a Song Cycle in 21 Breaths)
27. Correspondences
28. Cover To Cover
29. Editor's Note
30. Eleven Theses on Sound and Transcendence
31. Excerpted from The Days and Nights of the Lotus Trio
32. Experiencing Alba Tressina’s Anima mea liquefacta est through Bodily Humors and the Sacred Erotic
33. From Errata 5uite
34. from From a Broken Bottle Traces of Perfume Still Emanate, Volume Five
35. Igor’s Goriest Tune and selected text pieces
36. Improvising Compose Yourself
37. In Memory, Theory: Concluding Unscientific Postludes
38. Listening in Poppies
39. Memoirs of a Musical Object, Supposedly Written by Itself: It–Narrative and Eighteenth– Century Marketing
40. Nigun Poems
41. Nonsense and Unmusic
42. To Astonish the Roses: 7 e–mails to Walter Branchi
43. “Words for Music, Perhaps”? Texts, 1975-2013
44. A Cross–Cultural Grammar for Temporal Harmony in Afro–Latin Musics: Clave, Partido– Alto and Other Timelines
45. An Account of Emotional Specificity in Classic-Romantic Music
46. Come Out to Show the Split Subject: Steve Reich, Whiteness, and the Avant-Garde
47. Contextualizing Hip Hop Sonic Cool Pose in Late Twentieth– and Twenty–first–century Rap Music
48. Harriet Jacobs Gets a Hearing
49. Horses For Discourses?: The Transition from Oral to Broadside Narrative in “Skewball”
50. 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.
51. Suspicious Silence: Walking Out on John Cage
52. Troubadour Song as Performance: A Context for Guiraut Riquier’s “Pus sabers no’m val ni sens”
53. Ulysses Kay Archive: Columbia University Rare Book and Manuscript Library
54. A Great Desire: Autobiography in Louise Talma's Three Madrigals
55. A Performing Rights Organization Perspective: The Challenges of Enforcement in the Digital Environment
56. Bethany Klein. As Heard on TV: Popular Music in Advertising
57. Do as Some Said, or as Most Did?-A Foucauldian Experiment with Nineteenth-Century HIP
58. From the Center in the Middle: Working Tambura Bands and the Construction of the In Between in Croatia and its Intimates
59. Here be Dogs: Documenting the Visual Culture of the Czech Indie Scene
60. Janáček's Chronoscope
61. Music for the Last Supper: The Dramatic Significance of Mozart's Musical Quotations in the Tafelmusik of Don Giovanni
62. New Licensing Models for Online Music Services in the European Union: From Collective to Customized Management
63. "On stage, everyone loves a Black": Afro-Ukrainian Folk Fusion, Migration, and Racial Identity in Ukraine
64. Representing Recording Studios of the Past: A Review Essay
65. Review of Jennifer Milioto Matsue. 2009. Making Music in Japan’s Underground: The Tokyo Hardcore Scene. New York and London: Routledge
66. The 1990s "Kutaisi Wave": Music and Youth Movement in a Postindustrial Periphery
67. 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
68. Bollymizwid and Bollyraï: Digital Mash-ups of Hindi, Tunisian, and Algerian Popular Music
69. Editor's Note
70. Music Smashed to Pieces: The Destructive Logic of Berlioz's Romeo au tombeau
71. O Cant: Singing the Race Music of Jean Toomer's Cane
72. Sex and Laughter in Women's Music, 1970-77
73. Signification, Objectification, and the Mimetic Uncanny in Claude Debussy's "Golliwog's Cakewalk"
74. Solving Elgar's Enigma
75. Variations V: "Escaping Stagnation" Through Movement of Signification
76. Aida and the Empire of Emotions (Theodor W. Adorno, Edward Said, and Alexander Kluge)
77. A Paper Trail: Missa Jouyssance vous donneray, Uncertain Identity, and the National Institutes of Health's "Bathtub Collection"
78. Hearing Glenn Gould's Body: Corporeal Liveness in Recorded Music
79. Kundry and the Jewish Voice: Anti-antisemitism and Musical Transcendence in Wagner's Parsifal
80. Rebel Girls and Singing Boys: Performing Music and Gender in the Teen Movie
81. Speaking and Sighing: Bellini's canto declamato and the Poetics of Restraint
82. The Literary Soundtrack: Or, F. Scott Fitzgerald's Heard and Unheard Melodies
83. An Empirical Approach to Studying Intonation Tendencies in Polyphonic Vocal Performances
84. Becoming Bach, Blaspheming Bach: Kinesthetic Knowledge and Embodied Music Theory in Ysaÿe's "Obsession" for Solo Violin
85. Beyond Sonata Deformation: Liszt's Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form
86. Debussy as Storyteller: Narrative Expansion in the Trois Chansons de Bilitis
87. Eisler's Notes on Hollywood and the Film Music Project, 1935-42
88. Introduction to the Special Issue on Music Information Retrieval
89. Medievalism and Exoticism in the Music of Dead Can Dance
90. Periods in Progressive Rock and the Problem of Authenticity
91. Producing Producers: Women and Electronic/Dance Music
92. The Filth and the Fury: An Essay on Punk Rock Heavy Metal Karaoke
93. A Discriminative Model for Polyphonic Piano Transcription
94. Analysis, Performance, and Images of Musical Sound: Surfaces, Cyclical Relationships and the Musical Work
95. Autoregressive Modeling of Temporal Envelopes
96. Bach: Luther's Musical Prophet?
97. Beat Tracking by Dynamic Programming
98. Dvořak's Armida and the Czech Oriental "Self"
99. Melody Transcription From Music Audio: Approaches and Evaluation
100. Musical Meaning for the Few: Instances of Private Reception in the Music of Brahms
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