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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. Prognosticating Echoes: Race, Sound, and Naturalizing Technology
3. Editor’s Note
4. Editor’s Note to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
5. Images of Time and Timelessness: A Musical Reading of Death in Venice
6. Preface to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
7. The Historical Soundscape of Monophonic Hi–Fidelity
8. The Lost Movements of Ernst Toch’s Gesprochene Musik
9. The Musical Work Reconsidered, In Hindsight
10. “A Disturbing Lack of Musical and Stylistic Continuity”? Elliott Carter, Charles Ives, and Musical Borrowing
11. Ambient Drone and Apocalypse
12. A Picture is Worth a Thousand Words: Road Maps as Analytical Tools
13. A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition
14. A Timely Musical Discourse, or a Music Treatise from Lost Times, Part I
15. Breathtails: a Song Cycle in 13 Breaths Written for Anne LeBaron
16. Composing Breathtails (a Song Cycle in 21 Breaths)
17. Correspondences
18. Cover To Cover
19. Editor's Note
20. Eleven Theses on Sound and Transcendence
21. Excerpted from The Days and Nights of the Lotus Trio
22. Experiencing Alba Tressina’s Anima mea liquefacta est through Bodily Humors and the Sacred Erotic
23. From Errata 5uite
24. from From a Broken Bottle Traces of Perfume Still Emanate, Volume Five
25. Igor’s Goriest Tune and selected text pieces
26. Improvising Compose Yourself
27. In Memory, Theory: Concluding Unscientific Postludes
28. Listening in Poppies
29. Memoirs of a Musical Object, Supposedly Written by Itself: It–Narrative and Eighteenth– Century Marketing
30. Nigun Poems
31. Nonsense and Unmusic
32. To Astonish the Roses: 7 e–mails to Walter Branchi
33. “Words for Music, Perhaps”? Texts, 1975-2013
34. A Cross–Cultural Grammar for Temporal Harmony in Afro–Latin Musics: Clave, Partido– Alto and Other Timelines
35. An Account of Emotional Specificity in Classic-Romantic Music
36. Come Out to Show the Split Subject: Steve Reich, Whiteness, and the Avant-Garde
37. Contextualizing Hip Hop Sonic Cool Pose in Late Twentieth– and Twenty–first–century Rap Music
38. Harriet Jacobs Gets a Hearing
39. Horses For Discourses?: The Transition from Oral to Broadside Narrative in “Skewball”
40. 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.
41. Suspicious Silence: Walking Out on John Cage
42. Troubadour Song as Performance: A Context for Guiraut Riquier’s “Pus sabers no’m val ni sens”
43. Ulysses Kay Archive: Columbia University Rare Book and Manuscript Library
44. A Great Desire: Autobiography in Louise Talma's Three Madrigals
45. Bethany Klein. As Heard on TV: Popular Music in Advertising
46. Do as Some Said, or as Most Did?-A Foucauldian Experiment with Nineteenth-Century HIP
47. From the Center in the Middle: Working Tambura Bands and the Construction of the In Between in Croatia and its Intimates
48. Here be Dogs: Documenting the Visual Culture of the Czech Indie Scene
49. Music for the Last Supper: The Dramatic Significance of Mozart's Musical Quotations in the Tafelmusik of Don Giovanni
50. "On stage, everyone loves a Black": Afro-Ukrainian Folk Fusion, Migration, and Racial Identity in Ukraine
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