Music research annual (ISSN 2563-7290) is the first peer-reviewed journal devoted to publishing review essays from the full range of academic disciplines that study music. Each article explores the current state of scholarship on a key topic within a discipline or interdisciplinary juncture and charts ways forward to new research.
Launched in 2020 by Lever Press, Open access musicology is a book series that features peer-reviewed, scholarly essays primarily intended to serve students and teachers of music history, ethno/musicology, and music studies.
The constantly evolving collection ensures that recent research and scholarship inspires classroom practice, provides diverse and methodologically transparent models for student research, and introduces different modes of inquiry to inspire classroom discussion and varied assignments.
Addressing a range of histories, methods, voices, and sounds, OAM embraces changes and tensions in the field to help students understand music scholarship as the product of critical inquiry.
The four all-India music conferences that were organized between 1916 and 1925 by Vishnu Narayan Bhatkhande were seminal events in the formation of a nationally based urban middle class and a predominantly Hindu-oriented music culture that encompassed performers, patrons, and audiences.
The conferences were the first modern gatherings on a national scale to combine discussion and analysis of musical practice and theory with a showcase of musical performance. A close examination of the reports generated by the conferences offers an opportunity to examine the conflicting social and political ideologies that were shaping north Indian classical music over a critical decade, as the aristocratic music of the courts was transformed into a national music.
Bhatkhande believed that music had to be taken over by the Western-educated, nationally conscious middle class, and that the patronage of the wealthy princes formerly given to support their private music establishments should be transferred to national institutions supporting music. Through the medium of the conferences he took the initiative of bringing together these disparate groups: traditional musicians, traditional patrons, and the new, primarily Hindu intelligentsia.
A number of topics recur through all four conferences: discussion of śrutis and rāga variations; a call for adoption of a uniform, systematic notation for Indian music; and a proposal for the creation of a national academy of music. The extent to which agreement and action on these proposals proved elusive can be read as indicating the degree of cross-cultural conflict that underlay the conferences, and gives a sense of the extent to which Bhatkhande’s vision resonated with the broader concerns of his day.
This according to “The All-India Music Conferences of 1916–1925: Cultural transformation and colonial ideology” by David Trasoff, an essay included in Hindustani music: Thirteenth to twentieth centuries (Nai Delli: Manohar, 2010 331–56; RILM Abstracts of Music Literature 2010-15196).
Today is Bhatkhande’s 160th birthday! Below, a documentary on the Music Institute that he established.
The African pianism developed by the Nigerian composer Akin Euba (above) is not well-suited to the research style of traditional musicology, and the limitations of conventional musicological perspectives and analytical models for research on this cultural phenomenon are obvious.
Ethnomusicology and other disciplines such as cultural anthropology may provide approaches and viewpoints that can be adopted in musicological research on African pianism.
This according to “My understanding of African pianism/我对非洲钢琴艺术研究的一些认识” by Li Xin, an essay included in Dialogues in music: Africa meets Asia/亚非相遇： 中非音乐对话 (Richmond: MRI, 2011, pp. 59–68, 345–353).
Musicologist presents original research articles, reviews, publicity, field notes and ethnographic writings, and translations related to musicology. The journal aims to make a major contribution to musicological discourse worldwide by presenting high-level and original scholarly research, theoretical discussions, and up-to-date methodological studies, and to thus become an effective locus for scholarship around the world.
Below, Ş. Şehvar Beşiroğlu, the subject of the lead article in the first issue.
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Launched by Editions Lugdivine in 2017, Musicologies nouvelles: Agrégationaims to provide a framework for incorporating past achievements in musical analysis into today’s research on the social, cultural, and psychological worlds that surround musical sound. The journal is edited by Isabelle His and Nahéma Khattabi.
The fruits of the three-hour double panel, which focused on encyclopedias, historiography, and music research in the digital age, are now available in printed form: Fontes artis musicae invited Dr. Frühauf to serve as guest editor and write the introduction for the July-September 2016 issue, which presents the conference papers. The table of contents is here.
Unpublished articles in Spanish, Portuguese, and English dealing with ethnomusicology, anthropology, sociology of music, popular music studies, musicology, and cultural studies, among other disciplines, are received. Particularly welcome are writings that address theoretical paradigms, methodology, transdisciplinarity, knowledge validation, research ideologies, representation resources, narrative strategies, ethic and esthetic research perspectives, relationships during the fieldwork experience, social and political research significance, the researcher’s perceptive and conceptual baggage, new technologies, and their ways of spreading and sharing knowledge.
Since the intention of the journal is to promote critical thought aimed to dismantle usual concepts and to open new approaches, papers restricted to analyzing particular cases will not be accepted. However, it is expected that authors bring some cases into the text in order to support their main ideas. All articles are abstracted in Spanish, Portuguese, and English.
Zoomusicology is an area of intellectual endeavor that developed outside of music studies, among scholars interested in animal behavior.
Although this field is almost 30 years old, people operating in ethnomusicology, who are potentially the better equipped to understand the goals and challenges of zoomusicology, are often not aware of how compatible the two fields are.
Zoomusicology and ethnomusicology have much to gain from each other. Moreover, if ethnomusicology indeed has the ambition to be a field that brings together musical knowledge in a worldwide perspective, then one would have to maintain that zoomusicology should be seen as part of ethnomusicology.
This according to “Zoomusicology and ethnomusicology: A marriage to celebrate in heaven” by Marcello Sorce Keller (Yearbook for traditional music XLIV [2012] 166–83). Above and below, lupine group vocalizations.
The book’s articles discuss Viennese composers from the 17th through the 19th centuries who were also theorists; future publications will cover other topics in Viennese music theory and interpretation.
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The main entrance to the New York Public Library for the Performing Arts’s exhibition Lou Reed: Caught between the twisted stars opens up on Lincoln Plaza, directly adjacent to the The Metropolitan Opera house. On a sunny day, the Met’s … Continue reading →
Seven strings/Сім струн (dedicated to Uncle Michael)* For thee, O Ukraine, O our mother unfortunate, bound, The first string I touch is for thee. The string will vibrate with a quiet yet deep solemn sound, The song from my heart … Continue reading →
Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →
