These articles form the output of academic and artistic research in the areas of history, musicology, sociology, anthropology, historically informed performance practice, heritage, cultural sciences, and campanology. Although the main focus is on the Low Countries, contributions on carillon and bell culture in other countries will also be considered for publication.
In November 2022 the Society for Ethnomusicology launched the Journal of Audiovisual Ethnomusicology (JAVEM), a bi-annual peer-reviewed streaming journal of ethnomusicological film and video. The journal aims to advance the use of multimedia as a method for exploring music and its entanglements, and as a medium for presenting those explorations.
JAVEMprovides a viable public platform for ethnomusicological films. A public-facing venue for film screenings and multimedia installations, it gives scholar-filmmakers opportunities to reach new audiences, engage more diverse stakeholders in research topics and issues, and partner with organizations beyond the academy, building a structure for scholarly engagement with current research, theoretical perspectives, and filmmaking strategies in ethnomusicology and related fields.
Below, Frank Gunderson, one of JAVEM’s founders and co-editors, shares a filmmaking anecdote.
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In 2022 Libreria Musicale Italiana launched Acusfere: Suoni_culture_musicologie, a multilingual, annually published, peer-reviewed print and online journal with abstracts in English. The journal’s scope is purposely broad; however, there are several general elements around which it coheres, including emphases on:
Research from the fields of musicology and anthropology
Musical writing, invention, improvisation, and composition in the contemporary world
Local and peripheral music traditions
Relationships between music and many other artistic and expressive activities
Musical instruments and technologies
Vocal expression as manifested in individual and polyphonic contexts
The processes of thought, theories, aesthetics, and structures that shape musical meanings
The multifarious behaviors detectable in the music-making of diverse cultures
The spaces and places of music, stable and concrete, but also mobile and ephemeral
Projections of music in media, rapidly changing and integrated into multiple perspectives
The journal’s tripartite subtitle—suoni (sounds), culture (cultures), and musicologie (musicologies)—reflects the pluralities and variabilities of viewpoints, processes, scenarios, contexts, and knowledges at the center of the critical reflection of music making.
Below, Marco Tomassi performs on his reconstruction of the 17th-century sordellina, the subject of an article in the journal’s inaugural issue.
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In 2021 Musicom launched Donizetti studies (ISSN 2785-0331; EISSN 2785-4140), a peer-reviewed print and online journal whose scope is not limited to Donizetti, but extends to include Simon Mayr, the rich musical tradition of Bergamo, and, in general, Italian and French opera in the first half of the nineteenth century.
The journal’s format involves multiple sections: the first comprises original essays, the second presents unpublished or partially known documents, and the third takes on varying contents and forms, depending on needs. Also, the journal provides bibliographic materials that cover the most recent studies on Donizetti and his period.
Below, an excerpt from L’ange de Nisida, one of the works discussed in the inaugural issue.
A peer-reviewed English-language, online-only, fee-free, diamond open access journal, M&M is dedicated to the scholarly exploration of the multi-dimensional field introduced by the concepts of music and minorities. It is published by mdwPress.
The journal is inclusive of music, dance, and other sound-based social phenomena. The term minority refers to communities, groups, or individuals that are at risk of discrimination on grounds of ethnicity, race, religion, language, gender, sexual orientation, disability, political opinion, displacement, social or economic deprivation, and their intersections.
Contributions to M&M may address all aspects of music and/or dance in the context of minorities. This may encompass aspects like genres of music and/or dance of certain minorities, societal discourses thereon, relationships between hegemonic and marginalized groups, depictions of minorities and/or their musical expressions in other contexts, or the meanings and values that are attributed to musical and other performing practices.
M&M encourages a diversity of approaches and methods, such as ethnography, theoretical reflection, historiography, or other forms of cultural criticism and social analysis. M&M is a forum for both foundational and engaged/applied research. The journal also welcomes interdisciplinary approaches.
Below, Dawood Sarkhosh, an Afghani singer/songwriter currently living in Vienna, is one of the musicians discussed in the inaugural issue.
Musicians of the Orquestra Barroca da Unirio decided to transform their virtual conversations, which kept them in touch and active during the quarantine, into something more formalized and more broadly accessible. Very soon, a vibrant virtual community of musicians, scholars, researchers, and teachers came together as a diverse editorial collective, and Conversa das antigas was launched.
The periodical showcases a variety of research subjects, works in progress, interpretative insights, manuscript studies, aesthetic issues, and everything and anything related to Baroque music. Its title, which could be rendered as “Old-style chat”, conveys the informal vitality of the journal and its fluid boundaries, equally attuned to rigorous scholarship and experimental brain-storming. They clearly have a lot of conversas up their sleeves.
Launched in 2020, Swara: Antologi pendidikan musik (Swara: Anthology journal of music education, eISSN 2807-2502) is an open-access research journal published regularly in the months of April, August, and December by the Music Education program in the faculty of Arts and Design Education at Universitas Pendidikan Indonesia (Education University of Indonesia) in Bandung, West Java.
Topics explored in the journal’s articles include empirical studies on music education (formal and informal), creativity and musical skills (recorded and live performance), and the analysis of traditional and modern musical works.
SSS addresses a wide range of phenomena, practices, and objects pertaining to sound and music in light of the interconnections between performing traditions and media archaeologies: from opera to musical multimedia, and from cinema to interactive audiovisual platforms. An open-access journal published in English, SSS wishes to redefine the academic study of music as an open field whose boundaries—historical, geographical, and theoretical—are constantly being negotiated.
The journal primarily publishes full-length and brief reports of original research, but also publishes methodological, review, and theoretical articles at all levels and across genres such as education, theory/composition, musicology, performance and music production, and music technology and music industry.
Peer-reviewed, it welcomes contributions from educators, researchers, and practitioners who are working with technologies in primary, secondary, and tertiary music education settings as well as unique learning populations. The research it publishes follows academically sanctioned methodology: experimental, case study, ethnographic, or historical.
Below, an instructional video by Robert Willey, who contributed to the inaugural issue with an article on teaching electronic music technology.
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The journal serves a diverse community of readers and authors, encompassing industry practitioners alongside scholars from disciplinary perspectives including anthropology, computer science, media/game studies, philosophy, psychology, and sociology, as well as musicology. JSMG is the only journal exclusively dedicated to this subject, and provides a meeting point for professionals and academics from any tradition to advance knowledge of music and sound in this important medium.
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 →