Launched by the Institute of Musical Research at the University of London in 2010, Francophone Music Criticism, 1789–1914 is a repository of digitized, searchable reviews relating to French music and ballet. Texts are grouped into collections devoted to particular works, events, series, performers, or authors. Bibliographical resources and work in progress of a more general nature are also included. The database’s development network is headed by Katharine Ellis and Mark Everist.
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featured – Bibliolore- Acholitronix: Fusing electronic and traditional music in UgandaIn contemporary Africa, new electronic music can generally be classified into two distinct categories. The first involves artists who adapt mainstream genres like house, techno, or electronica, giving them a local twist. These artists incorporate samples of traditional music into … Continue reading →
- Jose Maceda reimagines timeThe Filipino ethnomusicologist and composer Jose Maceda created unique works that blended his fieldwork on Filipino and other music with his expertise in European avant-garde traditions. His compositions combined innovative techniques such as spatialization, a focus on timbre, and musique … Continue reading →
- The emergence of “música popular brasileira” (MPB)In practice, the term música popular brasileira, often referred to by the acronym MPB, does not apply to a particular genre of Brazilian music. Although it came into widespread use around 1965, the term had been used since at least … Continue reading →
- All hail the queens: Women in rap (1984-97)Women have been part of hip hop expression from its early days, primarily as part of MC crews such as the Funky Four Plus One and Sugar Hill’s female group, Sequence. For most of hip hop’s recorded history, however, women … Continue reading →
- Acholitronix: Fusing electronic and traditional music in Uganda


