This open-access journal seeks to encourage consideration of Springsteen’s body of work primarily through the political, economic, and sociocultural factors that have influenced his music and shaped its reception.
BOSS welcomes broad interdisciplinary and cross-disciplinary approaches to Springsteen’s songwriting and performance. The journal aims to secure a place for Springsteen Studies in the contemporary academy.
Below, Born in the USA, the subject of the first article in the first issue.
In 2014 Taylor & Francis launched Rock music studies, which publishes articles, book and audio reviews, and opinion pieces on rock music and its numerous subgenres three times a year.
To best focus this international journal, which evolved from Popular music and society, the editors limit the often all-inclusive definition of rock to exclude other genres such as doo-wop, country, jazz, soul, and hip hop, but include roll and roll, rockabilly, blues rock, country rock, jazz rock, folk rock, hard rock, psychedelic rock, prog rock, metal, punk, alternative, and other subgenres of rock.
The editors welcome articles on rock’s interaction with other styles and are receptive to all disciplinary, methodological, and theoretical approaches.
All research articles undergo a rigorous peer review process by at least two anonymous referees, based on an initial screening by the editors. The journal is also open to special issues focusing on an artist, a subgenre, or a topic.
Below, Bob Dylan in the 1960s, the subject of an article in the inaugural issue.
Launched byEquinoxin 2014, Journal of world popular music is a peer-reviewed academic journal that publishes research and scholarship on recent issues and debates surrounding international popular musics, also known as world music, global pop, world beat, or, more recently, world music 2.0.
The journal provides a forum for exploring the manifestations and impacts of post-globalizing trends, processes, and dynamics surrounding these musics today. It adopts an open-minded perspective, including in its scope any local popularized musics of the world, commercially available music of non-Western origin, musics of ethnic minorities, and contemporary fusions or collaborations with local traditional or roots musics with Western pop and rock musics.
Placing specific emphasis on contemporary, interdisciplinary, and international perspectives, the journal’s special features include empirical research and scholarship on the global creative and music industries, the participants of world music, the musics themselves, and their representations in all media forms today, among other relevant themes and issues, alongside explorations of recent ideas and perspectives from popular music, ethnomusicology, anthropology, musicology, communication, media and cultural studies, sociology, geography, art and museum studies, and other fields with a scholarly focus on world music.
Along with regular articles that focus on the study of world music in all its forms from a variety of academic and other perspectives, the journal also features alternative means of representing research and scholarship through creative and visual means such as photography, poetry, and artwork, and audio and video means through an accompanying website. It also includes reviews of relevant books, special issues, magazines, CDs, websites, DVDs, online music releases, exhibitions, artwork, radio programs, and world music festivals.
Below, a performance by Yothu Yindi, the subject of one of the articles in the inaugural issue.
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.
The journal encourages the submission of works from research areas including composition, computer music, musicology, theory, music education, and ethnomusicology. Vórtex accepts the submission of articles, translations, interviews, and scores in Portuguese, English, or Spanish. Concert, festival, CD, DVD, and book reviews are also accepted.
Founded in 2013, Scottish journal of performance is an open-access peer-reviewed journal that aims to promote and stimulate discussion, development, and dissemination of original research, focusing both on performance in Scotland (contemporary and historical) and on wider aspects of performance presented by scholars and reflective practitioners based at Scottish academic institutions. Published biannually and run by doctoral students, the journal welcomes submissions from both established and early career researchers.
All content is freely available without charge to users or institutions. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author. This is in accordance with the BOAI definition of open access.
Performance in this context encompasses a wide range of arts and entertainment and takes as central themes dance, drama, film, music, and television. The journal takes as a key focus the creation and execution of performance in various contexts, encouraging the adoption of a wide range of research methods and approaches.
In 2013 a new scholarly journal, ҚұрманғазыАтындағы Қазақ ҰлттықКонсерваториясыныңХабаршысы/ВестникКазахскойНациональнойКонсерваторииим. Курмангазы/The Bulletin of the Kazakh National Conservatory of the Name of Kurmangazy (ISSN 2310-3337), was launched by the Kazakh National Kurmangazy Conservatory in Almaty.
This quarterly is published in Kazakh, Russian, and English. Its goal is to present a broad spectrum of research in arts, musicology, and contemporary music education, as well as in social studies, humanities, culture, criticism, and journalism. The full text of the first issue is available here.
Below, Kyz Žibek by Evgenij Grigor’evič Brusilovskij, a Kazakh opera discussed in the inaugural issue.
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IJIMS publishes original research articles, review articles, short communications, and case studies. A team of reputed academics from different disciplines tackles the review work and publication process.
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Launched in 2012, Evental aesthetics is an independent, interdisciplinary, peer-reviewed journal dedicated to philosophical perspectives on art and aesthetics.
Publishing three times each year, the journal invites experimental and traditional philosophical ideas on questions pertaining to every form of art, as well as to aesthetic issues in the non-artworld, such as everyday aesthetics and environmental aesthetics. Each installment of the journal reflects on specific, but broadly defined, aesthetic issues.
This publication is entirely independent and unaffiliated with any institution, and therefore is unimpeded by political or financial agendas. As a non-profit organization, Evental aesthetics operates completely without funding or advertising. The journal is open-access, available for download free of charge.
The first issue includes the music-related article “Hegel’s being-fluid in Corregidora, blues, and (post-) black aesthetics” by Mandy-Suzanne Wong; the full text is here.
Below, John Lee Hooker presents a fine example of blues philosophy.
The journal aims to reflect the range of music played, studied, and researched in Ireland, providing a regional forum for scholars. While PDFs of the articles are open-access, enhanced versions with links to sound and video illustrations are only available to members of ICTM Ireland.
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 →
