In 2013 the Centro Argentino de Información Científica y Tecnológica (CAICYT) launched El oído pensante, an open-access, peer-reviewed online journal that aims to promote the discussion of theoretical, methodological, and epistemological dilemmas faced by various kinds of music research.
Unpublished articles in Spanish, Portuguese, and English dealing with ethnomusicology, anthropology, sociology of music, popular music studies, musicology, and cultural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.
Below, Um a zero by Pixinguinha and Benedito Lacerda, a work discussed in the inaugural issue.
American cantorate presents all of the raw data of the 1984–86 NEH-funded project History of the American Cantorate, which was directed by Mark Slobin.
This free online resource includes over 100 listenable oral history interviews of cantors; a listenable 93-cantor core sample of sung selections of 8 liturgical texts, a first in Jewish music studies; questionnaire survey responses of hundreds of cantors and lay leaders; letters solicited from rabbis about working with cantors; research reports and data summaries commissioned for the project; and ongoing additions of archival documentation.
David Koussevitsky (1912–85, above) and Deborah Katchko-Gray (b.1957, inset) are two of the cantors featured in the study. A related video is here.
Launched in 2012, Síneris is a monthly Spanish online musicology journal born from the experience of some of the members of the now-extinct Jugar con Fuego.
The journal aims to present research papers, essays, literary creations, opinions, interviews, and criticism of recent works, performances, and writings. It casts a wide net, including Western classical music, ethnomusicological topics, popular music, cinema, and dance.
Founded in response to the excitement generated by the First International Conference on Analytical Approaches to World Music in 2010, Analytical approaches to world music (ISSN 2158-5296) brings together disciplines including music theory, ethnomusicology, musicology, cognitive psychology, computer science, and mathematics for a cross-cultural dialogue that aims to promote and enhance understanding of the diverse collection of traditions that is commonly referred to as world music.
Edited by Lawrence Shuster and Rob Schultz, the inaugural issue of this peer-reviewed online journal includes articles by Robert Morris, Sarah Weiss, David Locke, Richard Widdess, Jay Rahn, and Michael Tenzer.
Before RILM set up online forms for sending us citations and abstracts, all submissions were made by writing or typing on forms like the one pictured above. We had forms in all necessary languages, color-coded for sorting. As was the case with most manual typewriters, corrections and diacritics all had to be added by hand. After we received completed forms, everything had to be retyped into the database (and, for non-English titles and abstracts, translated into English) at the International Center.
Over the years, countless volunteers have made such contributions to RILM, including some very distinguished figures in musicology and ethnomusicology. The example above was submitted by the preeminent Spanish musicologist José López-Calo (b.1922) for the retrospective project undertaken by RILM’s founder Barry S. Brook in the 1970s—a project that finally reached fruition with the publication of Speaking of Music: Music conferences, 1835–1966 in 2004. (Click on the image, or here, to see a larger reproduction.)