Over the next 20 years he distinguished
himself as an accomplished performer, earning a sizeable and appreciative
audience both in India and North America. He began teaching in 1971, finally
settling at Wesleyan in 1978, where, along with his many administrative
responsibilities, his singing and his interest in South India remained a
His interest and love for Karnatak music
was a passionate one that fed into the strong belief that the best way to
understand a music—either to talk or to write about—is to know it well from the
This according to “Jon B. Higgins
(1939–84)” by Tanjore
Viswanathan (Ethnomusicology XXX/1 [winter 1986] pp. 113–114).
Today would have been Higgins’s 80th birthday! Below, one of his studio recordings.
Visual depictions of music and music making outside of Europe can be found in abundance in 17th- and 18th- century travel accounts, missionaries’ reports, and books predicated on the idea of the universality of music.
Illustrations of non-European music from this period reflect the early stages in Europe of an ethnomusicological conception of the world, and their pictorial rhetoric often encompassed areas of study that continue to interest scholars in the 20th century. The close connection between image and concept in musicological thinking suggests that the history of the field may perhaps reach further back and may have developed more cohesively than is currently assumed.
This according to “Missionaries, magical muses, and magnificent menageries: Image and imagination in the early history of ethnomusicology” by Philip V. Bohlman (The world of music XXX/3  pp. 5–27).
Unpublished articles in Spanish, Portuguese, and English dealing with ethnomusicology, anthropology, sociology of music, popular music studies, musicology, and cultural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.
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.
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.
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.
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 →