Musicologist presents original research articles, reviews, publicity, field notes and ethnographic writings, and translations related to musicology. The journal aims to make a major contribution to musicological discourse worldwide by presenting high-level and original scholarly research, theoretical discussions, and up-to-date methodological studies, and to thus become an effective locus for scholarship around the world.
Below, Ş. Şehvar Beşiroğlu, the subject of the lead article in the first issue.
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Launched by Editions Lugdivine in 2017, Musicologies nouvelles: Agrégationaims to provide a framework for incorporating past achievements in musical analysis into today’s research on the social, cultural, and psychological worlds that surround musical sound. The journal is edited by Isabelle His and Nahéma Khattabi.
The fruits of the three-hour double panel, which focused on encyclopedias, historiography, and music research in the digital age, are now available in printed form: Fontes artis musicae invited Dr. Frühauf to serve as guest editor and write the introduction for the July-September 2016 issue, which presents the conference papers. The table of contents is here.
Unpublished articles in Spanish, Portuguese, and English dealing with ethnomusicology, anthropology, sociology of music, popular music studies, musicology, and cultural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.
Zoomusicology is an area of intellectual endeavor that developed outside of music studies, among scholars interested in animal behavior.
Although this field is almost 30 years old, people operating in ethnomusicology, who are potentially the better equipped to understand the goals and challenges of zoomusicology, are often not aware of how compatible the two fields are.
Zoomusicology and ethnomusicology have much to gain from each other. Moreover, if ethnomusicology indeed has the ambition to be a field that brings together musical knowledge in a worldwide perspective, then one would have to maintain that zoomusicology should be seen as part of ethnomusicology.
This according to “Zoomusicology and ethnomusicology: A marriage to celebrate in heaven” by Marcello Sorce Keller (Yearbook for traditional music XLIV [2012] 166–83). Above and below, lupine group vocalizations.
The book’s articles discuss Viennese composers from the 17th through the 19th centuries who were also theorists; future publications will cover other topics in Viennese music theory and interpretation.
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The collection covers recent concepts of synchronized systems, evolutionary concepts, the basic understanding of performance as Gestalt patterns, theories of chill as performance goals or historical aspects, the neurocognitive basis of motor action in terms of music, musical syntax, and therapeutic aspects.
Also presented are state-of-the-art applications in performance realizations, such as virtual room acoustics, virtual musicians, new concepts of real-time physical modeling using complex performance data as input, and sensor and gesture studies with soft- and hardware solutions.
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Launched on 19 March 2012, Trio: DocMus-tohtorikoulun julkaisu is the journal of the doctoral program in musicology at Sibelius-Akatemia, Helsinki.
Ranging widely through the field of Western musicology, the first issue included analyses of selected works, a study of the composer Déodat de Séverac, and an inquiry into connections between improvisation and psychoanalysis.
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Sponsored by Det Kongelige Bibliotek in Copenhagen, the free online resource Knud Jeppesen (1892–1974) presents lists of the composer’s works, his music editions, his musicological writings, and literature on Jeppesen, along with a discography and portraits.
Jeppesen was one of the 20th century’s foremost musicologists, and as such he gained an international reputation. Professionally, Jeppesen worked as an organist at Sankt Stefans Kirke (1917–32) and Holmens Kirke (1932–46), both in Copenhagen, as a teacher at Det Kongelige Danske Musikkonservatorium (1920–47) in Copenhagen, and as the first professor of musicology at Aarhus Universitet (1946–57). Jeppesen, who was a pupil of, among others, Thomas Laub and Carl Nielsen, produced many compositions, most of which were both performed and published.
Edited by Жанна Викторовна Князева (Žanna Viktorovna Knâzeva), the book presents texts, reviews, correspondence, and biographies written by Handschin during his years in St. Petersburg (1909–22).
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In 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 →
The 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 →
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 →
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 →
