Launched in 2020, Swara: Antologi pendidikan musik (Swara: Anthology journal of music education, eISSN 2807-2502) is an open-access research journal published regularly in the months of April, August, and December by the Music Education program in the faculty of Arts and Design Education at Universitas Pendidikan Indonesia (Education University of Indonesia) in Bandung, West Java.
Topics explored in the journal’s articles include empirical studies on music education (formal and informal), creativity and musical skills (recorded and live performance), and the analysis of traditional and modern musical works.
SSS addresses a wide range of phenomena, practices, and objects pertaining to sound and music in light of the interconnections between performing traditions and media archaeologies: from opera to musical multimedia, and from cinema to interactive audiovisual platforms. An open-access journal published in English, SSS wishes to redefine the academic study of music as an open field whose boundaries—historical, geographical, and theoretical—are constantly being negotiated.
The journal primarily publishes full-length and brief reports of original research, but also publishes methodological, review, and theoretical articles at all levels and across genres such as education, theory/composition, musicology, performance and music production, and music technology and music industry.
Peer-reviewed, it welcomes contributions from educators, researchers, and practitioners who are working with technologies in primary, secondary, and tertiary music education settings as well as unique learning populations. The research it publishes follows academically sanctioned methodology: experimental, case study, ethnographic, or historical.
Below, an instructional video by Robert Willey, who contributed to the inaugural issue with an article on teaching electronic music technology.
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The journal serves a diverse community of readers and authors, encompassing industry practitioners alongside scholars from disciplinary perspectives including anthropology, computer science, media/game studies, philosophy, psychology, and sociology, as well as musicology. JSMG is the only journal exclusively dedicated to this subject, and provides a meeting point for professionals and academics from any tradition to advance knowledge of music and sound in this important medium.
In 2020 Intellect launched Global hip hop studies, a biannual peer-reviewed, rigorous, and community-responsive academic journal that publishes research on contemporary as well as historical issues and debates surrounding hip hop music and culture around the world.
The journal provides a platform for the investigation and critical analysis of hip hop politics, activism, education, media practices, and industry analyses, as well as manifestations of hip hop culture in all four of the classic elements—DJing/turntablism, MCing/rapping, graffiti/street art, and b-boying/b-girling/breaking and other hip hop dances—along with the under-examined realms of beatboxing, fashion, identity formation, hip hop nation language, and beyond.
Below, the South Indian rapper Smokey the Ghost, who is interviewed in the inaugural issue.
Music research annual (ISSN 2563-7290) is the first peer-reviewed journal devoted to publishing review essays from the full range of academic disciplines that study music. Each article explores the current state of scholarship on a key topic within a discipline or interdisciplinary juncture and charts ways forward to new research.
These fields may include traditional and new forms of radio, music, performance, installation, sound technologies, immersive realities, and studies-based disciplines such as musicology, philosophy, and cultural studies. The scope extends to other disciplines such as ethnography, cultural geography, ecologies, media archeology, digital humanities, audiology, communications, and architecture.
The journal’s purview investigates the research, theory, and praxis of sound from diverse cultural perspectives in the arts and sciences, and encourages consideration of ethnicity, race, and gender within theoretical and/or artistic frameworks as they relate to sound. The journal also welcomes research and approaches that explore cultural boundaries and expand upon the concept of sound as a living, cultural force whose territories and impacts are still emerging.
Resonance is published quarterly in an online-only format.
Being open-access and available online, it is able to offer excellent visibility and a fast processing time from submission to publication. The journal aims to provide an interdisciplinary forum to showcase state-of-the-art research challenges.
There is no restriction on the length of papers or charge for extra colors, etc. Electronic files supplying details of calculations and experimental procedures as well as sound files can be deposited as supplementary materials.
Above, the cover of the inaugural number; below, Paphos theater, one of the acoustical environments discussed in the issue (RILM Abstracts of Music Literature 2019-5509).
Among the topics of interest to the journal, issues related to performance and its models stand out: relationships with the body and its different layers of mediation throughout history; the role of technology and media platforms in the processes of poetic communication; the conception of a musical instrument and its interpolation with various devices, existing or obsolete (microphones, amplification, high-fidelity), and media platforms; variations in listening patterns, taste, and aesthetic sensitivity, through the introduction of different sound media; soundscapes and changes in sensitivity; the interfaces of the musical language with other artistic languages; issues related to contemporaneity, globalization, identity, belonging, and affective bond, through music; cultural, musical and media memory; and the constitution of stable values in the ephemeral era.
Below, a music-forward excerpt from Back to the future, the subject of an article in the inaugural issue.
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IJMSTA provides a platform for the publication of the most advanced research in music in the areas of acoustics, artificial intelligence, mathematical analysis, learning and teaching, history, and ethnomusicology. The journal welcomes original empirical investigations; the papers may represent a variety of theoretical perspectives and different methodological approaches.
Below, Sheriff Ghale, one of the Ghanaian popular musicians discussed in the inaugural issue.
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From 4 to 8 October 2021, The Barry S. Brook Center for Music Research and Documentation hosts the virtual conference Responses in Music to Climate Change. The event brings together scholars, performers, composers, and activists, with the goal of exchanging … 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 →
In 1947 Ella Fitzgerald, already an acclaimed singer of jazz standards, toured with Dizzy Gillespie, immersing herself in the new style known as bebop. Like Dizzy, Ella responded to bebop’s complex harmonies with an infallible ear, and easily translated its … Continue reading →
The American traditional song Go tell Aunt Rhody originated as a gavotte composed by Jean-Jacques Rousseau for his opera Le devin du village (1752). An English version of the opera was produced in London in 1766; subsequently the melody attracted … Continue reading →