Teaching Music & Difference: Thick Listening
By Angela Glaros Note: This… Read More
Articles
Teaching Music & Difference: Critical Awareness for a Global Music Industry
By Rebekah Moore
By Rebekah Moore Note: This essay is the second installment in Musicology Now‘s… Read More
From the Archives: Finding the Unexpected
By James Parsons
As anyone who has engaged in archival research can attest, what one discovers can be rewarding, but also, as… Read More
Six Easy Ways to Foster an Accessible and Inclusive Music History Classroom
By Kimberly Francis, Meagan Troop, Michael Accinno
Many music educators today grapple with this daunting question: How do we create and foster accessible teaching and learning… Read More
Teaching Music and Difference: Music, Culture, and Difference in Globalization
By Jesús A. Ramos-Kittrell
Note: This essay is the first installment in Musicology Now‘s “Teaching Music & Difference”… Read More
Harry Hay, the Mattachine Society, and Musicology’s Role in the early U.S. Gay Rights Movement
By John Gabriel
June is LGBTQ Pride Month, an ideal occasion to think about the intersections of musicology and the long, ongoing… Read More
“An Appropriate and Exemplary Literature”: The JAMS Special Issue on Music, Race, and Ethnicity
By Emily I. Dolan, George Lewis
Emily Dolan, a member of the JAMS Editorial Board, and George Lewis, co-chair of the AMS Committee on Race… Read More
Bottom Power Ballad: Troye Sivan’s #BobsBoutBottoming
By Matthew J. Jones
Singer-songwriter, producer, and actor Troye Sivan first made a name for himself in the Land Down Under with a hugely successful YouTube channel. Read More
Dissertation Digest: Race and Respectability in Early Country Music
By Sam Parler
When Beyoncé took the stage with the Dixie Chicks to perform “Daddy Lessons” at the 2016 CMA… Read More
“Will we remember the way we were?” The past and future tenses of Lauryn Hill’s “Ex-Factor”
By Lauren Eldridge
“Care for me, care for me, you said you care for me There for me, there… Read More
The Sound of Empathy in George Lewis’s Afterword
By Alexander K. Rothe
Premiered in 2015 at the Museum of Contemporary Art in Chicago, Afterword is a… Read More
Global Perspectives—The Story of Unsuk Chin’s Cello Concerto
By Jung-Min Lee
Unsuk Chin, born in South Korea and now based in Germany, has only occasionally engaged with traditional Korean or… Read More
Global Perspectives—The Art of Derivation: Jo Kondo’s Paregmenon
By Anton Vishio
“Paregmenon is a figure which of the word going before deriveth the word following.” So Henry Peacham defined the… Read More
The Urban Busker and the Virtual Realm
By Nicole Vilkner
Anyone who has ever inhabited, visited, or commuted to a city has probably witnessed some variant of street performance,… Read More
Global Perspectives—The Music of Helena Tulve
By Amy Bauer
The only student of Erkki Sven-Tüür, Estonian composer Helena Tulve shares her former teacher’s eclecticism and love for nature. Read More
Voice and Silence in Student Protests Against Gun Violence
By Katherine Meizel
In Park City, Utah on March 24, 2018, a group of young protesters performed “Seasons of Love,” from the… Read More
Global Perspectives—Rock under the Red Flag: “A Piece of Red Cloth” by Cui Jian
By Ya-Hui Cheng
Cui Jian, Chinese writer and musician, has long been an iconic symbol representing the voice of Chinese youth in… Read More
Global Perspectives—Akemi Naito (Japan/NY): The Woman in the Dunes for Solo Percussionist (2012)
By Barry Wiener
The substance of sound is central to Japanese composer Akemi Naito’s compositional thinking. She asserts that the structure of… Read More
The Politics of “Oriental Syncopation”
By Fritz Schenker
In this final post exploring issues of musical labor in the age of machine-age imperialism (the subject of a… Read More