Why You Really Can Forge a Musical Work
by Frederick Reece The concept of authorship casts two long shadows across western creative culture: plagiarism and forgery. In the realm of music history, the… Read More
Articles by Kevin Romoser
Interview: Lewis Lockwood
We are pleased to present the first of two video interviews prepared during the American Musicological Society’s national meeting in Louisville earlier this month. Here… Read More
Beethoven’s Turks
by Neal Zaslaw Reflecting on recent events in Europe, Professor Zaslaw has kindly forwarded these thoughts, which first appeared in a Festschrift for Professor Ebisawa… Read More
Paris
A message from the American Musicological Society: The AMS sends heartfelt sympathy and good wishes to our colleagues and friends in France after the… Read More
Thoughts on Performing Gender, Place, and Emotion in Music
By Fiona Magowan and Louise Wrazen Through its alliance with anthropology, ethnomusicology relies on field research that involves sustained contact with people making and experiencing… Read More
What Can Classical Music Tell Us About Trigger Warnings?
By Drew Massey Tony Matelli’s Sleepwalker, discussed below. Photo credit: boston.com As part of my renewed effort… Read More
What Was Adelina Patti Smoking?
By Hilary Poriss One would assume that of all the leisure activities out there, smoking would probably rank among the least popular with opera… Read More
Trailers, Tonality, and the Force of Nostalgia
By Frank Lehman Film trailers are like hyperactive microcosms of the movies they herald. Their formal compression and immediacy… Read More
Mademoiselle and Igor
by Kimberly Francis 1, place Lili BoulangerParis In 2004, challenged by my thesis… Read More
Gershwin and Color: How Blue is the Rhapsody?
By Olivia Mattis This Essay first appeared on the OUPBlog on September 28 2015. Everyone knows George Gershwin as a… Read More