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
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
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
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
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
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
By Drew Massey Tony Matelli’s Sleepwalker, discussed below. Photo credit: boston.com As part of my renewed effort… Read More
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
By Frank Lehman Film trailers are like hyperactive microcosms of the movies they herald. Their formal compression and immediacy… Read More
by Kimberly Francis 1, place Lili BoulangerParis In 2004, challenged by my thesis… Read More
By Olivia Mattis This Essay first appeared on the OUPBlog on September 28 2015. Everyone knows George Gershwin as a… Read More