Current Musicology最新文献_第8页

Yasar, Kerim. 2018. Electrified Voices: How the Telephone, Phonograph, and Radio Shaped Modern Japan, 1868–1945. New York: Columbia University Press. 亚萨尔，克里姆。2018.《电音：电话、录音机和收音机如何塑造现代日本》，1868-1945。纽约：哥伦比亚大学出版社。

Current Musicology Pub Date : 2020-03-15 DOI: 10.7916/D8-N2YY-RS98

Thomas A. Cressy

引用次数: 0

“It’s Awfully Important to Listen”: Ella Jenkins and Musical Multiculturalism “倾听非常重要”:艾拉·詹金斯和音乐多元文化主义

Current Musicology Pub Date : 2020-03-15 DOI: 10.7916/D8-G92D-Q288

Gayle Wald

引用次数: 1

Review of Jonathan Cross. 2000. Harrison Birtwistle: Man, Mind, Music. Ithaca: Cornell University Press; and Robert Adlington. 2000. The Music of Harrison Birtwistle. Cambridge: Cambridge University Press 《乔纳森·克罗斯评论》，2000。哈里森·伯特威斯尔:人，思想，音乐。伊萨卡:康奈尔大学出版社;罗伯特·阿德灵顿，2000。哈里森·伯特威斯尔的音乐。剑桥:剑桥大学出版社

Current Musicology Pub Date : 2020-03-15 DOI: 10.7916/CM.V0I70.4807

S. Walsh

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引用次数: 0

Power and Equity in the Academy: Change from Within 学院的权力与公平：来自内部的变化

Current Musicology Pub Date : 2020-03-15 DOI: 10.7916/CM.V0I102.5365

Ellie M. Hisama

{"title":"Power and Equity in the Academy: Change from Within","authors":"Ellie M. Hisama","doi":"10.7916/CM.V0I102.5365","DOIUrl":"https://doi.org/10.7916/CM.V0I102.5365","url":null,"abstract":"As an undergraduate music major interested in graduate study in music theory, I asked Joseph Straus, with whom I was taking an independent study in music theory and feminism, if he knew of any published work in feminist music theory. The only relevant writing he could think of was Susan McClary’s “Pitches, Expression, Ideology,” from the little-known journal Enclitic (1983). After reading this article (which I still reference when teaching Schubert Lieder), I corresponded with McClary, and we set up a meeting during her visit to New York to speak at the Brecht Forum/ New York Marxist School. We quickly bonded over the fact that we both grew up in the same small town in Illinois—Carbondale—and that in graduate school we both tried desperately to expunge all traces of our distinctive southern Illinois twang. \u0000As a first-year music theory graduate student at Harvard eager to bring feminist criticism to my newly chosen subfield, I established a study group for those interested in learning more about what then was a brand-new area of research. The Group for Gender Studies in Music (GGSM) met once a month to discuss the few publications then available in feminist music studies, analyze music by women composers, produce a concert of music by women composers in honor of Women’s History Month, and plan a colloquium series. We found a sympathetic adviser in David Lewin, the senior music theorist on the faculty, and I secured funding from Radcliffe College and several other sources to pay for honoraria and travel for our four invited speakers. Lewin generously wrote a check as seed money to support our group when our request for department funding for our activities was turned down. When I met with the department chair about possible support for GGSM, I was asked to supply a list of names of those who attended our meetings, ostensibly to establish the level of student interest in the group. Our group was more controversial than I had anticipated and I wondered whether there would be negative consequences for anyone involved. (I did not comply with the request for names.) Without support from the department, we could not internally process the donations we received, and had to open an account at a local bank. \u0000Meetings of the Group for Gender Studies in Music were very well attended by curious graduate students in music theory, musicology, and ethnomusicology. Word of our colloquium series, advertised in hard-copy posters I prepared with my dot-matrix printer in the days before Facebook, Twitter, and e-mail somehow reached Professor Judith Tick at Northeastern University and Dr. Hugh Morgan Hill, also known as Brother Blue. Dr. Hill was a playwright and storyteller based in Cambridge who had earned a doctorate in storytelling from Union Graduate School (Grimes 2009). He attended McClary’s GGSM colloquium on Laurie Anderson, work she developed into a chapter in Feminine Endings (1991), and he took McClary aside to comment on the significance of her speaking","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46503805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 7

The Musicological Elite 音乐精英

Current Musicology Pub Date : 2020-03-15 DOI: 10.7916/CM.V0I102.5363

Tamara Levitz

引用次数: 10

Chávez, Alex E. 2017. Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño . Durham, NC: Duke University Press Chávez, Alex E. 2017。穿越之声:音乐、迁徙和华潘戈的听觉诗学Arribeño。达勒姆，北卡罗来纳州:杜克大学出版社

Current Musicology Pub Date : 2020-03-14 DOI: 10.7916/D8-QDH5-T427

Nandini Rupa Banerjee-Datta

引用次数: 0

From Idea to Institution: The Development and Dissemination of the Orff-Schulwerk from Germany to the United States 从观念到制度:德国到美国的奥尔夫-舒尔沃克的发展与传播

Current Musicology Pub Date : 2020-03-13 DOI: 10.7916/D8-HHGJ-AG35

E. Spitz