Editor's Note

By Bickford, Tyler | Current Musicology, Fall 2007 | Go to article overview
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Editor's Note


Bickford, Tyler, Current Musicology


Welcome to issue 84 of Current Musicology. It is an honor to be entrusted with the editorship of this journal, which has for the last forty-two years served as a unique venue dedicated to publishing the scholarship of musicologists in the early stages of their careers. On the occasion of my first issue as Editor, I would like to acknowledge the vision and dedication of my recent predecessors, Karen Hiles, Katherine Dacey-Tsuei, and Mark Burford, from whom I inherit a journal that is healthy and productive.

Each of the articles in this issue pushes music scholarship in a new direction. Holly Watkins's article, "The Pastoral After Environmentalism: Nature and Culture in Stephen Albert's Symphony: RiverRun," reads Albert's work through the lens of "ecocriticism," arguing that the neo-romantic piece engages critically with issues of "nature" and "culture" and that the pastoral can take on political significance for the environmental movement. Martin Nedbal provides a new interpretation of Antonin Dvorak's final opera in his contribution, "Dvorak's Armida and the Czech Oriental 'Self.'" Nedbal argues that Armida is not the failed orientalist opera identified by its critics, but rather a deeply anti-colonialist work that exemplifies contemporary Czech scepticism of imperialist projects. In "Analysis, Performance, and Images of Musical Sound: Surfaces, Cyclical Relationships, and the Musical Work," John Latartara and Michael Gardiner consider the implications of computer-aided spectrography for a disciplinary rapprochement between analysis and performance, where new analytical frameworks built around spectrographic images compel a reconceptualization of the contested idea of the musical "work.

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