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By Rudnick, Tracey | Notes, September 2005 | Go to article overview

New Titles


Rudnick, Tracey, Notes


Acoustical Arts and Artifacts: Technology, Aesthetics, Communication (AAA/TAC). Edited by Giovanni Morelli. Fondazione Giorgio Cini, Istituto per Ia musica, Venezia (Giorgio Cini Institute for Music, Venice); Istituti editoriali e poligrafici internazionali. Annual. Vol. 1 (2004). In English and Italian. ISSN 1824-6176. Print and online formats. Subscription: Accademia Editoriale, Via Carducci 60, 1-56010 Ghezzano, Loc La Fontina Pisa, Italy; online order form at publisher's Web site. E-mail; iepi@iepi.it. euro60 (Italy), euro80 (abroad) institutions, including online access; euro40 (Italy), euro60 (abroad) individuals, print only. For more information, see the publisher's Web page at http://www.libraweb .net/promoriv.php?chiave=31, the institute's page at http://www.fondazionecini .it/italiano/02istituti/musica/musica.html, or a journal brochure at http://www .libraweb.net/Documenti/aaa_tac.pdf.

The non-profit Fondazione Giorgio Cini is based on the Island of San Giorgio Maggiore in Venice, Italy. Of its eight cultural institutes, two are dedicated to music. The Instituto per la musica's new journal focuses on musicological aspects of modern production, reproduction, and dissemination of music. The emphasis is on process, aesthetics, and social aspects of music/sound making, rather than "textuality" of the works themselves. Of particular interest is the blurring of lines between art and artifact (e.g., electronic music as both a craft and a work, and as a specialized music versus a generic production environment). Topics range from Pierre Schaeffer's musique concrète to radio productions conditioned by the "rapid and unceasing transformation of the processes of radio reception" to video game music; see the PDF brochure for more details. (Some information was provided by AAA/TAC subscriptions representative Tanya Occhipinti in an e-mail message to Tracey Rudnick, 14 March 2005.)

Action, Criticism & Theory for Music Education (ACT). Edited by Thomas Regelski. MayDay Group; Southern Illinois University, Edwardsville. Semiannual (in practice; not formally limited to any number). Vol. 1, no. 1 (April 2002). In English; other languages considered. ISSN 1545-4517. Online (PDF; HTML starting with vol. 3) format. Access: http://mas.siue .edu/ACT/(must include last backslash). E-mail: tom.regelski@helsinki.fi. Free.

"The Mayday Group is an international community of scholars and practitioners with a two-fold purpose: (a) to apply critical theory and critical thinking to the purposes and practices of music education, and (b) to affirm the central importance of musical participation in human life and, thus, the value of music in the general education of all people" (MayDay Group Web page, http://www.maydaygroup.org/). ACT, a refereed journal, reflects the organization's ideals, proposing "areas and strategies for broadly needed change in music education, and embracing] a wide range of related topics, content, questions and issues requiring focused study" ("Editorial Policies and Practices," ACT Web page). Each issue features several well-edited articles of thirteen to forty pages. The type of contents vary across each issue and include analytical or policy papers, research articles, occasional symposium reports, and lengthy review essays with article-length responses from the book author (sometimes as part of a themed issue). The journal is aimed at music educators, but welcomes cross-disciplinary perspectives that relate directly to the mission, including education, music, philosophy, sociology, history, psychology, and curriculum studies. ACT is consciously "open access." There are no indexes or search engines, but files for individual articles are more carefully produced and take more advantage of PDF technology (e.g., bookmarks and pop-up footnotes) than many other similar open-access journals.

Canadian Winds: The Journal of the Canadian Band Association / Vents canadiens: revue de l'Association canadienne de l'harmonie.

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