Academic journal article Current Musicology

Editors' Note

Academic journal article Current Musicology

Editors' Note

Article excerpt

Now in its forty-third year of publication, Current Musicology continues to offer music scholars a unique space in which to publish work that tests traditional disciplinary configurations. Our editorial board--made up of historical musicologists, ethnomusicologists, music theorists, and many scholars whose work combines all of the above--ensures that submissions on the widest variety of topics receive careful and thorough consideration. As this is our first issue as an editorial team, we would like to extend special thanks to the members of the editorial board, as well as to our recent predecessors, Tyler Bickford and Karen Hiles, whose high standards have kept the journal vital and "current" in contemporary musicology.

The articles in this issue exhibit several new approaches to historical research, analysis, and ethnography at play in our closely related fields. Sally M. A. Bick synthesizes an impressive amount of archival evidence to demonstrate how the composer Hanns Eisler, as a politically motivated musician, articulated his own theoretical and aesthetic notions of film music in reaction to the standard practices of the Hollywood film industry in the mid-twentieth century. Steven Vande Moortele and Mary Greitzer contribute articles that extend new paradigms of musical analysis. …

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