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Contemporary Music Review Volume 36 Issue 1-2

Contemporary Music Review Volume 36 Issue 1-2 February–April 2017
Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed. Contemporary Music Review Volume 36 Issue 1-2 weiterlesen

Fontes Artis Musicae Volume 64 Number 3

Fontes Artis Musicae Volume 64 Number 3 July-September 2017

Entangled Modernities in the Culture of Korean Music Publishing: Challenges in Establishing A Contemporary Korean Art Music Archive
Meebae Lee
Western musicology has traditionally treated musical source material—manuscripts, autograph scores, writings, early editions—as an essential component of scholarly investigation. However, scores and other music-related material from contemporary Korean composers, absent any central archiving institution, tend to accumulate only on an individual basis. Recently, South Korean governmental institutions have begun to promote and fund individuals seeking to establish a comprehensive archive for contemporary Korean music; nonetheless, many challenges remain due to the complex nature of music documentation and publishing culture in South Korea. Fontes Artis Musicae Volume 64 Number 3 weiterlesen

Empirical Musicology Review Vol 12

Empirical Musicology Review Vol 12 No 1-2 (2017)
Table of Contents
Editor’s Note
Daniel Müllensiefen, Daniel Shanahan
THIS issue of Empirical Musicology Review is a good example of the breadth and diversity of empirical music research, both in terms of disciplinary approaches as well as the stylistic variety of musical material covered. The article by Kopiez, Wolf, and Platz is a replication and extension of a performance research study following the classical experimental approach dominating psychological research. Using this experimental paradigm, the authors are able to show that instrumental solo performances from memory only achieve a small positive effect on audience appreciation compared to performances using a music stand on stage. Empirical Musicology Review Vol 12 weiterlesen