Volume 54

Abstract In his 1967 Fundamentals of Musical Composition, Arnold Schonberg described the sentence as a basic tool for organizing themes. Over the past thirty years, a growing number of scholars have been reexamining Schoenberg's concept of the sentence and revealing it to be an important compositional device for a wide…
Abstract This special issue presents a view of the current state of ethnomusicology through the contributions of a few generations of practicing ethnomusicologists. The articles collectively explore some directions by examining the past through the present. Contributors include Bruno Nettl, Ruth M. Stone, Ted Solis, Gabriel Solis, Andrea Emberly, Michael…
Abstract Each fall dozens of faculty in music departments around the country make the move from faculty member to administrator, most likely department “chair” or “head” depending on terminology in the particular institution. Few, if any, music faculty plan for a career as an administrator. Rather, their goal is to…
Abstract In today’s music world, a wide variety of music styles and traditions demand that musicians improvise to some degree. To best prepare musicians for successful careers as performers and teachers in the 21st-century global society, teaching improvisation in higher education should be an important educational objective; however, improvisation is…
Abstract The U.S. reception of El Sistema has been, for the most part, enthusiastic, as reflected in numerous media articles and the literature of prominent advocates such as Tricia Tunstall. An analysis of these sources points to a tendency on the part of U.S. El Sistema admirers to value the…
Abstract The sound of fifes, drums, and bugles are recognized as a commonplace yet significant part of the Civil War soundscape. Those who performed this music, however, have drawn less attention than the pieces they performed. This is unfortunate, as soldier-musicians, just like the pieces they played, served a unique…