Journal of Musicology

Volume 29, no. 4  (Fall 2012)

Italian Madrigal, 1550-1610, no. 1

 

Kate van Orden, Tanti Auguri!”

James Chater, Poetry in the Service of Music: The Case of Giovambattista Strozzi the Younger (1551–1634)

Emiliano Ricciardi, Torquato Tasso and Lighter Musical Genres: Canzonetta Settings of the Rime

Marco Bizzarini and Massimo Privitera, Competition, Cultural Geography, and Tonal Space in the Book of Madrigals L’amorosa Ero (1588)

Tim Carter, Cerberus Barks in Vain: Poetic Asides in the Artusi–Monteverdi Controversy

Volume 29, no. 3 (Summer 2012)

Matthew Peattie, Old Beneventan Melodies in a Breviary at Naples: New Evidence of Old Beneventan Music for the Office

Valerio Morucci, Cardinals’ Patronage and the Era of Tridentine Reforms: Giulio Feltro della Rovere as Sponsor of Sacred Music

Yoel Greenberg, “Minding a Gap: ‘Active Transitions’ from the Slow Introduction to the Fast Section in Haydn's Symphonies

Volume 29, no. 2 (Spring 2012)

Paul Schleuse, ‘A Tale Completed in the Mind’: Genre and Imitation in L’Amfiparnaso (1597)

Bettina Varwig, Metaphors of Time and Modernity in Bach

Christopher Reynolds, Brahms Rhapsodizing: The Alto Rhapsody and Its Expressive Double

Volume 29, no. 1 (Winter 2012)

Blake Stevens. Monologue Conflicts: The Terms of Operatic Criticism in Pierre Estève and Jean-Jacques Rousseau

Michael C. Tusa. Reading a Relationship: Solo-Tutti Interaction and Dramatic Trajectory in Beethoven’s Second Piano Concerto

Elisabeth Le Guin and Margaret Cayward, Californian Musicology

Volume 28, no. 4 (Fall 2011)

Beth Ann Lee-DeAmici, “Et le moyen plain de paine et tristesse: Solution, Symbology, and Context in Ockeghem’sPrenez sur moi

Nathan Platte, Music for Spellbound (1945): A Contested Collaboration

Todd Decker, On the Scenic Route to Irving Berlin’s Holiday Inn (1942)

Volume 28, no. 3 (Summer 2011)

Julie Cumming, Composing Imitative Counterpoint around a Cantus Firmus: Two Motets by Heinrich Isaac

Dana Gooley, Hanslick and the Institution of Criticism

Bonnie Gordon, “The Secret of the Secret Chromatic Art

Volume 28, no. 2 (Spring 2011)

Richard Taruskin, Crowd, Mob, and Nation in Boris Godunov: What Did Musorgsky Think, and Does It Matter?

Christopher Bruhn, The Transitive Multiverse of Charles Ives’s “Concord” Sonata

Valeria De Lucca, L’Alcasta and the Emergence of Collective Patronage in Mid-Seventeenth-Century Rome

Volume 28, no. 1 (Winter 2011)

David Burn, Blake Wilson, and Giovanni Zanovello, Absorbing Heinrich Isaac

Rob C. Wegman, “Isaac’s Signature

David J. Rothenberg, “The Most Prudent Virgin and the Wise King: Isaac’s Virgo prudentissima Compositions in the Imperial Idology of Maximilian I

Alejandro Enrique Planchart, “Notes on Henricus Isaac’s Virgo prudentissima

John Bryan, “Extended Play: Reflections of Heinrich Isaac’s Music in Early Tudor England

 

Volume 27, no. 4 (Fall 2010)

 

Anne Walters Robertson, “The Man with the Pale Face, the Shroud, and Du Fay’s Missa Se la face ay pale

Justin Williams, “The Construction of Jazz Rap as High Art in Hip-Hop Music”

Kevin Bartig, “Restoring Pushkin: Ideology and Aesthetics in Prokofiev’s Queen of Spades