Please use this identifier to cite or link to this item: https://hdl.handle.net/1959.11/5648
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dc.contributor.authorShaw, Jenniferen
dc.date.accessioned2010-04-20T09:31:00Z-
dc.date.issued2003-
dc.identifier.citationMusicology Australia, v.26, p. 6-7en
dc.identifier.issn1949-453Xen
dc.identifier.issn0814-5857en
dc.identifier.urihttps://hdl.handle.net/1959.11/5648-
dc.description.abstractWhat can we read in (and into) a score? It is a question that is approached from varying perspectives by our contributors. Simon Perry argues that, in selected scores, an investigation of the ways in which composers choose to spell notes can become an 'analysis of the composer's analysis'. Denis Collins searches in organ chorale settings by Sweelinck, Praetorius and others for evidence of a relationship between Zarlino's canonic theory and seventeenth-century compositional practices. Victoria Rogers, in reconstructing the aesthetic of Glanville-Hicks, combines study of Glanville-Hicks' scores with the composer's reflections as recorded in her letters and other archival documents, and Anne Power examines the musical scores and libretti of two operas by Andrew and Julianne Schultz as sites for the exploration and expression of gender and race politics and national identity. As these articles and as other review contributions make clear, score-based music research is here to stay-at least for now. Yet musicology has also extended its reach into other domains: the themes of national and cultural identity introduced in Power's article, for instance, arc taken up in Margaret Kartomi's review essay on recent scholarly writing on Australian culture, in which Kartomi focuses on the effects of globalisation on music and music making in Australia. Threads of identity and identification also run through several of the reviews: for instance, Greg Anderson's review of a recording by Allan Marett of the 'wangga' repertoire of the late Bobby Lane and accompanying commentary by Marett, Linda Barwick and Lysbeth Ford, touches on issues of genre, song ownership, authenticity, place and the contexts of performances and recordings.en
dc.languageenen
dc.publisherMusicological Society of Australia Incen
dc.relation.ispartofMusicology Australiaen
dc.titleEditorial: Musicology Australiaen
dc.typeJournal Articleen
dc.subject.keywordsMusicology and Ethnomusicologyen
local.contributor.firstnameJenniferen
local.subject.for2008190409 Musicology and Ethnomusicologyen
local.subject.seo2008950101 Musicen
local.profile.schoolSchool of Humanities, Arts and Social Sciencesen
local.profile.emailjshaw9@une.edu.auen
local.output.categoryC6en
local.record.placeauen
local.record.institutionUniversity of New Englanden
local.identifier.epublicationsrecordune-20100330-16006en
local.publisher.placeAustraliaen
local.format.startpage6en
local.format.endpage7en
local.identifier.volume26en
local.title.subtitleMusicology Australiaen
local.contributor.lastnameShawen
dc.identifier.staffune-id:jshaw9en
local.profile.roleeditoren
local.identifier.unepublicationidune:5782en
dc.identifier.academiclevelAcademicen
local.title.maintitleEditorialen
local.output.categorydescriptionC6 Editorship of a Scholarly Journalen
local.relation.urlhttp://www.msa.org.au/ma.htm#XXV2002en
local.search.authorShaw, Jenniferen
local.uneassociationUnknownen
local.year.published2003en
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