Twirling Triplets: The Qualia of Rotation and Musical Rhythm by Niels Chr. Hansen, David Huron

“…While musicologists have long noted that triplet rhythms evoke sensations of rotation in listeners, no theory has been proposed to account for this apparent association. …”
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Composing with quantum information: Aspects of quantum music in theory and practice by Helweg Kim

“…But indeed, I also hope this text will provide inspiration to approach music in a new way, both for listeners, musicologists, musicians and other performing artists.…”
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TWO SCORES HIDDEN DURING THE COMMUNIST REGIME: CÂNTAREA BASARABIEI AND MOARTEA EROULUI BY PAUL CONSTANTINESCU by HÎRLAV-MAISTOROVICI, SANDA-VALENTINA, HÎRLAV-MAISTOROVICI, VLAD-MIHAI

“…If during the communist regime, the two works were kept well hidden in the archives of the Romanian Union of Composers and Musicologists, they were recovered for the cultural circuit after the events of 1989. …”
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PIANO TRIO IN THE COMPOSERS’ CREATION OF THE REPUBLIC OF MOLDOVA: HISTORICAL AND THEORETICAL ASPECTS by PLEȘCAN, IRINA

“…The methodological basis of the present article was the works written by the Moldovan musicologists of the Soviet period (A. Abramovici, S. …”
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Variety in Performance: A comparative Analysis of Recorded Performances of Bach's Sixth Suite for Solo Cello from 1961 to 1998 by Alistair Sung, Dorottya Fabian

“…There exists a commonly held belief amongst musicologists that there has been a ―general globalisation of styles‖ within recorded performances of the latter half of the twentieth century. …”
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Third International Conference of Students of Systematic Musicology (SysMus10): A Conference Report by Nina Jukic, Mats Küssner, Li-ching Wang

“…SysMus10 successfully continued the strong work of the first two SysMus conferences (SysMus08, held in Graz, Austria, and SysMus09, held in Ghent, Belgium), and no doubt next year’s conference, SysMus11 (to be held in Cologne, Germany), will be just as enlightening and inspiring for young musicologists and students of other fields alike.…”
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Musical Literature in Libraries of the Ukrainian SSR as the Object of Censorship (1946 - 1952) by Fedotova Oksana

“…The author came to the conclusion that in the late 1940’s-early 1950-ies musical literature was limited, it did not correspond to the Soviet ideology, especially the works of composers and musicologists, who were called «bourgeois nationalists». …”
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Review of Amy C. Beal. 2006. New Music, New Allies: American Experimental Music in West German from the Zero Hour of Reunification. Berkeley and Los Angeles: University of Californ... by Laura Silverberg

“…To judge from the recent surge in publications on music of the Cold War, musicologists in increasing numbers are casting off the prejudices, anxieties and animosities that for decades blinkered scholarship on postwar music. …”
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Review of Wayne D. Bowman and Ana Lucía Frega, eds. 2012. The Oxford Handbook of Philosophy in Music Education. London and New York: Oxford University Press. by Joseph Abramo

“…In particular, music theorists and musicologists often serve as instructors in higher education and, therefore, devote many hours to the pedagogy of music. …”
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Esenin’s Reception in Russia and Abroad by Maxim V. Skorokhodov

“…Not only literary scholars and linguists but also historians, art historians, and musicologists are engaged in the study of Esenin’s reception, his biography and contacts. …”
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Das Johann Adolf Hasse zugeschriebene Passions-Oratorium La morte di Cristo und seine musikhistorische Einordnung by Steffen Voss

“…A comparison with surviving libretti shows that this pasticcio score is identical with the oratorio La vittima d'amore o sia la morte di Giesù Christo salvatore nostro, attributed to Josef Umstatt and performed 1741 in Brno and 1744 in Prague. Czech musicologists found out that one aria which hadn't been identified by Strohm, is a borrowing from Antonio Caldaras Viennese oratorio Morte e sepoltura di Cristo. …”
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'The little pipe sings sweetly while the fowler deceives the bird': sirens in the later Middle Ages by Leach, EE

“…The figure of the siren in the Renaissance and later has attracted a good deal of attention, especially from scholars interested in the history of gender. but the role of sirens in the Middle Ages has received much less consideration, at least from musicologists. The siren serves as a metaphor for human singing and musical femininity in a number of texts ranging from the sixth to the fourteenth centuries. …”

Music's Nordic breakthrough: aesthetics, modernity, and cultural exchange, 1890-1930

“…The book will be of interest to musicologists working in late nineteenth- and early twentieth-century repertoires, as well as those more broadly interested in modernism in music and its neighbouring arts. …”

John Zorn şi „multiversul“ muzicii sale avangardiste by Livia Georgeta Suciu

“…We trace in various positions, comments, interviews, the arguments of musicologists like Marcel Cobussen, journalists like Hank Shteamer, or of musicians collaborating with John Zorn, in order to understand how this avant-garde community coalesced around him, what the remarkable initiatives are that propelled John Zorn onto the artistic scene and what the impact of his complex activity is, the creation of new practices and new musical universes, absolutely surprising.…”
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I corsi universitari italiani in discipline musicali e il loro contributo alla formazione del pubblico by Carla Cuomo

“…This article discusses audience education as a ‘third mission’ commitment, a specific institutional task assigned to universities by recent government legislation, as well as a preferred subject of recent debate among Italian musicologists. Starting from a distinction between various types of audiences, from the general public to the diverse group of university audiences, the article proposes two action perspectives for universities in their task of educating the public, both in a curricular and extracurricular setting, focusing in particular on the former. …”
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Music-theoretical writings of Vlastimir Trajković as a reflection of his advocating for a new recognition of Serbian art music by Janković-Beguš Jelena

“…Consequently, Trajković particularly insists on the new evaluation of the opuses of the composers and musicologists Miloje Milojević (1884-1946) and Dragutin Gostuški (1923-1998) - whom he saw as those creative and intellectual individuals who had fallen victims to the ’historical injustice’ and whose (re)positioning within the Serbian music culture would increase the relevance of that same culture both in the national and international contexts.…”
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Review of Georgina Born and David Hesmondhalgh, eds. 2000. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California... by Aaron A. Fox

“…This is an important book, and deserves attention from ethnomusicologists, historical musicologists, and students of popular culture across the disciplines. …”
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A hypocrite called Rameau?: Thoughts on the similarities and differences in the treatment of enharmonic in Rameau's theories on harmony vs. his practice in his harpsichord composit... by Komatović Nikola

“…Such an interesting and multi-talented figure provides a very welcome opportunity for musicologists to assess the relationship between the theoretical and the creative; the empirical and the evanescent; and perhaps even the conscious and the subconscious. …”
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Discontinuity in the Music of Django Reinhardt by Ben Givan

“…Ethnomusicologists and “new” musicologists have instead preferred to divert their attention toward jazz’s immediate social context-primarily the vernacular culture of black America-and its historic roots in sub-Saharan Africa (Tomlinson 1992; Walser 1995; Floyd 1995). …”
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A Tool for the Quantitative Anthropology of Music: Use of the nPVI Equation to Analyze Rhythmic Variability within Long-term Historical Patterns in Music by Joseph R Daniele

“…The development of musical style across time and geography is of particular interest to historians and musicologists, yet quantitative evidence to support these trends has been lacking. …”
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