By Elizabeth T. Craft [Ed Note. A version of the following Op-Ed originally appeared in the Salt Lake City Tribune on December 3, 2016. It is presented here for the readers of Musicology Now with permission of the author.]… Read More
by Jason Hanley NOTE: The AMS Newsletter of the American Musicological Society features a series of reflections from musicologists who have pursued non-tenure-track careers. We are pleased to co-publish this essay from the August 2015 Newsletter. Earlier essays in this series HERE… Read More
by Christopher J. Smith Part 2 of 2 parts. In July 2007, in a blog-comment, I argued for the philosophic and practical value of such intentional outreach amongst one’s colleagues and peers: Something I have not yet seen in the comments, however, is something I have taken to include… Read More
by Christopher J. Smith Part 1 of 2 parts. It is a truism that traditional support networks for both the “highbrow” and “lowbrow” performing arts are disappearing; that organizations’ social and financial models are shifting. Those of us who… Read More
by Amanda Sewell Musicologists and music scholars from around the world convened at Westminster Choir College of Rider University for a conference called The Past, Present, and Future of Public Musicology, held January 30–February 1, 2015. If you wonder what public… Read More
by Janie Cole NOTE: The AMS Newsletter of the American Musicological Society features a series of reflections from musicologists who have pursued non-tenure-track careers. We are pleased to co-publish this essay from the August 2014 Newsletter. I am the… Read More
by Michael J. Puri “What do you do?” “I teach music.”“That’s great! What instrument do you play?” Sound familiar? No matter how many times I am asked the second question, it always flummoxes me. My attempt to preempt it by answering the first question with something along… Read More
by Carol A. Hess The questions explored at the session on “Public Musicology” during the American Musicological Society’s recent meeting in Pittsburgh were hardly new. At least in the United States, we musicologists have had to sell our discipline to skeptics, or at least explain exactly what it is we… Read More