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Music Faculty: Publications since January 2021

List all publications in the database.    :recent first  alphabetical  combined listing:
%% Enriquez, Sophia   
   Author = {Stimeling, TD and Enriquez, SM},
   Title = {Building Relationships, Sustaining Communities: Decolonial
             Directions in Higher Ed Bluegrass Pedagogy},
   Journal = {Intersections},
   Volume = {39},
   Number = {1},
   Pages = {57-72},
   Publisher = {Consortium Erudit},
   Year = {2021},
   Month = {February},
   url = {},
   Abstract = {<jats:p>Recent debates about bluegrass music’s place in
             higher education have highlighted anxieties about the
             historic role that institutions of higher education have
             played in cultural colonization, erosion, and destruction.
             Using examples from the bluegrass band at a large
             Appalachian public university, this essay considers how the
             “bluegrass jam” might facilitate meaningful
             conversations about identity in a region subjected to
             colonial-style extraction for nearly three centuries. At the
             same time, this article problematizes the nature of the
             university’s simultaneous support of regional culture and
             the propagation of resource extraction and environmental
   Doi = {10.7202/1075342ar},
   Key = {fds358407}

   Author = {Enriquez, S},
   Title = {Earl Scruggs and “Foggy Mountain Breakdown”: The Making
             of an American Classic},
   Volume = {39},
   Number = {2},
   Pages = {262-264},
   Publisher = {American Music},
   Year = {2021},
   Month = {June},
   Key = {fds359167}

%% Giles, Roseen   
   Author = {Giles, R},
   Title = {Sigismondo D'India et ses mondes: Un compositeur italien
             d'avant-garde, histoire et documents. Jorge Morales.
             Collection “Épitome musical.” Turnhout: Brepols, 2019.
             592 pp. €125.},
   Journal = {Renaissance Quarterly},
   Volume = {75},
   Number = {2},
   Pages = {705-707},
   Publisher = {Cambridge University Press (CUP)},
   Year = {2022},
   url = {},
   Doi = {10.1017/rqx.2022.183},
   Key = {fds364999}

%% Harris, Deonte   
   Author = {Harris, DL},
   Title = {On Race, Value, and the Need to Reimagine Ethnomusicology
             for the Future},
   Journal = {Ethnomusicology},
   Volume = {66},
   Number = {2},
   Pages = {213-235},
   Publisher = {University of Illinois Press},
   Year = {2022},
   Month = {June},
   url = {},
   Abstract = {This article contributes to literature on value in
             ethnomusicology by shifting the discourse to issues of
             racism. Drawing from several years of fieldwork in London's
             carnival arts scene, I develop an approach called “value
             from below,” which illustrates how racial oppression often
             directly affects how members of BIPOC communities assign
             value, meaning, and significance to particular things,
             spaces, places, and actions. I then extend this approach to
             consider the impacts of systemic racism on BIPOC scholars in
             ethnomusicology, arguing that the growing call for the
             making of an antiracist and decolonized ethnomusicology is
             indicative of the continued struggle over value in the field
             and the larger world.},
   Doi = {10.5406/21567417.66.2.03},
   Key = {fds365283}

%% Stoia, Nicholas   
   Author = {Stoia, N},
   Title = {Sweet thing: The history and musical structure of a shared
             american vernacular form},
   Pages = {1-266},
   Publisher = {Oxford University Press, USA},
   Year = {2021},
   Month = {January},
   ISBN = {9780190881993},
   url = {},
   Abstract = {Sweet Thing: The History and Musical Structure of a Shared
             American Vernacular Form is a historical and analytical
             study of one of the most productive and enduring shared
             musical resources in North American vernacular music. Many
             of us learn the form as children, when we sing "If you're
             happy and you know it clap your hands," and we hear it
             frequently in popular music, but usually without realizing
             that this poetic and rhythmic pattern has been penetrating
             the minds of musicians and listeners for centuries. The
             antecedents of the form date back to sixteenth-century
             Scotland and England, and appear in seventeenth-century
             English popular music; eighteenth-century English and
             American broadside balladry; nineteenth-century American
             folk hymnody, popular song, gospel hymnody, and ragtime; and
             American folk repertoire collected in the early twentieth
             century. It continued to generate many songs in early
             twentieth-century popular genres, including blues, country,
             and gospel music, through which it entered into many postwar
             popular genres like rhythm and blues, rock and roll, soul,
             country pop, the folk revival, and rock music. This book
             offers the most comprehensive examination to date of the
             centuries-long history of the scheme, and defines its
             musical parameters in twentieth-century popular
   Doi = {10.1093/oso/9780190881979.001.0001},
   Key = {fds355130}

%% Todd, R. Larry   
   Author = {Todd, RL},
   Title = {Fanny hensel’s lieder (ohne worte) and the boundaries of
             song: The curious case of the lied in d major, op. 8, no.
   Pages = {217-238},
   Booktitle = {The Songs of Fanny Hensel},
   Year = {2021},
   Month = {January},
   ISBN = {9780190919566},
   url = {},
   Abstract = {The subject of this chapter, Fanny Hensel’s Lied in D
             major for piano solo, Op. 8, No. 3, might seem an anomalous
             choice for a volume devoted to the composer’s texted
             Lieder. But one could readily advance the argument that,
             like Schubert, Hensel was at her core a naturally gifted
             song composer who gave as free a rein to lyrical impulses in
             her purely instrumental music as she did in setting the
             verses of her favorite poets-Goethe, Tieck, Eichendorff, and
             Heine. Some of her piano pieces, which she typically titled
             Lieder or Klavierlieder, raise the question as to whether
             particular poetic sources lay behind their inspiration.
             Perhaps the most enigmatic of these examples is Op. 8, No.
             3, which, when published posthumously in 1850, appeared with
             the title Lied, to which was added in parentheses
             “Lenau.” This chapter takes into account the sixteen
             Lenau settings composed by Hensel and her brother between
             1839 and 1847, and considers whether Op. 8, No. 3 might be
             linked to specific verses of Lenau, or might offer, perhaps,
             a musical portrait of the poet, who suffered a mental
             collapse in 1844.},
   Doi = {10.1093/oso/9780190919566.003.0012},
   Key = {fds361992}

   Author = {Todd, RL},
   Title = {From the Church to the Concert Hall: J.S. Bach, Mendelssohn,
             and the Imaginary Chorale},
   Pages = {109-128},
   Booktitle = {Theology, Music, and Modernity: Struggles for
   Year = {2021},
   Month = {January},
   ISBN = {9780198846550},
   url = {},
   Abstract = {‘Every room in which Bach is performed is transformed into
             a church.’ We do not know the context for this remark
             attributed to Mendelssohn (sometime before March 1835), but
             it reflects one significant thread in the nineteenth-century
             ‘emancipation of music’, namely the revival of the music
             of J.S. Bach, and his transformation from a largely
             forgotten Leipzig church musician into a dominant, canonic
             figure in European concert music. This chapter revisits some
             familiar aspects of Mendelssohn’s revival of Bach’s
             music, for example the seminal revival of the St. Matthew
             Passion in 1829, and Mendelssohn’s spiritual trajectory
             from Judaism to Christianity, and then explores ways in
             which his own music tested boundaries between sacred music
             for performance in church versus the concert hall. One way
             in which Mendelssohn allied his music with the spiritual was
             through the use of imaginary, ‘free’ chorales-that is,
             newly composed, textless chorale melodies that he inserted
             into a number of his purely instrumental compositions as a
             means of underscoring his newly acquired Protestant faith.
             The chapter concludes by exploring the significance of this
             device for several other nineteenth-century composers who
             similarly invoked the divine and sacred in their concert
   Doi = {10.1093/oso/9780198846550.003.0006},
   Key = {fds366916}

   Author = {Todd, RL},
   Title = {Rethinking Mendelssohn. Ed. by Benedict
   Journal = {Music and Letters},
   Volume = {102},
   Number = {2},
   Pages = {377-381},
   Publisher = {Oxford University Press (OUP)},
   Year = {2021},
   Month = {December},
   url = {},
   Doi = {10.1093/ml/gcab047},
   Key = {fds361991}

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