Music Scholarship Research Articles

New Periodicals

New Periodicals Edited by Lindsay Hansen Brown This semiannual column selectively lists new periodicals; describes their objectives, formats, and contents; and provides information about special issues, title and format changes, mergers, and cessations. The following resources were frequently consulted when assembling this column: Music Periodicals Database (MPD; http://www.proquest.com/products-services/iimp_ft.html), Music Index ( MI; https://www.ebscohost.com/academic/music-index), RILM Abstracts of Music Literature (RILM; http://www.rilm.org), OCLC Worldcat (https://www.worldcat.org ), Ulrich’s Periodical Directory (www.ulrichsweb.com/ulrichsweb ), and the Directory of Open Access Journals (http://www.doaj.org). All web sites were accessed on 10 September 2021 unless otherwise indicated. ________ NEW TITLES Sound Stage Screen. Edited by Carlo Lanfossi (Managing Editor), Giorgio Biancorosso, and Emilio Sala. University of Milan (Italy). Biannual. Vol. 1, No. 1 (2021). ISSN 2784–8949. Online format. Access: https://riviste.unimi.it/index.php/sss/. Email: sssjournal@unimi.it. Sound Stage Screen is an open access, peer-reviewed journal that seeks to explore the historical and theoretical relations between sound, performance, and media. The journal editors encourage musicians and music scholars to submit articles on topics that address these relations, such as the reconstruction of musical performances, or the theory and history of recording, media inscription, and studio practices. By encouraging these submissions, the editors indicate on their journal’s website that they hope to initiate conversations across the music disciplines that will help “redefine the academic study of music as an open field whose boundaries . . . are constantly being negotiated.” The inaugural issue of this journal contains four original articles that include the following topics: a case study examining reconstructed performances of nineteenth-century French melodramas; an examination of soundtrack dubbing techniques used in Italian films; a theoretical framework for analyzing the relationship between user and artifact in music-making, and a study of an opera that uses interactive technological equipment. The issue also includes book, article, and performance reviews, a forum on dramaturgy, and an interview with a performance studies musicology professor. Although much of the content in this journal requires specialized subject knowledge, readers will most likely find at least one article of interest, as the journal contains a wide range of musical topics, which is a promising indicator for the journal’s future. Sound Stage Screen is published biannually, and the editors do not charge authors for article submissions or article processing fees. Furthermore, access to all content is free, as the journal is published under a Creative Commons license that permits people to use the content for any purpose, including commercial purposes, without permission. The only caveats are that people must properly cite the content and not apply additional restrictions to other users. chelsea hoover Syracuse University ELECTRONICA Reviews, new titles, and publisher and title changes announced elsewhere in this column include additional comments about electronic access. Répertoire International de Littérature Musicale (RILM held 1,334,113 published main accession records in the RILM Abstracts database, including 146,195 published reviews and 179,810 “shell records” (records for items such as front matter and journal covers). Overall, the database grew by 91,531 records this year. RILM created the following new indexing headwords this year: activism and advocacy; community music; environment; ethnography; ethnology; explorers and travelers; Indigenous peoples—Americas (replacing HW Indians and Inuits); Indigenous peoples—Arctic region; Indigenous peoples—Asia; Indigenous peoples—Oceania; neuroscience; psychoacoustics; psychoanalysis; šašmaķom; social work; speech; traditional theater—general; travel explorations; video games; video game music. Also, the theory headword was replaced by music theory, and the former headword film music and television music has been split in two: film music, television music. Full-Text Coverage: Articles in full text increased by more than 61,000 records this year. MARC records are now available for full-text journals (and for each of RILM’s resources, downloadable from rilm.org/resources). Ten new journals were added in the first annual RAFT expansion, chosen based on the following three criteria: (1) they are of limited availability elsewhere; (2) they cover under-represented countries/ continents and languages, and (3) they provide information on lesser-known scholarship from around the world. The new additions...

Editors’ Note: Sound and Affect in Times of Crisis ★ ★ ★

Editors’ Note: Sound and Affect in Times of Crisis ★ ★ ★

The value of music in liberal arts education and integrating musicing into a music appreciation course

A liberal arts education for Christians is about finding God’s truth; therefore, Christian students need to be educated in a broad range of subjects, including music. While a music appreciation course is thought to be about gaining knowledge of music, some music scholars have pointed out that a music curriculum should involve students in experiencing the essence of music through doing. This article discusses God’s invitation for us to music and the value of music in a liberal arts education. In addition, it looks at the integration of a praxial approach (referred to here as musicing) in a music appreciation course.

Big Feelings

Hi everyone, thanks for tuning in. My paper is too long, so I’m going to get right to it. The purpose of this paper and its broader idea is to formulate one of many possible responses to the question, What happened to feminism in indie rock after riot grrrl?1 In both mainstream criticism and in music scholarship, the conventional and to a large degree accurate narrative about feminism in popular music usually pivots away from rock around 1995, when The Spice Girls heralded the coming postfeminist turn.2 But while postfeminist pop music—from The Spice Girls to Avril Lavigne all the way to Taylor Swift—has clearly constituted the dominant articulation of feminism in popular music since that time, feminist indie rock has continued to exist, and more recently, to thrive.Here, I am not concerned with describing the state of indie rock generally, nor do I want to limit the question to women performers per-se. Within the increasingly heterogeneous indie rock space, I want to focus on a particular, limited affect that I hear as indicative of some of the aesthetic and political shifts that indie rock has undergone in the past decade, and which continues to bind together certain sensibilities in our contemporary moment. Big Feelings attempts to name and trace this affect.3In trying to understand this change, I’ve compiled a working list of what seem to me the essential characteristics of the music I’m trying to identify. Together, these characteristics produce a feminist affect that is irreducible to any one component, but is perceptible nonetheless.4 We have almost no time for a sampling, but I’ll play a bit of music from Snail Mail and Land of Talk to give us an idea of the aesthetic I’m trying to get a handle on.[Play “Heat Wave” (:50-1:45), “This Time” (23:35-24:40)]How do we begin to talk about music like this? It certainly presents some common characteristics, but at the same time, I don’t know if these characteristics constitute a genre, because not all of them are present in all of indie rock, or even, as we’ll see, in feminist indie rock from the post-2000s period. This is what makes Big Feelings more of a tendency or an orientation than a genre. I’ll spend the rest of the paper outlining what seem to me the key elements of this approach.Together, these are the five elements that at least right now seem central to producing the kind of affect that I hear in Big Feelings, a too-much sound that puts feelings first, using them as a vehicle to explore other themes. This affect is in my view inherently feminist, because of the historical effeminization and therefore de-valuing of feelings and emotionality, the traditional segregation that as Lauren Berlant puts it, keeps women “the default managers of the intimate.”11 This is obviously not the only music that deals with feelings in the umbrella of indie-rock, which is itself difficult to define. But it does seem to me a distinct, 90s-based and feminist-inflected approach to playing that is not shared by other groups. I hope that it could prove promising for future research: if the aesthetic that I have sketched here is coherent, then the next step would be to trace its origins and its effects, both socio-politically and musically. It is also critical to caution that—as a concept that relies on affect—all of the dynamics outlined in this paper, especially the political reading, must be understood as singular and relational. That is to say, if these characteristics hold across several bands, they nevertheless manifest and function in different ways for every case. This is another reason I am eager to explore these dynamics and musicians further in the future. Thanks so much for listening, and I hope to see you out there in the real world someday.

Review essay: Between the Material and the Ephemeral

Review essay: Between the Material and the Ephemeral

Film, Music, Memory, by Berthold Hoeckner

Review| December 01 2021 Film, Music, Memory, by Berthold Hoeckner Film, Music, Memory, by BertholdHoeckner. Cinema and Modernity. Chicago: University of Chicago Press, 2019. viii, 278 pp. Julie Hubbert Julie Hubbert JULIE HUBBERT is the LaDare Robinson Memorial Professor of Music at the University of South Carolina where she holds appointments in both the School of Music and Film and Media Studies. Her current book project, supported by a National Endowment for the Humanities Fellowship, is entitled Technology, Labor, and Listening: Music in New Hollywood Film (1968–1980), and is under contract with Oxford University Press. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2021) 74 (3): 681–687. https://doi.org/10.1525/jams.2021.74.3.681 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Julie Hubbert; Film, Music, Memory, by Berthold Hoeckner. Journal of the American Musicological Society 1 December 2021; 74 (3): 681–687. doi: https://doi.org/10.1525/jams.2021.74.3.681 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the American Musicological Society Search The idea of a “mind’s eye,” of externalizing internal thoughts and memories, has been a preoccupation of writers throughout literature. From Chaucer and Shakespeare to Philip K. Dick and Greg Daniels, who recently penned the 2019 hit Amazon series Upload, writers have long been interested in examining how and why the brain remembers. With the introduction of mechanical remembering devices—photographs, sound recordings, film, television, and streaming media—a parallel “culture of memory” has blossomed. Berthold Hoeckner’s book Film, Music, Memory considers the privileged place cinema has had in this culture. Because of its ability to see and hear, unconsciously record and be consciously edited, film has changed not only the way we dream, but also how we remember and visualize the working of the mind’s eye. Like most film music scholarship, Hoeckner’s study is fundamentally a restoration project. It works to counter film scholarship’s persistent visual bias by reminding critics... You do not currently have access to this content.

Review: Music by Numbers: The Use and Abuse of Statistics in the Music Industries, by Richard Osborne and Dave Laing

Review: <i>Music by Numbers: The Use and Abuse of Statistics in the Music Industries</i>, by Richard Osborne and Dave Laing

The Invention of Latin American Music: A Transnational History, by Pablo Palomino

<i>The Invention of Latin American Music: A Transnational History</i>, by Pablo Palomino

Metropolitan Opera Archives; Traveling Culture: Circuit Chautauqua in the Twentieth Century; Re-envisioning Japan: Japan as Destination in 20th-Century Visual and Material Culture

Review| December 01 2021 Metropolitan Opera Archives; Traveling Culture: Circuit Chautauqua in the Twentieth Century; Re-envisioning Japan: Japan as Destination in 20th-Century Visual and Material Culture Metropolitan Opera Archives. URL: https://www.metopera.org/discover/archives/Traveling Culture: Circuit Chautauqua in the Twentieth Century. Iowa Digital Library, University of Iowa Libraries. URL: https://digital.lib.uiowa.edu/tc/Re-envisioning Japan: Japan as Destination in 20th-Century Visual and Material Culture. JoanneBernardi, Project Director. University of Rochester, River Campus Libraries. URL: https://rej.lib.rochester.edu/ C. A. Norling and Marian Wilson Kimber C. A. Norling and Marian Wilson Kimber C. A. NORLING is a PhD candidate in Musicology at the University of Iowa, where he studies topics related to opera production and reception in the United States. He is currently undertaking dissertation research regarding the civic density of operatic cultures in 1920s Chicago. His work can be found in Opera Journal and a forthcoming volume from Kent State University Press. He was the 2016 recipient of the National Opera Association’s Scholarly Paper Award. MARIAN WILSON KIMBER is Professor of Musicology at the University of Iowa. She is the author of numerous publications on Felix Mendelssohn, Fanny Hensel, and women in music. Her book The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) was the recipient of the Society for American Music’s H. Earle Johnson Subvention. Her current research focuses on the roles of women activists and women’s organizations in American music. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2021) 74 (3): 689–701. https://doi.org/10.1525/jams.2021.74.3.689 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation C. A. Norling and Marian Wilson Kimber; Metropolitan Opera Archives; Traveling Culture: Circuit Chautauqua in the Twentieth Century; Re-envisioning Japan: Japan as Destination in 20th-Century Visual and Material Culture. Journal of the American Musicological Society 1 December 2021; 74 (3): 689–701. doi: https://doi.org/10.1525/jams.2021.74.3.689 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the American Musicological Society Search The ever-growing body of topical research websites ranges from seemingly passive repositories of singular items with varying degrees of description to carefully curated sites that are in themselves acts of digital scholarship. The three sites considered in this review contain digitized artifacts that date primarily from the late nineteenth century through the present, though their contents are more significant for historical understandings of American musical life during the first half of the twentieth century. At the same time, all three collections transcend perceived boundaries, either through their transnational nature or the wide variety of their materials, or because the historical activities associated with their content have fallen between disciplinary fields. While the Metropolitan Opera Archives website highlights the history of a well-known cultural institution and is thus the most predictable in the kinds of comprehensive information it provides, Traveling Culture and Re-envisioning Japan, whose usefulness for music scholars is perhaps... You do not currently have access to this content.

YORUBA ART MUSIC: FRONTING THE PROGENITORS

The bedrock of music genres in Africa today remains the traditional music. The westernformal music education embraced by African schools during and after the scramble forAfrica by the northern hemisphere has given ‘colorations’ to music genres both in theclassroom and the larger society. Its legacies are found more in popular music. The mostinteresting thing is that essence of music remains undaunted in the faces of all newformalities in the educational system. Music still lives on stage and not on paper. This paperemerges as a derivative of the Yoruba Art Music (YAM) festival premiered in 2015 at theUniversity of Ibadan, Nigeria. With bibliographical evidences and substantial interactionwith a non-Yoruba speaking music scholar this paper sufficed that the YAM festival is worthdoing and is capable of solving other attendant issues in music scholarship.

The specificity of improvisation parts in Italian baroque aria da capo

Purpose of the Article. The main attention in the article is focused on the peculiarities of improvisation methods that were used in the third part and in the Cadenzas of aria da capo in baroque Italy. The characteristic features of vocal improvisation space in opera atr of Italian baroque have been explored and defined. In particular, the specificity of baroque ornamental improvisation in the aria's third part has been defined; the differences between baroque and renaissance improvisation have been clarified; the essence of the theory of affects (feelings, emotions) as an aesthetic and philosophical context of vocal art's existence in the baroque era has been defined; the peculiarities of an existing connection between the theory of effects and the main principles of the rhetoric of that time have been clarified; we have also found out how the rhetoric of the baroque era affected the disposition of Cadenzas in the context of musical structure's dramaturgy; the historical circumstances in which the genre discussed (that is, aria da capo) was formed have been described. Мethodology. We have used in our study as research tools the following methods: a comparative method (for comparing of improvisation stylistics of the renaissance and of the baroque era; of the Venice and Neapolitan operatic schools); a historical and stylistic method (for featuring of the historical context of the emergence and performing of arias da capo and of their Cadenzas and for characterizing of the essencial features of the epoch analyzed); an analytical and descriptive method (for the analysis of particular elements of improvisation in arias da capo, of the key principles of the theory of effects and their connection to baroque improvisation). Scientific novelty. The topic of the article is connected to the largely unexplored nowadays realm of music artists that, however, needs careful analysis and a systematic approach. The up-to-date research results in the sphere of vocal improvisation of the baroque era are presented and analyzed in the article. Conclusions. Improvisation in the space of aria da capo is a multidimentional, controversial, and ambiguous sphere of baroque vocal art. It cannot confine itself only by the sphere of performance but also deserves music scholars' regard.

Writing Orisha Music: Text, Tradition, and Creativity in Afro-Cuban Liturgy

This essay examines the flow of music associated with orisha—anthropomorphic deities—across networks defined variously by art, scholarship, folklore, and religion, all of which overlap and nourish each other. Transmitted via oral tradition, written texts, and multimedia technologies, a handful of orisha-themed songs are analyzed as case studies in the subtle nexus of liturgy and cultural authenticity. Taken together, the songs shed light on a broader phenomenon in which creatively-minded, ostensibly-secular iterations of culture play a significant role in the dissemination and ongoing codification of ritual orthodoxy. Orisha music traditions are analyzed as a fertile ground for a multitude of devotional and/or artistic expressions, many of which have a particularly ambiguous relationship to the concept of religion. In this context, the fluid movements of orisha music between ostensibly sacred and secular contexts can be usefully understood as not only common, but as a conspicuous and characteristic aspect of the tradition. The essay’s structure and rhetorical strategies offer distinct layers of cultural and historical commentary, reflecting a multi-vocal tradition of exchanges among orisha music scholars, artists, and ritual experts. The essay’s historical analysis of orisha music further suggests that a host of subtle, seldom-discussed phenomena—multilingualism, liturgical ambiguity, and transmission via multimedia technologies—are not necessarily aberrant or irregular, but rather vital themes which have resonated clearly across the Afro-Atlantic for at least a century. By obligating us to attend to both musical meaning and cultural context, the essay’s case studies of orisha music shed light on the mingling and synthesis of elements from varied historical sources, languages, and cultural idioms, each of which represent distinct notions of tradition, creativity, religiosity, and secularism.

The Rocktalog: Scholars Celebrating &amp; Inhabiting Musicians

The Rocktalog brings together scholars’ reflections on a selection of musicians from different styles, along with a range of imagined dialogues and statements from the artists themselves, some remixed and some improvised. Edited by Geoffrey V. Carter, this collection of sixteen works draws on “The Octalog,” a lively panel discussion at the CCCC’s in 1988, later published as “Octalog I” in Rhetoric Review. Reimaginging this original “electric” dialogue as an ongoing conversation between musicians and musical scholars, The Rocktalog asks questions about the roles of remix, conversation, and composition in engaging with music and musical artists. Each reflection features a mix of audio tracks, original essays and transcripts.

Review: Hungry Listening: Resonant Theory for Indigenous Sound Studies, by Dylan Robinson

Review: <i>Hungry Listening: Resonant Theory for Indigenous Sound Studies</i>, by Dylan Robinson

Editors’ Note

Editors’ Note

Art Music, Perfection and Power: Critical Encounters with Classical Music Culture in Contemporary Cinema

During the last three decades music scholars have provided a growing amount of critical accounts of what they contend is a fundamental conceptual support behind the performance of classical music, namely the belief in aesthetically autonomous and endurable musical works free-standing from any cultural and social context.&amp;nbsp;According to this ontology, the primary obligation of the performer is to present and interpret the musical work, a performance ideal that has been claimed to foster a musical culture obsessed with perfectionism and permeated by problematic relations of power. Such critical assessments have&amp;nbsp;of late migrated beyond the academic discourses of music scholars into the venues of popular culture, a phenomenon evidenced in particular by a variety of recently released feature films.&amp;nbsp;This article argues that current screen media representations of classical musicians are involved&amp;nbsp;in a complex critical dialogue with&amp;nbsp;deep-rooted aesthetic&amp;nbsp;ideologies clustering around classical music&amp;nbsp;and its performance.&amp;nbsp;Although such representations advance a view of classical music culture as being deeply permeated by structural inequalities, performance anxiety and unreasonably high standards of perfection, they do not necessarily reject the notion of the musical work or devalue the high-art status and emancipatory potential traditionally ascribed to classical music.

Music achievements of being an English chorister

AbstractThis study aims to highlight the uniqueness of the English choristers’ education, what special musical skills it passes on to youngsters and how these may help them in later life. It investigates the perceptions of 30 ex-choristers who attended a broad selection of English choir schools between 1940 and 2010 using semi-structured interviews. The findings showed that music training of choristers forms a solid foundation to enhance the development of an all-round musicianship. In particular, it gives them significant sight-reading skills due to the huge volume of rehearsals and public performances. Although in most cases their instrumental skills are not sufficient for them to become professional soloists in their instrument, many ex-choristers found it relatively easy to achieve a music scholarship or pursue a music career if they wanted. Many of them retained a passion for music which was not necessarily limited to choral singing. The findings are considered in relation to the possible reasons for this, and the implications for education.

Cursed Questions: On Music and Its Social Practices, by Richard Taruskin

Book Review| August 01 2021 Cursed Questions: On Music and Its Social Practices, by Richard Taruskin Cursed Questions: On Music and Its Social Practices, by RichardTaruskin. Oakland: University of California Press, 2020. 450 pp. Philip V. Bohlman Philip V. Bohlman PHILIP V. BOHLMAN is Ludwig Rosenberger Distinguished Service Professor in Jewish History in the Music Department and the Humanities Division of the University of Chicago, where he also serves as Artistic Director of the cabaret New Budapest Orpheum Society, an ensemble-in-residence. Among his most recent books are Wie sängen wir Seinen Gesang auf dem Boden der Fremde! (LIT, 2019) and Wolokolamsker Chaussee (Bloomsbury, 2021). Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2021) 74 (2): 431–435. https://doi.org/10.1525/jams.2021.74.2.431 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Philip V. Bohlman; Cursed Questions: On Music and Its Social Practices, by Richard Taruskin. Journal of the American Musicological Society 1 August 2021; 74 (2): 431–435. doi: https://doi.org/10.1525/jams.2021.74.2.431 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the American Musicological Society Search I have always thought that Richard Taruskin would find the work of Robert Lachmann (1892–1939) much to his liking. Lachmann might well feature in the dramatis personae of earlier intellectuals and music scholars, many of whom appear in the pages of Cursed Questions as remarkable intellectuals whose contributions to thinking about music often emanated at a distance from the more orthodox traditions of music history and historiography. From the opening pages of Taruskin’s “Introduction,” in which the reader meets “the poet and underground revolutionary Mikhaíl Larionovich Mikhailov,” to more contemporary analytical thought in Lev Koblyakov’s Pierre Boulez studies (chapter 9, “Unanalyzable, Is It?”), to the unexpectedly modern historical position staked out... © 2021 by the American Musicological Society. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2021American Musicological Society You do not currently have access to this content.

Music and the Challenges of Socio-Economic Inequalities in Nigeria: ‘The Small People’s Anthem’ By Sẹ́gun Akinlolú as a Case Study

Popular music scholarship has tended towards romance, wealth accumulation. Adequate attention has not been paid to the contributions of popular music to fight against socio-economic inequalities of various forms in Nigeria. Inequalities of various forms are part of the realities of life across climes. However, challenges of socio-economic inequalities in Nigeria and other developing countries are particularly more problematic considering the ever-widening gap between the haves and have nots in these countries. While many of the advanced countries of the world have introduced several efforts to mitigate the effects of inequalities on their citizens through the introduction of social safety nets in the area of conditional cash transfer, housing and educational system, the same could not be said about Nigeria and other sub-Sahara countries. The introduction of the Structural Adjustment Programmes of 1986 and the concomitant retrenchment of welfare services in Nigeria has since, exacerbated socio-economic challenges in the country. In addition to the efforts of the constituted governments at various levels in Nigeria, several attempts are also being made between the country and the developed countries of the world both at multilateral and bilateral levels to combat the problem of socio-economic inequalities. This study, therefore, employed archival and library methods of data collection to thematically analyzed the roles of music in combating the ever-increasing socio-economic inequalities in Nigeria, using Sẹ́gun Akinlolú’s music, ‘Small Peoples’ Anthem’ as a point of reference. The study concludes that awareness of the populace about the menace of socio-economic inequalities and their various forms remains inadequate among Nigerians. Improved advocacy and deliberate government actions are viewed as a panacea to the problem of inequality in the country.

Music Index with Full Text

Music Index with Full Text is an expansion of Music Index (formerly The Music Index Online), an EBSCO music periodical database that provides comprehensive coverage of the music field from 1970 to the present. Over 800 journals are indexed, and coverage includes various music styles and topics. Music Index with Full Text has added full text journal coverage from approximately 200 journals.The EBSCO interface is familiar to many users and offers easy integration with other heavily used music databases, such as RILM and RIPM. While the sheer size of citations and variety of music materials and styles is beneficial, Music Index might not be as useful to researchers focusing purely on historical music scholarship. The addition of full text journals is welcome, but the content of the journals varies widely in scope and content.