The Musicology Review
Since its inaugural edition in 2004, The Musicology Review has sought to nurture, disseminate and promote the exciting work being carried out by undergraduate, postgraduate, and early career researchers in educational institutions in Ireland and beyond. The launch of issue ten in November 2021, following a five-year hiatus in publication, is particularly auspicious: it demonstrates the resilience of the discipline and proves that not even a global pandemic can still the voice of musicological discourse.
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The Musicology Review Issue 10
Issue ten of The Musicology Review (Full edition). Request a copy by post here.
“Foreword” by Harry White, iii–vi.
“The Grand Illusion: Listening to Tchaikovsky’s Symphonie Pathétique” by Ciarán Crilly, vii–xxii.
“The Psalm Tune Repertory of Eighteenth-Century Dublin: Sources, Concordances, and Cultural Significance” by Eleanor Jones-McAuley, 1–30.
“Antonio Salieri’s Musical Recycling: Europa Riconosciuta, Tarare, and Cesare in Farmacusa” by Ellen Stokes, 31–54.
“‘1910’: Ethel Smyth’s Unsung Suffrage Song” by Hannah Millington, 55–76.
“A.J. Potter: New Perspectives and Connections Revealed Through his Life, Words, and Music” by Sarah M. Burn, 77–106.
“Pragmatist Aesthetics as a Framework for Analysing Improvised Music” by Charles Watkins, 107–128.
“Distinguishing Characters: The Use of Pop and Western Art Music in Fernando Meirelles’ The Two Popes (2019)” by Anika Babel, 129–158.
“CONFERENCE REVIEW: Joint Plenary Conference of the Society of Musicology in Ireland and the Irish Chapter of the International Council for Traditional Music” by Fiona Baldwin, 161–164.
“BOOK REVIEW: Music, Pantomime and Freedom in the French Enlightenment by Hedy Law (2020)” by Tomos Watkins, 165–169.