repercussions, Spring-Fall 1999-2000, Vols. 7-8

Crossing Over

Front Matter PDF

John Shepherd, Jocelyne Guilbault, P. Murray Dineen, ”Introduction” PDF

PART I: INSTITUTIONS, IDEOLOGIES, POSITIONS, AND POWER

David Gramit, “The Roaring Lion: Critical Musicology, the Aesthetic Experience, and the Music Department” PDF

P. Murray Dineen, “Adorno, Jitterbug, and the Adequate Listener” PDF

Richard Middleton, ”Who May Speak? From a Politics of Popular Music to a Popular Politics of Music” PDF

John Shepherd and Peter Wicke, ”Re-Thinking Music: Disciplinary Implications” PDF

PART II: MUSIC AND ECONOMIES OF EXCHANGE

Will Straw, ”Music as Commodity and Material Culture” PDF

Regula Burckhardt Qureshi, “Confronting the Social: Mode of Production and the Sublime in Hindustani Music” PDF

Gary Tomlinson, ”Montaigne’s Cannibals’ Songs” PDF

PART III: PERFORMING SEXUALITY AND GENDER

Philip Brett, ”Piano Four Hands: Schubert and the Performance of Gay Male Desire” PDF

Lori Burns, ”Genre, Gender, and Convention Revisited: k. d. lang’s Cover of Cole Porter’s ‘So in Love’” PDF

PART IV: SOLIDARITIES AND IDENTITIES THROUGH MUSIC

George Lipsitz, “The History of the Present is Not Being Written: Music and Memory in the Transnational Economy” PDF

Line Grenier and Jocelyne Guilbault, “Créolité and Francophonie in Music: Socio-Musical Repositionings Where It Matters” PDF

Beverley Diamond, “Theory from Practice: First Nations Popular Music in Canada” PDF

Contributors PDF

 

 

 

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