Recent Departmental Publications

Listed below are citations for publications and recordings of UNC Chapel Hill Music Department faculty, graduate students, and alumni which are held in the Music Library. Citations are displayed for the most recent four years only. Reviews of works by UNC authors are listed under the author’s name rather than reviewer’s name. While we do not claim that this is a complete list, we have tried to be as comprehensive as possible within these parameters. Periodical articles and reviews are listed under the year the issue actually appeared. Any additions or corrections may be sent to Diane Steinhaus, Music Librarian for Public Service.


2020 || 2019 || 2018 || 2017


2020

Bonds, Mark Evan. The Beethoven Syndrome: Hearing Music as Autobiography. New York: Oxford University Press, 2020. [ML3800 .B75 2020].

_____. “‘Wozzeck’s Worst Hours’: Alban Berg’s Presentation Copy of Wozzeck to Eduard Steuermann.” Notes: Quarterly Journal of the Music Library Association vol. 76, no. 4 (2020): 527–34.

Reali, Christopher M. Review of Crooked River City: The Musical Life of Nashville’s William Pursell. By Terry Wait Klefsted. Jackson: University Press of Mississippi, 2018.[ML410.P966 K54 2018].  Notes vol.77, no.1 (September 2020) [Full Text].

2019

Álamo, Juan & Marimjazzia. Ruta Panoramica. Summit Records DCD741, 2019, CD. [CD-31,961].

Bartig, Kevin. (Ph.D. 2008). Sergei Prokofiev’s Alexander Nevsky. New York, NY: Oxford University Press, 2017 [ML410 .P865 B37 2017] Reviewed by Terry L. Dean in Notes vol 75, no. 4 (2019): 657-659 [Full Text].

Bidgood, Lee. (BA 2001). Review of Prague Soundscapes. By Zuzana Jurková. Prague: Karolinum Press, 2014 [ML 3499.09 J87 2013]  Journal of the Society for Ethnomusicology, vol. 63, no.2  (Summer 2019), pp. 344-346 [Full Text].

Bohlman, Andrea F. “Classical Music in Poland.” In The Handbook of COURAGE: Cultural Opposition and Its Heritage in Eastern Europe, 293–98. Ed. Balázs Apor, Péter Apor, and Sándor Horváth. Bratislava: Comenius University, 2019. [Full Text].

_____. “Poland: Contemporary Performance Practice.” In The SAGE International Encyclopedia of Music and Culture, 1708–9. Ed. Janet Sturman. Thousand Oaks, CA: SAGE, 2019. [Full Text].

Bonds, Mark Evan. “Life, Liberty, and the Pursuit of Happiness: Revolutionary Ideals in Narratives of the ‘Farewell’ Symphony.” In Joseph Haydn & die “Neue Welt”: Musik- und Kulturgeschichtliche Perspektiven, 283–301. Ed. Walter Reicher and Wolfgang Fuhrmann. (Eisenstädter Haydn Berichte, 11). Vienna: Hollitzer, 2019.

_____. “Turning Liebhaber into Kenner: Johann Nikolaus Forkel’s Lectures on the Art of Listening, ca. 1780–1785.” In The Oxford Handbook of Music Listening in the 19th and 20th Centuries, 145-62. Ed. Christian Thorau and Hansjakob Ziemer. New York: Oxford University Press, 2018 [ML 3916. O968 2019].

Busman, Joshua. (Ph.D. 2005). “From Hipster to Hillbilly: Death, Bluegrass, and Gospel According to David Crowder.” Journal of the Society for American Music, vol. 13, no.3 (2019): 338-358 [Full Text].

Ebright, Ryan. (Ph.D. 2014). “Doctor Atomic or: How John Adams Learned to Stop Worrying and Love Sound Design.” Cambridge Opera Journal 31, no. 1 (2019): 85–117 [Full text]

_____.“We are not trying to make a political piece’: The Reconciliatory Aesthetic of Steve Reich and Beryl Korot’s The Cave.” In Rethinking Reich, edited by Sumanth Gopinath and Pwyll ap Siôn, 93–109. New York and Oxford: Oxford University Press, 2019 [Full Text]

Flory, Andrew. (Ph.D. 2006). I Hear a Symphony: Motown and Crossover R&B. Ann Arbor: University of Michigan Press, 2017. [ML.3792.M67 F56 2017]. Reviewed by by Charles L. Hughes, Journal of the Society for American Music, vol. 13, no. 2 (2019): 232-233 [Full Text].

Francis, Kimberly A. (Ph.D. 2010). ed. Nadia Boulanger and the Stravinskys: A Selected CorrespondenNce. Rochester, University of Rochester Press, 2018. [ML 423 .B52 A4 2018] Reviewed by Kendra Preston Leonard in Fontes Artis Musicae 66/1 (January – March 2019): 67-69 [Full Text]

Katz, Mark. Build: The Power of Hip Hop Diplomacy in a Divided World. New York, NY: Oxford University Press, 2019. [ML3918.R37 K37 2019].

Kramer, Elizabeth (Ph.D. 2005) Review of Cultivating String Quartets in Beethoven’s Vienna. By Nancy November. Woodbridge, UK; Rochester, NY, USA: The Boydell Press, 2017. [ML1160.N68 2017]. Notes.Vol.76, No.2. (December 2019).

Laird, Paul (Ph.D. 1986) and Hsun Lin. Historical Dictionary of Leonard Bernstein. Lanham, MD: Rowman & Littlefield, 2019. [ML410.B566 L36 2019]

Li, Zhizhi (Stella). “Peking Opera (Beijing Opera, jingju),” Oxford Bibliographies Online, 27 March 2019 [Full Text].

MacNeil, Anne. “‘I’ve Said Too Much’: Canon Antonio Ceruto’s Descriptions of Music and Theater in Mantua, 1597.” In Itinera chartarum: 150 anni dell’Archivio di Stato di Mantova, 386-393. Ed. Roberta Piccinelli, Deanna Semek, and Luisa Onesta Tamassia. Cinisello Balsamo, Milano: Silvana Editoriale, 2019. [CD1655.M36 I85 2019 c. 2]

Ndaliko, Chérie Rivers. Necessary Noise: Music, Film, and Charitable Imperialism in the East of Congo. New York: Oxford University Press, 2016. [ML 350.5 .N32 2016]. Reviewed by Michelle Kisliuk in Journal of the Society for Ethnomusicology, vol. 63, no.2 (Summer 2019), 331-339 [Full Text].

Robin, William. (Ph.D. 2016) “Horizons ’83, Meet the Composer, and New Romanticism’s New Marketplace.” The Musical Quarterly, vol. 102, no. 2-3 (Summer-Fall 2019), 158–199 [Full Text].

Scott, Amanda J.  (MA 2007) “The National Union Catalog, Pre-1956 Imprints as a Primary Source for Historical Research in Music.” Notes, vol.76, no.2 (December 2019).

Segretario, Michele. (MA 2017) “A Fickle Soundscape: The Fisherman’s Feast in Boston’s North End.” Italian American Review, vol 9, no. 1 (2019): 113-130.

Sewright, Kathleen. (Ph.D. 2008) “A Medieval Manuscript and Multispectral Imaging. The San Lorenzo Palimpsest: Florence, Archivio del Capitolo di San Lorenzo, Ms. 2211, edited by John Nadas, Ars Nova, nuova serie, vol.IV.” Notes, vol.75, no.3 (March 2019) [Full Text].

Tomlinson, Sarah. “Folk Songs at the North Carolina Symphony: Engaging Students with Primary Sources on Music and Gender.” Music Educator’s Journal vol. 106, no. 2 (December 2019): 18-21. [Full Text].

Turner, Kristen M. (Ph.D. 2015) “Blue Monday and New York Theatrical Aesthetics.” In The Cambridge Companion to Gershwin, 59-79. Ed. Anna Harwell Celenza. Cambridge: Cambridge University Press, 2019. [ML410 .G288 C26 2019]

Walker, Jennifer. (Ph.D. 2019) Review of The Many Faces of Camille Saint-Saëns, edited by Michael Stegemann. Ad Parnassum: A Journal of Eighteenth- and Nineteenth-Century Instrumental Music 17/33 (April 2019), pp. 92-93. [Full Text].

Zeiss, Laurel E. (Ph.D. 1999) Review of Mozart in Vienna: The Final Decade. By Simon P. Keefe. Cambridge, United Kingdom ; New York, NY : Cambridge University Press, 2017. [ML410.M9 K24 2017]. Notes vol.76, no.2. (December 2019)[Full Text].

 

2018

Bonds, Mark Evan. “The Court of Public Opinion: Haydn, Mozart, Beethoven.” In Beethoven und andere Hofmusiker seiner Generation: Bericht über den internationalen musikwissenschaftlichen Kongress, Bonn, 3. bis 6. Ed. by Birgit Lodes, Elisabeth Reisinger, and John D. Wilson. Bonn: Beethoven-Haus, 2018, pp. 7-24. [ML410.B42 B448 2018]

Review of Censorship, Translation and English Language Fiction in People’s Poland. By Robert Looby. Slavic and East European Journal 62, no. 3 (2018): 625–27. [Full Text].

Bohlman, Andrea F. Review of Lemonade. By Beyoncé. Jahrbuch Musik und Gender (2018): 166–67.

_____. Review of Cultural Histories of Noise, Sound and Listening in Europe, 1300–1918. Ed. Ian Biddle and Kirsten Gibson. EuropeNow (Fall 2018). [Full Text].

_____. “Das Radio als Wunder—Das Radio im Alltag.” In Radiophonic Culture, 279–85. Ed. Ute Holl. Heidelberg: Kehrer Verlag, 2018.

_____. “Lutoslawski’s Political Refrains.” In Lutoslawski’s Worlds. Ed. by Lisa Jakelski and Nicholas Reyland. Woodbridge, UK: Boydell and Brewer, 2018, pp. 273-300.

_____. “Orienting the Martial: Mobility and the Nineteenth-Century Legion Song.” In Hearing the Crimean War: Wartime Sound and the Unmaking of Sense, 105-28. Ed. Gavin Williams. New York: Oxford University Press, 2018. [Full Text].

Brackett, John (Ph.D. 2003), Ciro Scotto, and Kenneth M. Smith, eds. The Routledge Companion to Popular Music Analysis: Expanding Approaches. Boca Raton, FL: Routledge, 2018. [Full Text]

Carter, Tim. “Listening to Music in Early Modern Italy: Some Problems for the Urban Musicologist.” In Hearing the City in Early Modern Europe. Ed. Tess Knighton & Ascensión Mazuela-Anguita. Turnhout and Tours: Brepols, 2018, pp. 25-49 [ML 240 .H43 2018]

_____. “Opera Arias On and Off the Stage: The Strange Case of Handel’s ‘Lascia ch’io pianga.'” In Music on Stage, 3:5-17. Ed. Fiona Jane Schopf. Newcastle-upon-Tyne (U.K): Cambridge Scholars Publishing, 2018.

Ebright, Ryan. (Ph.D 2014). “Philip Glass.” In Oxford Bibliographies in Music, edited by Bruce Gustafson. New York: Oxford University Press, 2018 [Full Text].

Flory, Andrew. (Ph.D. 2006). I Hear a Symphony: Motown and Crossover R&B. Ann Arbor: University of Michigan Press, 2017. [ML.3792.M67 F56 2017]. Reviewed by by Christopher M. Reali, Notes, vol.75, no. 2 (2018): 272-275. [Full Text]

Francis, Kimberly A. (Ph.D. 2010), ed. Nadia Boulanger and the Stravinskys: A Selected Correspondence. Rochester, University of Rochester Press, 2018. [ML 423 .B52 A4 2018] Reviewed by Arnold Whittall, “Making it modernist,” The Musical Times vol. 159 no. 1944 (Autumn 2018), pp. 117 – 120 [Full Text]

_____. “A Woman’s Critical Voice: Nadia Boulanger and Le Monde musical, 1919-1923.” In Music Criticism in France, 1918-1939. Ed. Barbara L. Kelly and Christopher Moore. Woodbridge: The Boydell Press, 2018. [ML 270.5 .M875 2018]

Garcia, F. David. Review of Salsa Rising: New York Latin Music of the Sixties Generation. By Juan Flores. New York: Oxford University Press, 2016. [Online] Journal of the Society for American Music 12/4 (November 2018), pp. 508-511 [Full Text]

Guberman, Daniel (Ph.D. 2012) “Massive Scar Era, Heavy Metal, and Two Tyrannies.” in Tyranny and Music. Edited by Joseph E. Morgan and Gregory N. Reish. Lanham, Maryland: Lexington Books, 2018, pp. 183-198 [ML 3916 .T97 2018]

Laird, Paul (Ph.D. 1986). Review of La música en el siglo XVII. Edited by Álvaro Torrente. (Historia de la música en España e Hispanoamérica, vol. 3.) Madrid: Fondo de Cultura Económica, 2016. Notes: Quarterly Journal of the Music Library Association 74/4 (2018), pp. 644-647 [Full Text]

_____. Review of Music Theater and Popular Nationalism in Spain: 1880-1930. By Clinton D. Young. Baton Rouge, Louisiana State University Press, 2016. [ML1747 .Y68 2016] Notes: Quarterly Journal of the Music Library Association 74/3 (2018), pp. 412-414 [Full Text]

Merhens, Christopher E. (Ph.D. 1998). Review of “Oh ma Carmen”: Bizet’s Fateful Gypsy in Portrayal From 1875 to the Present. By Victoria Etnier Villamil. Jefferson, NC: McFarland & Company, 2017. [ML410 .B62 V57 2017] Music Reference Services Quarterly 21/2 (2018), pp. 105-107 [Full Text]

Stimeling, Travis (Ph.D. 2007). Review of A Song to Save the Salish Sea: Musical Performance as Environmental Pedagogy. By Mark Pedelty. Bloomington: Indiana University Press, 2016. [ML3799.3 .P44 2016] Notes: Quarterly Journal of the Music Library Association 74/3 (2018), pp. 418-420 [Full Text]

_____. Songwriting in Contemporary West Virginia: Profiles and Reflections. Morgantown: University of West Virginia Press, 2018. [ML385 .S735 2018]

Tomlinson, Sarah. “Singing the Archive in the Schoolroom: A Collaboration between the Library of Congress and the Global Scholars Academy.” Library of Congress Folklife Today Blog, September 7, 2018. [Full Text].

_____. Review of The Oxford Handbook of Children’s Musical Cultures. Ed. Patricia Shehan Campbell and Trevor Wiggins. Music & Letters vol. 99, no. 1 (2018): 143-5. [Full Text].

2017

Álamo, Juan. La querendona. [M298.A39 Q4 2017] Greensboro: C. Alan Publications, 2017

Arte psallentes – John Nádas: Studies in Music of the Tre- and Quattrocento, collected in honor of his 70th birthday. Lucca, Italy: Libreria musicale italiana, 2017. [ML290.2 .N33 2017]

Bartig, Kevin (Ph.D. 2008). “Commentary and Observations on Le sacre in Russia: An Overview.” The Rite of Spring at 100. Ed. by Severine Neff, Maureen Carr, and Gretchen Horlacher with John Reef. Indiana University Press, 2017, pp. 181-188 [ML410 .S932 R5 2017]

_____. Sergei Prokofiev’s Alexander Nevsky. New York, NY: Oxford University Press, 2017 [ML410 .P865 B37 2017]

Bohlman, Andrea F. “Making Tapes in Poland: The Compact Cassette at Home.” Twentieth-Century Music 14/1 (2017), pp. 119 – 134 [Full Text]

_____. Review of Sonic Anarchy on Display: Critical Constellations of the Audio-Machine in Mexico, curated by Carlos Prieto Acevedo. Sound Studies: an Interdisciplinary Journal 3/1 (2017), pp. 90-93 [Full Text]

_____. “Tape: Or, Rewinding the Phonographic Regime,” with Peter McMurray. Twentieth-Century Music 14/1 (2017), 3-24 [Full Text]

_____. with Amanda Black. “Resounding the Campus: Pedagogy, Race, and the Environment.” Journal of Music History Pedagogy 8/1 (2017): 6-27.

Bonds, Mark Evan. “Irony and Incomprehensibility: Beethoven’s ‘Serioso’ Quartet and the Path to the Late Style.” Journal of the American Musicological Society 70/2 (Summer 2017): 285-356. [Full Text]

_____. Listen to This. 4th ed. Hoboken, NJ: Pearson, 2017.

_____.”Synopsis” and “Reply to My Critics” in Book Symposium for Absolute Music: The History of an Idea, by Mark Evan Bonds. New York: Oxford University Press, 2014 [ML3854 .B66 2014] British Journal of Aesthetics 57 (2017), pp. 67-69, 97-101.

_____. “Beethoven, Friedrich Schlegel und der Begriff der Unverständlichkeit.” In Utopische Visionen und Visionäre der Kunst: Beethovens “Geistiges Reich” Revisited, 127-37. Ed. William Kinderman. Vienna: Verlag der Apfel, 2017. [ML410.B42 B447 2017]

Brannon, Samuel J (Ph.D. 2016). Review of Materialities: Books, Readers, and the Chanson in Sixteenth-Century Europe. By Kate van Orden. New York: Oxford University Press, 2015. [ML112 .V34 2015 & Online Full Text] Notes: Quarterly Journal of the Music Library Association 74/1 (September 2017), pp.69-71 [Full Text]

Carter, Tim. Rodgers and Hammerstein’s Carousel. New York, NY: Oxford University Press, 2017 [ML410 .R6315 C39 2017]

_____. “Whose Voice is It Anyway? Jacopo Peri and the Subjectivities of Florentine Solo Song.” Basler Jahrbuch für historische Musikpraxis 35/36 (2011-2012; published 2017), pp. 127-138. [ML5 .B36]

Citron, Marcia J (Ph.D. 1971). Review of Technology and the Diva: Sopranos, Opera and Media from
Romanticism to the Digital Age. Ed. by Karen Henson. Music and Letters 89/4 (November 2017), pp. 678-681 [Full Text]

Cusick, Suzanne G (Ph.D. 1975). “Musicology, Performativity, Acoustemology.” in Theorizing Sound Writing. Ed. by Deborah Kapchan. Wesleyan University Press, 2017, pp. 25-45 [ML3797 .T46 2017]

Ebright, Ryan (Ph.D. 2014). “My Answer to What Music Theatre Can Be”: Iconoclasm and Entrepreneurship in Steve Reich and Beryl Korot’s The Cave” American Music 35.1 (Spring 2017): 29-50 [Full Text]

Fauser, Annegret. Aaron Copland’s Appalachian Spring. New York: Oxford University Press, 2017 [ML410 .C756 F38 2017] Reviewed by Arnold Whittall, “Making it modernist,” The Musical Times vol. 159 no. 1944 (Autumn 2018), pp. 117 – 120 [Full Text]

_____. “Edward J. Dent (1932-1949).” in The History of the IMS (1927 – 2017). Ed. by Dorothea Baumann and Dinko Fqabris. Basel: Barenreiter, 2017, pp. 45-49 [ML26 .I64 2017]

_____. “Le sacre du printemps: A Ballet for Paris.” The Rite of Spring at 100. Ed. by Severine Neff, Maureen Carr, and Gretchen Horlacher with John Reef. Indiana University Press, 2017, pp. 83-97 [ML410 .S932 R5 2017]

_____. “Some Challenges for Musicological Internationalism in the 1930s.” in The History of the IMS (1927 – 2017). Ed. by Dorothea Baumann and Dinko Fqabris. Basel: Barenreiter, 2017, pp. 20-24 [ML26 .I64 2017]

_____. “Sounding the Tricolore: France the United States During World War II.” Les Cahiers de la Société Québécoise de Recherche en Musique 16/1-2 (2015; published in 2017), pp. 9 – 21 [Full Text]

Flory, Andrew. (Ph.D. 2006). I Hear a Symphony: Motown and Crossover R&B. Ann Arbor: University of Michigan Press, 2017. [ML.3792.M67 F56 2017]

Francis, Kimberly (Ph.D. 2010). Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. New York, NY: Oxford University Press, 2015. [ML423.B52 F73 2015] Reviewed by Caroline Potter in Journal of the American Musicological Society 70/3 (2017), pp. pp. 866-870 [Full Text]

Garcia, David F. Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins. Durham, NC: Duke University Press, 2017. [ML3479 .G37 2017 & Full Text

_____. Review of Machito and His Afro-Cubans. Selected Transcriptions. Ed. by Paul Austerlitz and Jere Laukkanen. Middleton, WI: American Musicological Society, 2016 [M2.3.U6 R4 v.78 v.78] Notes: Quarterly Journal of the Music Library Association 73/4 (June 2017), pp. 777-781 [Full Text]

Graber, Noami (Ph.D. 2013). “Do You Hear the People Sing?: Theater and Theatricality in
the Trump Campaign.” American Music 35.4 (Winter 2017), pp. 435-445 [Full Text]

_____. Review of Liaisons: Re-imagining Sondheim from the Piano. By Anthony de Marie. ECM New Series, 2015. CD. [M32.8 .L53 2017] Journal of the Society for American Music 11/4 (October 2017), pp. 523-524. [Full Text]

Jay, Christi. “‘A Dreadful Bit of Silliness’: Feminine Frivolity and Ella Fitzgerald’s Early Critical Reception. Women and Music, vol. 21 (2017): 43-65. [Full Text]

Katz, Mark. “The Case for Hip-Hop Diplomacy.” American Music Review. Vol. XLVII, no.2 (Spring 2017). [Full Text]

_____. Music, Sound, and Technology in America. Co-edited with Timothy Taylor and Tony Grajeda. Durham, NC: Duke University Press, 2012. [ML3917 .U6 M89 2012 & Full Text] Reviewed by Anne K. Rasmussen. Ethnomusicology 61.1 (Winter 2017), pp. 153-156 [Full Text]

Laurance, Emily (Ph.D. 2003). Review of The History of the Erard Piano and Harp in Letters and Documents, 1785–1959. Edited by Robert Adelson, Alain Roudier, Jenny Nex, Laure Barthel, and Michel Foussard, 2015. [ML404 .H57 2015 v.1 & v.2] Notes: Quarterly Journal of the Music Library Association 73/3 (January 2017), pp. 559-561 [Full Text]

Litwin, Stefan. “Kinderszenen. Notizen zu einer Aktualisierung (Stefan Litwin im Gesprach mit Christoph Keller).” in Bewegtes und Bewegendes: Der Motiv-Begriff in Künsten und Wissenschaften. Berlin: Weidler Buchverlag, 2017 [ML3800 .B54 2017], pp., 161-172

McCoy, Charlie. with Travis D. Stimeling (Ph.D. 2007). Fifty Cents and a Box Top: The Creative Life of Nashville Session Musician Charlie McCoy. [ML419 .M355 A3 2017] Morgantown: West Virginia University Press, 2017.

Mantz, Stephen (M.A. 1994). Review of Sourcebook for Research in Music. By Allen Scott. [ML113 .S46 2015] Notes: Quarterly Journal of the Music Library Association 73/3 (March 2017), pp. 565-567 [Full Text]

Neal, Jocelyn R. “Whither the Two-Step: Country Dance Rewrites its Musical Lineage.” The Oxford Handbook of Country Music. Ed. Travis Stimeling. Oxford: Oxford University Press, 2017, pp. 439-460 [Full Text]

Nosow, Robert (Ph.D. 1992). Review of I Kyrie di Tr93. Edited by Antonio Chemotti, 2014 [M2019.2 .K95 2014] Notes: Quarterly Journal of the Music Library Association 73/3 (March 2017), pp. 587-591 [Full Text]

Proksch, Brian (Ph.D. 2006). Review of Beethoven’s Symphonies: An Artistic Vision. By Lewis Lockwood. New York: W. W. Norton, 2015. [ML410.B42 L62 2015] Notes: Quarterly Journal of the Music Library Association 74/1 (September 2017), pp. 100-102 [Full Text]

_____. Review of Nation and Classical Music: From Handel to Copland. By Matthew Riley and Anthony D. Smith. Woodbridge, Suffolk, UK : The Boydell Press, 2016 [ML3545 .R55 2016] Fontes Artis Musicae 64.4 (December 2017), pp. 389-391

_____. Reviving Haydn: New Appreciations in the Twenty Century. Rochester, NY: University of Rochester Press, 2015. Reviewed by Melanie Lowe, Sandi-Jo Malmon, and Colin Coleman. Fontes Artis Musicae 64.4 (December 2017), pp. 387-389

Reef, John (M.A. 2006) and Christy Keele. “An Interview wit Composer Vladimir Tarnopolski.” The Rite of Spring at 100. Ed. by Severine Neff, Maureen Carr, and Gretchen Horlacher with John Reef. Indiana University Press, 2017, pp. 279-282 [ML410 .S932 R5 2017]

Robin, William (Ph.D. 2016). “Formalizing a ‘Purely Acoustic’ Musical Objectivity: Another Look at a 1915 Interview with Stravinsky.” The Rite of Spring at 100. Ed. by Severine Neff, Maureen Carr, and Gretchen Horlacher with John Reef. Indiana University Press, 2017, pp. 138-145 [ML410 .S932 R5 2017]

Severine Neff. “How Not to Hear Le sacre du printemps? Schoenberg’s Theories.” The Rite of Spring at 100. Ed. by Severine Neff, Maureen Carr, and Gretchen Horlacher with John Reef. Indiana University Press, 2017, pp. 304-330 [ML410 .S932 R5 2017]

Sewright, Kathleen, (Ph.D. 2008). Review of The Ferrell-Vogüé Machaut Manuscript by Guillaume de Machaut, 2 volumes, 2014 [ ML96.4.G85 F4 2014 v.1 & v.2] Notes: Quarterly Journal of the Music Library Association 73/3 (March 2017), pp. 584-587 [Full Text]

_____. Review of Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart. Ed. by Anna Zayaruznaya, Bonnie J. Blackburn, Stanley Boorman, 2015 [ML55 .P625 2015]. Notes: Quarterly Journal of the Music Library Association 73/3 (March 2017), pp. 540-544 [Full Text

Shadle, Douglas W. Orchestrating the Nation The Nineteenth-Century American Symphonic Enterprise. NY:Oxford University Press, 2016 [ML 1255 .S53 2016] Reviewed by Reeves Shulstad. Notes: Quarterly Journal of the Music Library Association 73/4 (June 2017), pp. 717-720 [Full Text]

Shearon, Stephen. “The Sacred in Country Music.” The Oxford Handbook of Country Music. Ed. Travis Stimeling. Oxford: Oxford University Press, 2017, pp. 395-413 [Full Text]

Stacks, Stephen. Review of The Music of the Stanley Brothers by Gary B. Reid. Urbana: University of Illinois Press, 2015 [ML 421 .S73 R45 2015] Notes: Quarterly Journal of the Music Library Association 73/4 (June 2017), pp. 746-748 [Full Text]

Stimeling, Travis (Ph.D. 2007). “Introduction: Situating Country Music Studies.” The Oxford Handbook of Country Music. Ed. Travis Stimeling. Oxford: Oxford University Press, 2017, pp. 1-12 [Full Text]

_____. “Recording Practice in Country Music.” The Oxford Handbook of Country Music. Ed. Travis Stimeling. Oxford: Oxford University Press, 2017, pp. 141-155 [Full Text]

_____. Review of Country Comes to Town: The Music Industry and the Transformation of Nashville. By Jeremy Hill, 2016; Music/City: American Festivals and Placemaking in Austin, Nashville, and Newport. By Jonathan R. Wynn, 2015; Beyond the Beat: Musicians Building Community in Nashville. By Daniel B. Cornfield, 2015. Notes: Quarterly Journal of the Music Library Association 73/3 (January 2017), pp. 518-525 [Full Text]

Wells, Christopher J (Ph.D. 2014). ““A Dreadful Bit of Silliness:’ Feminine Frivolity and Ella Fitzgerald’s Early Critical Reception.” Women and Music: A Journal of Gender and Culture 21 (2017), pp. 43-65. [Full Text]