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.


2019 || 2018 || 2017 || 2016 ||


2019

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]

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]

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 Correspondence. 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].

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

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), pp 331-339. [Full Text]

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.

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]

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

_____. with Amanda Black. “Resounding the Campus: Pedagogy, Race, and the Environment.” Journal of Music History Pedagogy 8/1 (2017), pp. 6-27 [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. by 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. Ed. by Fiona Jane Schopf. Newcastle-upon-Tyne (U.K): Cambridge Scholars Publishing, 2018, pp. 3:5-17.

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. Edited by 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. “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]

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]

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]

2016

Álamo, Juan. Azureus : for solo marimba (5-octave). [M175.X6 .A43 A9 2016] Greensboro: C. Alan Publications, 2016

_____. I Will See You Again. [M175 .X6 A43 I9 2016] Greensboro: C. Alan Publications, 2016

_____. Memories of unforgettable love: marimba solo with percussion ensemble. [ML785 . A43 M4 2016] Greensboro: C. Alan Publications, 2016

Bohlman, Andrea. “Penderecki, Krzysztof.” Oxford Bibliographies in Music. Ed. Bruce Gustafson. New York: Oxford University Press, February 25, 2016. Full Text

Bentley, Christa (Ph.D. 2016). “Forging the singer-songwriter at the Los Angeles Troubadour.” Cambridge Companion to the Singer-Songwriter. Ed. by Katherine Williams and Justin A. Williams. Cambridge University Press, 2016, pp. 78-88 [ML3470 .C364 2016]

_____. “Solidarity, Song, and the Sound Document.” Journal of Musicology 33/2 (Spring 2016), pp. 232–69

Bonds, Mark Evan. Japanese translation of Music as Thought: Listening to the Symphony in the Age of Beethoven [ML1255 .B68 2006] (Princeton University Press, 2006). Translated by Jo Kondo and Tokiko Inoue. Tokyo: Artes, 2015

Busman, Joshua K (Ph.D. 2015). “‘Yet to Come’ or ‘Still to Be Done?’: Evangelical Worship and the Power of ‘Prophetic’ Songs.” Congregational Music-Making and Community in a Mediated Age. Ed. Anna Nekola and Tom Wagner. Farnham: Ashgate Publishing Limited, 2015, pp. 199-214 [ML3001 .C69 2015]

Caldwell, John. Review of The Musica of Hermannus Contractus. Ed. and trans. by Leonard Ellinwood; rev. by John L. Synder. [MT5.5 .H47 2015] Music and Letters 97/3 (2016), pp. 496-500 [Full Text]

Campo-Bowen, Christopher. “Bohemian Rhapsodist: Antonín Dvořák’s Píseň bohatýrská and the Historiography of Czech Music.”19th-Century Music, 40/2 (Fall 2016): 159-181

Carter, Tim. “Beyond Drama: Monteverdi, Marino, and the Sixth Book of Madrigals (1614).” Journal of the American Musicological Society 69 (2016), pp. 1–46 Full Text

________. “‘Every Friday evening music is performed in the Hall of Mirrors…’: Claudio Monteverdi and the Rituals of Courtly Exchange in Early Seventeenth-Century Italy.” Musical Text as Ritual Object. [ML3921 .M875 2015] Ed. by Hendrik Schulze. Turnhout (Belgium): Brepols, 2015, pp. 137–50

________.“Monteverdi and Some Problems of Biography.” Journal of Seventeenth-Century Music 18 (2012; published April 2016). Full Text

________. Review of Unsuspected Competitive Contexts in Early Opera: Monteverdi’s Milanese Challenge to Florence’s “Euridice” (1600). By Federico Schneider. Temi e testi, nouva ser. 141. Rome: Edizioni di Storia e Letteratura, 2016. [Full Text]

________. Understanding Italian Opera. [ML1733 .C37 2015] New York: Oxford University Press, 2015

Citron, Marcia J (Ph.D. 1971). Review of Women and the Nineteenth-Century Lied. Ed. by Aisling Kenny and Susan Wollenberg [ML1605 .W66 2015] Music & Letters 97.2 (2016), pp. 344-347 Full Text

Cochran, Keith (Ph.D. 1995) with Ann Shaffer. Review of Antoine Forqueray, Jean-Baptiste Forqueray, Michel Forqueray, Nicolas-Gilles Forqueray ed. by Mary Cyr. Notes: Quarterly Journal of the Music Library Association 73/2 (December 2016), pp. 331-334 [Full Text]

Cohen, Marci. Review of Three Songs, Three Singers, Three Nations by Greil Marcus [ML 3551.9 .M37 2015]. Notes: Quarterly Journal of the Music Library Association 73/2 (December 2016), pp. 273-275 [Full Text]

Ebright, Ryan (Ph.D. 2014). Review of Brokeback Mountain by Charles Wuorinen [DVD]. Notes: Quarterly Journal of the Music Library Association 72/4 (June 2016), pp. 796-797 Full Text

Fauser, Annegret. “Lessons in Musical Geography: Imagining Eastern Europe in the United States During World War II.” Music in Dark Times: Europe East and West, 1930 – 1950. Ed. by Valentina Sandu-Dediu. Bucharest, Romania: Editura Universității Naționale de Muzică din București, 2016 [ML3917 .E85 M88 2016], pp. 19 – 60

Figueroa, Michael A. “Aesthetics and Ambivalence: Dan Almagor and the Rock Aesthetic in Israeli Musical Theatre.” Ethnomusicology Forum 25.3 (2016), pp. 261-282 Full Text

________.“‘A Magical Substance Flows Into Me’: Recording the Limits of Public Musicology.” Musicology Now Full Text

________. “Sound and Imagined Border Transgressions in Israel/Palestine.” AJS Perspectives, “The Sound Issue.” Spring 2016, pp. 44–45

Katz, Mark. “Phife Dawg, Tar Heel.” Indy Week March 30, 2016 Full Text

________. “Work-Life Balance: How’s One out of Three?” Bulletin of the Society for American Music 42/1 (Winter 2016), pp. 8-10 Full Text

________. “Preserving Heritage, Fostering Change: Accidental Archives in Country Music and Hip-Hop.” (Co-authored with David VanderHamm.) Public Historian 37 (November 2015), pp. 32–46 Full Text

Laird, Paul (Ph.D. 1986). Review of Kiss Me Kate: a Musical Play, critical edition by David Charles Abell and Seann Alderking, 2014 [M1503 .P846 K5 2014]. Notes: Quarterly Journal of the Music Library Association 71/1 (2016), pp. 13-135. Full Text.

Laird, Paul (Ph.D. 1986) and William A. Everett, eds. Historical Dictionary of the Broadway Musical. 2nd ed. Lanham, MD: Rowman & Littlefield, 2016 [ML102 .M88 E94 2016]

Lamothe, Virginia Christy (Ph.D. 2009). “Martyr Saints on Stage in Light of Papal Exhortations During the Thirty Years War.” Journal of Seventeenth-Century Music 22.1 (2016). [Full Text]

McBride, Renée. Review of Johanna Beyer by Amy C. Beal [ML 410 .B58562 B43 2015]. Notes: Quarterly Journal of the Music Library Association 73/2 (December 2016), pp. 310-313 [Full Text]

Mehrens, Christopher (Ph.D. 1998). Review of Berlioz on Music: Selected Criticism, 1824-1837, ed. Katherine Kolb, tran. Samuel N. Rosenberg [ML410 .B5 A5 2015] Music Reference Services Quarterly 19/1 (2016), pp. 84-85 Full Text

Ndaliko, Chérie Rivers. Necessary Noise: Music, Film, and Charitable Imperialism in the East of Congo. Oxford and NY: Oxford University Press, 2016 [ML350.5 .N32 2016]

Neal, Jocelyn. Country Music: A Cultural and Stylistic History. Oxford: Oxford University Press, 2013. [ML3524 .N42 2013]. Reviewed by Stephanie Vander Wel. Journal of the Society for American Music 10/2 (May 2016), pp. 219-226 Full Text

________. “Why ‘Ladies Love Country Boys’: Gender, Class, and Economics in Contemporary Country Music.” Country Boys and Redneck Women: New Essays in Gender and Country Music. [ML3524 .C615 2016] Ed. Kristine McCusker and Diane Pecknold. Jackson: University of Mississippi Press, 2016, pp. 3-25

Proksch, Bryan (Ph.D 2006). Reviving Haydn: New Appreciations in the Twenty Century. Rochester, NY: University of Rochester Press, 2015. [ML410 .H4 P89 2015] Reviewed by Balazs Mikusi. Notes: Quarterly Journal of the Music Library Association 71/1 (2016) Full Text.

Scott, Amanda L (M.A. 2007) “Using Library of Congress Classification with Musicals and Operas on Film.” Music References Services Quarterly 19.3-4 (2016), pp. 179-190

Shadle, Douglas W (Ph.D. 2010). Orchestrating the Nation. New York, NY: Oxford University Press, 2016 [ML1255 .S53 2016].

Stacks, Stephen (Ph.D. current). Review of We Shall Overcome: Essays on a Great American Song [ML3561.W45 W4 2015], edited by Victor V. Bobetsky. Notes: Quarterly Journal of the Music Library Association 71/1 (2016), pp. 115-117 Full Text.

Stimeling, Travis (Ph.D. 2007). “Music, Television Advertising, and the Green Positioning of the Global Energy Industry.”Current Directions in Ecomusicology: Music, Culture, Nature. ed. Aaron S. Allen and Kevin Dawe. New York: Routledge, 2016 pp. 188-199 [ML3799.3 .C87 2016]

_____ (Ph.D. 2007). Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin’s Progressive Country Scene. Oxford: Oxford University Press, 2011. [ML3524 .S75 2011]. Reviewed by Stephanie Vender Wel. Journal of the Society for American Music 10/2 (May 2016), pp. 219-226 Full Text

VanderHamm, David. Review of The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture by Timothy D. Taylor [ML3790 .T395 2012] Journal of the Society for American Music 10/2 (May 2016), pp. 226-228 Full Text

Vandermeer, Philip. Review of Keywords in Sound, edited by David Novak and Matt Sakakeeny [QC225.15 .K499 2015]. Notes: Quarterly Journal of the Music Library Association 71/1 (2016), pp. 13-135 Full Text.

Wells, Christopher J (Ph.D. 2014). Review of American Allegory: Lindy Hop and the Racial Imagination. By Black Hawk Hancock. Chicago, IL: University of Chicago Press, 2013. [Ebook & E185.86 .H285 2013] American Studies 55/1 (2016), pp. 148-149. [Full Text]