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CCM, Composition, Musicology and Theory

Music Research Forum

About The Journal

Now in its thirtieth year, Music Research Forum is an internationally distributed journal published annually by the Graduate Student Association of the University of Cincinnati's College-Conservatory of Music. The journal's articles present new research in the fields of musicology, theory, and ethnomusicology, as well as in the related fields of music education, music therapy, and music industry studies..
Music Research Forum has a growing subscriber base that includes university, college, and conservatory libraries and departments, professionals and students, as well as readers both in and out of academia. Music Research Forum is also an excellent teaching tool for research classes and provides an opportunity for young scholars to publish during their early careers.
Music Research Forum also accepts published materials for review, including scholarly books on any area of music, scholarly editions of music, and recordings of scholarly interest. We normally do not accept unsolicited reviews, but invite inquires and requests.
For further information, please contact:
Alyssa Mehnert, Editor
Music Research Forum
The University of Cincinnati
College-Conservatory of Music
P.O. Box 210003
Cincinnati, OH 45221-0003
(513) 556-9564

Music Research

Most Recent Issue

Vol. 28 (2013)
John Hausmann, Editor


Zachary T. Wallmark, "Noise, Music, and Power in the Industrial City, 1890­–1930"

This article examines early 20th-century noise awareness and abatement campaigns in large American cities through a Marxian theoretical framework. It then puts the cultural history of urban noise into conversation with concomitant shifts in bourgeois listening practices, specifically the silencing of the concert hall.

Keywords: noise, sound studies, Marx, American music, listening practice, urbanization, early 20th-century cultural history

Alexandre Bádue, "Musical and Fictional Times in the Film The Hours"

This article analyzes the relationship between music and image in the film The Hours by focusing on how “fictional time” (the images and the plot) works in tandem with “musical time” (created by Philip Glass’s minimalist score) to depict the conflicts of the film’s three main characters. Considering theories on the construction of time within modernistic works of fiction and theories on the manipulation of time in tonal music, the article demonstrates that Glass’s music produces temporal experiences that represent the plot’s main theme: the passage of time.

Keywords: Film music, Philip Glass, Minimalism, musical analysis, Modernism, Stream of Consciousness.

Jordan Newman, "Obadiah the Proselyte and the Masorah: Connecting Hebrew’s Earliest Musical and Biblical Notations"

This article connects the twelfth–century music of Obadiah the Proselyte, who used Christian neumes to transcribe Hebrew melodies, with the tenth-century Jewish biblical vocal markings called te’amim, created by the Masoretes in Palestine. Using a synoptic chart to compare the settings of the same biblical material, this article uncovers concordances to reveal the melodic content of Masoretic signs whose musical meanings have eluded biblical and musical scholars. The article begins to demystify the musical qualities of the Bible’s earliest known singing tradition.

Keywords: Obadiah the Proselyte, Masorah, te’amim, cantillation, Hebrew Bible accents, paleography, Cairo Geniza, Benevento, Cambridge T-S K5.41, Aleppo Codex