repercussions provides a forum for critical
and innovative work within and between
the sub-disciplines of musicology,
ethnomusicology, and theory, as well as
other humanities and social sciences.
In 1990, repercussions was established to
contribute to exciting and important new
trends in musicology that were felt to be
underrepresented in available publications.
In their initial statements of purpose, the
founding editors wrote that “repercussions
will exist as a musicological sounding-board
or a critical discourse which exists for
musicians now only as a distant scholarly
echo—an echo whose implications and observations should be central to our
ongoing studies of musical culture.”
Over the past fifteen years, this critical
discourse has become much more than
an echo—indeed, it has exerted a profound
influence on every branch of music studies.
Following a brief hiatus, repercussions
is returning to press in the spring of 2007
with the goal of continuing to provide a
space for provocative and forward-thinking
music scholarship.
and innovative work within and between
the sub-disciplines of musicology,
ethnomusicology, and theory, as well as
other humanities and social sciences.
In 1990, repercussions was established to
contribute to exciting and important new
trends in musicology that were felt to be
underrepresented in available publications.
In their initial statements of purpose, the
founding editors wrote that “repercussions
will exist as a musicological sounding-board
or a critical discourse which exists for
musicians now only as a distant scholarly
echo—an echo whose implications and observations should be central to our
ongoing studies of musical culture.”
Over the past fifteen years, this critical
discourse has become much more than
an echo—indeed, it has exerted a profound
influence on every branch of music studies.
Following a brief hiatus, repercussions
is returning to press in the spring of 2007
with the goal of continuing to provide a
space for provocative and forward-thinking
music scholarship.