Andrew Leach, “‘One Day It’ll All Make Sense’: Hip-Hop and Rap Resources for Music Librarians,” Notes 65, no. 1 (September 2008): 9-37.
Despite being an object of derision within academia for many years, the study of hip-hop culture and rap music has now largely gained respectability in the academy, and is considerably less marginalized than it was only a decade ago. Scholars working in a number of disciplines are increasingly recognizing hip-hop culture and rap music as subjects worthy of attention. Consequently, a great deal of scholarly study and writing on hip-hop and rap is being carried out, drawing from fields including African American studies, history, linguistics, literature, musicology, sociology, and women's studies...
Marcia J. Citron, “Women and the Western Art Canon: Where Are We Now?” Notes 64, no. 2 (December 2007): 209-215.
By the early 1990s, musicology had completed the first wave of discovery and recuperation of women's music. The field overall looked rather different from today. Social and cultural perspectives were just emerging, and Joseph Kerman's 1985 call for critical musicology in Contemplating Music was still audible...
Amy C. Beal, “‘Experimentalists and Independents Are Favored’: John Edmunds in Conversation with Peter Yates and John Cage, 1959-61,” Notes 64, no. 4 (June 2008): 659-687.
The composer John Edmunds (1913-1986) was curator of the New York Public Library Music Division's Americana Collection at Fifth Avenue and Forty-Second Street for only four years. During his brief but energetic tenure (1957-61) he corresponded regularly with Canadian-born, Los Angeles-based critic-impresario Peter Yates (1909-1976), a self-proclaimed "western representative for the Experimentalists," and with the soon-to-be most controversial and influential American composer of the second half of the twentieth century, John Cage (1912-1992).
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