MUSC 224: Music, Myth, and Meaning in the 19th Century (HC)

19th-Century Music covers all aspects of Western art music between the mid-eighteenth and mid-twentieth centuries and includes considerations of composers and compositions, styles, performance, historical watersheds, cultural formations, critical methods, musical institutions, and ideas.

One of the premier journals in the field, the Journal of the American Musicological Society (JAMS) publishes scholarship from all fields of musical inquiry: from historical musicology, critical theory, music analysis, iconography and organology, to performance practice, aesthetics and hermeneutics, ethnomusicology, gender and sexuality, popular music and cultural studies.

The Cambridge Opera Journal has been the preeminent forum for scholarship on opera in all its manifestations. The Journal publishes essays not only on all aspects of the European operatic tradition, but also on American opera and musical theatre, on non-Western music theatres, on contemporary opera production, and on the theory and historiography of opera. Carefully researched and often illustrated with music examples and pictures, articles adopt a wide spectrum of critical approaches. As well as major articles, each issue includes reviews of recent important publications in the field.