Readers will have noticed that JMM: The Journal of Music and Meaning has lain fallow since 2018. JMM first appeared online in 2003. Video and audio files were increasingly becoming inaccessible due to the ongoing obsolescence of embedded players for audio and video content. These problems had become so widespread throughout JMM by 2018 that a major overhaul of the journal was necessary. At this time it also became evident that the long-term online existence of JMM needed to be ensured.
In order to resolve these issues, for some time now JMM has been undergoing a transition to the Open Journal System site (https://tidsskrift.dk) hosted by the Royal Danish Library in Copenhagen. This moving process has proven to be extremely labor intensive, since hundreds and hundreds of files have had to be reformatted and moved manually given the need to adapt to https://tidsskrift.dk's content management system. In its new home at https://tidsskrift.dk, we will strive to recreate the look and feel of JMM as far as possible. At https://tidsskrift.dk multimedia material will be presented in such a fashion that it will not be compromised due to the vagaries of the internet as time go by. In addition, JMM will have a permanent stable home at https://tidsskrift.dk.
Within the coming months we will make the final transition to https://tidsskrift.dk and plan to relaunch JMM. Until that time we ask for continued patience on the part of our readers.
Cynthia M. Grund, Editor-in-Chief
Michael Aktor, Editor and Webmaster
________________________
Previous welcome notice:
Welcome to a new version of JMM!
About the New Structure
In order to facilitate a smoother editing and publishing process, JMM: The Journal of Music and Meaning has adopted a blog structure - or, rather, a structure of blogs: Each new issue will constitute a blog of its own, such that JMM vol.x will have the URL jmmx.musicandmeaning.net. New issues are announced on this page (jmm.musicandmeaning.net)
Table of Contents:
Invited Papers
Peer-Reviewed Papers
Per Aage Brandt, “Music and the Abstract Mind”
Runa Fanany, “The Musicality of Language: An Application of Musical Analysis to Speech and Writing”
Sara Zamir & Juliette Hassine, “Reading Liszt’s Harmonies du Soir Through the Soleil Couchant (Sunset) Theme in French Romantic Poetry”
Reviews and Commentaries
Emma Gallon, Review of: Halfyard, Janet, ed., Berio’s Sequenzas
Table of Contents:
Peer-Reviewed Papers
Barbara R. Barry, “The Matrix Revisited: A Reconsideration of Schubert’s Sonata Form Movements”
Research Reports
Iben Have, “Background Music and Background Feelings: Background Music in Audio-Visual Media”
Essays
Johann Haslauer, “Inside a Common Being?: Questions Concerning the Nature of Public Space”
Reviews and Commentaries
Table of Contents:
Call for Papers
CMMR 2008: Genesis of Meaning in Sound and Music
Invited Papers
Peer-Reviewed Papers
Shersten Johnson, “‘Strange, Strange Hallucination’: Dozing and Dreaming in Benjamin Britten’s Death in Venice”
Nicholas McKay, “‘One for All and All for One’: Voicing in Stravinsky’s Music Theatre”
Reviews and Commentaries
Jakob Christensen-Dalsgaard, Review of: Mithen, Steven. The Singing Neanderthals
Søren R. Frimodt-Møller, Review of: Irwin, William (ed.). Metallica and Philosophy
Table of Contents:
Invited Papers
Siglind Bruhn, “Jesus and Satan in Moscow: Three Late-20th-century Operas on Bulgakov’s Novel”
Peer-Reviewed Papers
Ole Kühl, “A Semiotic Approach to Jazz Improvisation”
Research Reports
Panayiotis A. Kokoras, “Towards a Holophonic Musical Texture”
Table of Contents:
Invited Papers
Iegor Reznikoff, “On Primitive Elements of Musical Meaning”
Siglind Bruhn, “In the Arms of Lady Death: Musical Signification in Gottfried von Einem’s Opera Jesu Hochzeit (Jesus’ Wedding)”
Peer-Reviewed Papers
Uri Golomb, “Rhetoric and gesture in performances of the First Kyrie from Bach’s Mass in B minor (BWV 232)”
Research Reports
Reviews and Commentaries
Amalie Ørum Hansen, “Commentary on Ansa Lønstrup’s Stemmen og øret – Studier i vokalitet og auditiv kultur (The Voice and the Ear – Studies of Vocality and Auditory Culture)”
Table of Contents:
Peer-Reviewed Papers
Jakob Christensen-Dalsgaard, “Music and the Origin of Speeches”
Kristoffer Jensen, “Irregularities, Noise and Random Fluctuations in Musical Sounds”
Torben Sangild, “Noise – Three Musical Gestures: Expressionist, Introvert and Minimal Noise”
Research Reports
Felipe Otondo & Jorge Soto, “Three Diagonal Strategies for a Sound Installation”
Essays
Peter de Vries, “Reference to Popular Music in the Novel: The Author’s Perspective”
Reviews and Commentaries
Kristian Tylén, Review of: Kühl, Ole. Improvisation og Tanke (Improvisation and Thought)
Edward Green, Review of: Tenzer, Michael. Gamelan Gong Kebyar: the Art of Twentieth-Century Balinese Music
Kasper Eskelund, “Commentary on Torben Sangild’s Støjens æstetik (The Aesthetics of Noise)”
Table of Contents:
Invited Papers
Jerrold Levinson, “Musical Thinking”
Peer-Reviewed Papers
Marc Leman, “Foundations of Musicology as Content Processing Science”
Research Reports
Felipe Otondo, “Using Convolution to Blend Brass Timbres”
Reviews and Commentaries
Paulo C. Chagas, Review of: Eero Tarasti, Signs of Music: A Guide to Musical Semiotics
