Oxford Handbooks Online in Music form a network of reference articles on current scholarship in all areas of music research including historical musicology, ethnomusicology, theory, pedagogy, dance, and technology. OHO complements and completes the volumes in print by updating and expanding on them and by creating links between the volumes. While OHO aims to provide reference works for any current field of inquiry, the series pays particular attention to newly established and emerging fields. The contributions assembled in OHO do not merely constitute summaries of previous research but often cover genuinely new ground. The essays are addressed primarily to scholars who require access to the current state of scholarship in a given field, and they present in-depth investigations by leading scholars.
Find out more about OHO: Music, watch the story unfold below.
Alexander Rehding is Fanny Peabody Professor of Music and Chair of the Department of Music at Harvard University. He is a former editor of Acta musicologica and recipient of numerous awards and fellowships. His research interests are located at the intersection between theory and history; they cover a wide spectrum from Ancient Greek music to the Eurovision Song Contest, focusing on the Long Nineteenth Century. He is the author of Music and Monumentality (2009) and Hugo Riemann and the Birth of Modern Musical Thought (2003), as well as numerous edited collections and articles.
OUP: Why do you believe that Oxford Handbooks Online: Scholarly Research Reviews is an especially useful resource for those studying music?
Rehding: Digital publication offers a range of possibilities that were unthinkable only a few years ago. The study of music stands to benefit from these possibilities more than most other disciplines, especially as the field becomes more interested in studying aspects of performance and non-notated musical practices, which are notoriously difficult to pin down in traditional print media. Oxford Handbooks Online aims to explore these exciting new possibilities, in areas where digital publication may have a dramatic and fundamentally field-changing impact.
OUP: What appeals to you most about the new article-based focus of this project?
Rehding: Oxford Handbooks Online offers the fascinating prospect of breaking down the traditional boundaries of academic fields. By moving away from conceiving of publications in terms of volumes, with fixed and immutable boundaries, toward a chapter-based or cluster-based format, we can think of Oxford Handbooks Online as one gigantic, potentially open-ended reference network that allows researchers to explore cutting-edge research in ways that are not tied to disciplinary constraints.
University of Michigan
University of California Irvine
University of Oregon
A specially curated collection of peer-reviewed articles that discuss cutting-edge research and ensure comprehensive and timely coverage of ever-expanding disciplines.
| American Foundations for the Arts
Rachel S. Vandagriff
Assessment and Frameworks in Collegiate Composition Studios
University of Michigan
Assessment in Instrumental Music
Joshua A. Russell
University of Hartford
Eating and Drinking in Opera
University of Notre Dame
Electronic Dance Music in the Dubstep Era
Film Music and Neo-Riemannian Theory
Generic Sequences and the Generic Tonnetz
| Live Music and Noise Debates in New Orleans Post-Katrina
Sara Le Menestrel
CNRS, Mondes Américains
Alexander Evan Bonus
Robert O. Gjerdingen
Thomas W. Patteson
Curtis Institute of Music
Ragas, Recipes, and Rasas
Statistical Reasoning in Music Analysis
John Z. McKay
University of South Carolina
Jonathan De Souza
University of Western Ontario
The Paris Conservatoire in the Nineteenth Century
D. Kern Holoman
University of Chicago
Transatlantic Music Studies
The University of Southern California
Transformation in Post-Tonal Music
University of British Columbia
Undergraduate Development of Coursework in Musicology
S. Andrew Granade
University of Missouri at Kansas City
We want to hear from you.
Oxford Handbooks Online is a partnership between the publisher and the academic community, and we invite your questions about the content. Please feel welcome to email Anna-Lise Santella, our Music editor, with comments, suggestions, or questions.