http://www.inquiriesjournal.com/keyword/musicology Inquiries Journal provides undergraduate and graduate students around the world a platform for the wide dissemination of academic work over a range of core disciplines. en-us Tue, 19 May 2026 06:43:54 -0400 Tue, 19 May 2026 06:43:54 -0400 http://www.inquiriesjournal.com/articles/1851/bach-and-the-style-galant-progressive-elements-in-the-italian-concerto By Maggie Lu - While the music of Johann Sebastian Bach is often characterized by elaborate Baroque counterpoint and a relatively conservative set of aesthetic principles, elements of the emergent galant fashion are exemplified in certain mid-to-late career compositions. The galant style, which increasingly took hold of European music during the central decades of the eighteenth century, represents a simplicity and clarity divergent from the rigorous compositional approach that Bach has become remembered for. One of the most substantial instances of this stylistic progressivity occurs throughout his Italian... Tue, 15 Dec 2020 11:07 EST http://www.inquiriesjournal.com/articles/1851/bach-and-the-style-galant-progressive-elements-in-the-italian-concerto http://www.inquiriesjournal.com/articles/1215/press-play-for-politics-the-weapon-of-a-eurovision-song By Tinatin Japaridze - Christopher Neil, Grammy-nominated producer and my co-writer on the Icelandic entry in 2009, “Is It True?,” notes that the ESC is a piece of televised entertainment and should be regarded as such. “It was never supposed to, nor should it, reflect political or social realities. A song contest is not meant to be a barometer of tensions between nations or economies.” Tracing back to its inception in 1956, “much of Europe was still miserable, exhausted and broke from World War II, but the ESC was not meant to reflect that world.” On the contrary, the goal of its... Tue, 13 Oct 2015 09:54 EDT http://www.inquiriesjournal.com/articles/1215/press-play-for-politics-the-weapon-of-a-eurovision-song http://www.inquiriesjournal.com/articles/526/adornos-bach-schoenberg-connection-frivolity-and-expectation By Tristan Gans - Adorno’s case is built on the composers’ treatment of melodic subjects, which he views as ‘pure’ in an intellectual and philosophical sense. He contrasts this to the work of the classical and romantic composers, specifically Beethoven, whose work he views as overcommitted to the formal façade unintentionally constructed by Bach: essentially he claims that Beethoven et al rejected Bach’s challenging, philosophically constructive methodology in favor of “a category existing prior to the subject-matter and oriented on external consensus” (153), a category... Wed, 11 May 2011 08:05 EDT http://www.inquiriesjournal.com/articles/526/adornos-bach-schoenberg-connection-frivolity-and-expectation http://www.inquiriesjournal.com/articles/265/the-sounds-of-resistance-the-role-of-music-in-south-africas-anti-apartheid-movement By Michela E. Vershbow - The history of South Africa under white British rule is marked by the existence of one of the most brutal systems of racial segregation that the world has ever known. A system by the name of Apartheid, literally meaning “separateness” in the Afrikaans language, made Africans of color aliens in their homeland. The laws of Apartheid forced millions to live in impoverished townships where they were denied the most basic human rights. Apartheid, under which the white minority held power over the entire population, was met with strong internal and external resistance, prompting global boycotts... Wed, 30 Jun 2010 07:05 EDT http://www.inquiriesjournal.com/articles/265/the-sounds-of-resistance-the-role-of-music-in-south-africas-anti-apartheid-movement http://www.inquiriesjournal.com/articles/186/innovation-or-desperation-david-bowies-little-wonder By Katherine M. Baltrush - Despite releasing twenty-two albums in the nearly thirty years between his debut in 1967 and the commercially rejected No. 1 Outside, the general opinion of David Bowie in 1996 was that, though a living legend, he had not recorded anything worthwhile since his 1980 album Scary Monster. Bowie’s most recent output had been panned as a heady concept album. The industry and its consumers thought that David Bowie left his best work behind when he closed the door on his alter egos, such as Ziggy Stardust and Aladdin Sane, which made him an icon in the 70s. It seemed certain that whatever followed... Fri, 26 Feb 2010 10:56 EST http://www.inquiriesjournal.com/articles/186/innovation-or-desperation-david-bowies-little-wonder