1. poem for far too many brilliant scholars, not enough of whom are with us today
  2. Sherrie Tucker
  3. pp. 1-2
  4. DOI: 10.1353/wam.2017.0001
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  1. “A Dreadful Bit of Silliness”: Feminine Frivolity and Ella Fitzgerald’s Early Critical Reception
  2. Christopher J. Wells
  3. pp. 43-65
  4. DOI: 10.1353/wam.2017.0003
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  1. Fort Greene
  2. Núria Bonet
  3. pp. 66-71
  4. DOI: 10.1353/wam.2017.0004
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  1. A Rondo for the Harp: Sophia Dussek (1775–1847)
  2. Katelyn Clark
  3. pp. 101-106
  4. DOI: 10.1353/wam.2017.0006
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  1. (Re)Considering the Priestess: Clara Schumann, Historiography, and the Visual
  2. April L. Prince
  3. pp. 107-140
  4. DOI: 10.1353/wam.2017.0007
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  1. After Orlando
  2. Toby Young, Jennifer Thorp
  3. pp. 141-145
  4. DOI: 10.1353/wam.2017.0008
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  1. Writing Gender Identity through Musical Metaphor in Dorothy L. Sayers’s Gaudy Night
  2. Stephen Armstrong
  3. pp. 146-168
  4. DOI: 10.1353/wam.2017.0009
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  1. Coco Chanel Said . . .
  2. Gigi Chi Ying Lam
  3. pp. 169-174
  4. DOI: 10.1353/wam.2017.0010
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  1. “Luck, Classic Coke, and the Love of a Good Man”: The Politics of Hope and AIDS in Two Songs by Michael Callen
  2. Matthew J. Jones
  3. pp. 175-198
  4. DOI: 10.1353/wam.2017.0011
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  1. Negotiated Moments: Improvisation, Sound, and Subjectivity ed. by Gillian Siddall, Ellen Waterman (review)
  2. Marc Hannaford
  3. pp. 202-208
  4. DOI: 10.1353/wam.2017.0013
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  1. Letter from the Editor
  2. Emily Wilbourne
  3. pp. vii-ix
  4. DOI: 10.1353/wam.2017.0000
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