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In this Issue

Table of Contents

  1. Mining For Metal: Heavy Metal and the Music Library
  2. Sonia Archer-Capuzzo
  3. pp. 7-26
  4. DOI: https://doi.org/10.1353/not.2021.0056
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  1. Notes for Notes
  2. Misti Shaw, Maristella Feustle, Jonathan Sauceda
  3. pp. 52-56
  4. DOI: https://doi.org/10.1353/not.2021.0058
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  1. Live Electronics im/in the SWR Experimentalstudio ed. by Dániel Péter Biró et al. (review)
  2. Jennifer Iverson
  3. pp. 57-59
  4. DOI: https://doi.org/10.1353/not.2021.0059
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  1. Opera in the Jazz Age: Cultural Politics in 1920s Britain by Alexandra Wilson (review)
  2. Stewart Duncan
  3. pp. 59-62
  4. DOI: https://doi.org/10.1353/not.2021.0060
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  1. Bach’s Famous Choir: The Saint Thomas School in Leipzig, 1212–1804 by Michael Maul (review)
  2. Mark Nabholz
  3. pp. 62-64
  4. DOI: https://doi.org/10.1353/not.2021.0061
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  1. Richard Wagner in Paris: Translation, Identity, Modernity by Jeremy Coleman (review)
  2. Woodrow Steinken
  3. pp. 64-66
  4. DOI: https://doi.org/10.1353/not.2021.0062
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  1. Jón Leifs and the Musical Invention of Iceland by Árni Heimir Ingólfsson (review)
  2. Frederick Key Smith
  3. pp. 67-69
  4. DOI: https://doi.org/10.1353/not.2021.0063
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  1. George Rochberg, American Composer: Personal Trauma and Artistic Creativity by Amy Lynn Wlodarski (review)
  2. Jonathan Blumhofer
  3. pp. 69-72
  4. DOI: https://doi.org/10.1353/not.2021.0064
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  1. Alfred Schnittke’s Concerto Grosso No. 1 by Peter J. Schmelz (review)
  2. Tim Sullivan
  3. pp. 72-75
  4. DOI: https://doi.org/10.1353/not.2021.0065
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  1. Drama in the Music of Franz Schubert ed. by Joe Davies and James William Sobaskie (review)
  2. Marie Sumner Lott
  3. pp. 75-78
  4. DOI: https://doi.org/10.1353/not.2021.0066
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  1. Claude Debussy: A Critical Biography by François Lesure (review)
  2. Mark DeVoto
  3. pp. 83-85
  4. DOI: https://doi.org/10.1353/not.2021.0068
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  1. The Telemann Compendium by Steven Zohn (review)
  2. Jason B. Grant
  3. pp. 85-87
  4. DOI: https://doi.org/10.1353/not.2021.0069
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  1. Stories of Tonality in the Age of François-Joseph Fétis by Thomas Christensen (review)
  2. Michael Vitalino
  3. pp. 88-91
  4. DOI: https://doi.org/10.1353/not.2021.0070
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  1. The Arithmetic of Listening: Tuning Theory and History for the Impractical Musician by Kyle Gann (review)
  2. Paul Lombardi
  3. pp. 91-93
  4. DOI: https://doi.org/10.1353/not.2021.0071
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  1. Harmony in Mendelssohn and Schumann by David Damschroder (review)
  2. Benjamin Hansberry
  3. pp. 93-96
  4. DOI: https://doi.org/10.1353/not.2021.0072
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  1. The Oxford Handbook of Music Listening in the 19th and 20th Centuries ed. by Christian Thorau and Hansjakob Ziemer (review)
  2. Eric M. Lubarsky
  3. pp. 96-99
  4. DOI: https://doi.org/10.1353/not.2021.0073
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  1. Johnny Cash International: How and Why Fans Love the Man in Black by Michael Hinds and Jonathan Silverman (review)
  2. Olivia Carter Mather
  3. pp. 99-101
  4. DOI: https://doi.org/10.1353/not.2021.0074
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  1. Widor on Organ Performance Practice and Technique by John R. Near (review)
  2. David Crean
  3. pp. 101-104
  4. DOI: https://doi.org/10.1353/not.2021.0075
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  1. Books Recently Published
  2. James Procell, Matthew Ertz
  3. pp. 105-115
  4. DOI: https://doi.org/10.1353/not.2021.0076
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  1. New Periodicals
  2. Lindsay Hansen Brown
  3. pp. 116-118
  4. DOI: https://doi.org/10.1353/not.2021.0077
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  1. Fauvettes de l’Hérault: Concert des garrigues pour piano seul by Olivier Messiaen (review)
  2. Nigel Simeone
  3. pp. 119-122
  4. DOI: https://doi.org/10.1353/not.2021.0078
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  1. Djamileh: opéra-comique en un acte: op. 24 by George Bizet (review)
  2. Ralph P. Locke
  3. pp. 122-126
  4. DOI: https://doi.org/10.1353/not.2021.0079
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  1. Music Received
  2. Kathleen A. Abromeit
  3. pp. 127-131
  4. DOI: https://doi.org/10.1353/not.2021.0080
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  1. Index to Advertisers
  2. p. 133
  3. DOI: https://doi.org/10.1353/not.2021.0081
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