Context No. 48 (2022)
Frontmatter
Articles
- Holly Caldwell, Carolyn Philpott and Maria Grenfell. Exploring Tasmania’s History and Landscape in Music for Children’s Performance: Don Kay’s There Is an Island (1977)
- Sam McAuliffe. Improvisation, Ontology, and Davidson: Exploring the Improvisational Character of Language and Jazz
- Hannah Spracklan-Holl. Noblewomen’s Devotional Song Practice in ‘Patiençe veinque tout’ (1647–1655), a German Manuscript from the Mid-seventeenth Century
- Calum White. From Civil Rights to the Post-racial Lie: The Representation of Racial Politics in the American Horror Film Score
- Oliver Rudland. Co-creating a Brass Band Dance Number for a Large-scale Community Opera Project with the Aid of Improvisatory Techniques
- Adam Weitzer. ‘The Vibrant, Passionate Human Soul He Was’: Robert Haven Schauffler’s The Unknown Brahms (1933) and the American Middlebrow
Composer Interview
Reviews
- Tim Daly. Peter Urquhart. Sound and Sense in Franco-Flemish Music of the Renaissance: Sharps, Flats and the Problem of Musica Ficta
- Paul Watt. Sarah Kirby. Exhibitions, Music and the British Empire
- Samantha Owens. Helen J. English. Music and World-Building in the Colonial City: Newcastle, NSW, and its Townships, 1860–1880
- Erinn Knyt. Teresa Balough and Kay Dreyfus, eds. Distant Dreams: The Correspondence of Percy Grainger and Burnett Cross 1946–60
- Isobel D’Cruz Barnes. Shane Homan, Seamus O’Hanlon, Catherine Strong and John Tebutt. Music City Melbourne: Urban Culture, History and Policy
- Maurice Windleburn. Benjamin Piekut. Henry Cow: The World Is a Problem and George Henderson. Blind Joe Death’s America: John Fahey, the Blues, and Writing White Discontent
- Aidan McGartland. Joseph N. Straus. The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses