Founded in 1948, the Journal of the American Musicological Society welcomes topics from all fields of musical inquiry, including historical musicology, critical theory, music analysis, iconography and organology, performance practice, aesthetics and hermeneutics, ethnomusicology, gender and sexuality, popular music and cultural studies. The journal's breadth of musical intellectual scope, its rigorous referee process, and its diffusion to more than 5,000 subscribers worldwide have helped make it the premier journal in the field. Each issue includes articles, book reviews, and communications.
Founded in 1893, University of California Press, Journals and Digital Publishing Division, disseminates scholarship of enduring value. One of the largest, most distinguished, and innovative of the university presses today, its collection of print and online journals spans topics in the humanities and social sciences, with concentrations in sociology, musicology, history, religion, cultural and area studies, ornithology, law, and literature. In addition to publishing its own journals, the division also provides traditional and digital publishing services to many client scholarly societies and associations.
Note: This article is a review of another work, such as a book, film, musical composition, etc. The original work is not included in the purchase of this review.