The Musical Quarterly, founded in 1915 by Oscar Sonneck, has long been cited as the premier scholarly musical journal in the United States. Over the years it has published the writings of many important composers and musicologists, including Aaron Copland, Arnold Schoenberg, Marc Blitzstein, Henry Cowell, and Camille Saint-Saens. The journal focuses on the merging areas in scholarship where much of the challenging new work in the study of music is being produced. Regular sections include 'American Musics', 'Music and Culture', 'The Twentieth Century', and an 'Institutions, Industries, Technologies' section which examines music and the ways it is created and consumed. In addition, a fifth section entitled 'Primary Sources' features discussions on issues of biography, texts, and manuscripts; reflections on leading figures; personal statements by noted performers and composers; and essays on performances and recordings. Along with discussions of important new books, MQ publishes review essays on a wide variety of significant new music performances and recordings.
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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.