With arias analyzed, symphonies scrutinized, and requiems revisited, The Journal of Musicology offers you an unparalleled journey into the world of musical scholarship. Founded in 1981 by Marian Green and published quarterly, the journal furnishes comprehensive articles in music history, criticism, performance practice, and archival research. Each issue contains a selection of studies and occasional review essays representative of the full range of today's diverse approaches to the exploration of music. The Journal of Musicology is a sound forum for analysis in this still-expanding discipline, drawing a loyal readership from eminent scholars and musicians to performers and students.

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.

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The Journal of Musicology © 1996 University of California Press
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