Hostname: page-component-7bb8b95d7b-dvmhs Total loading time: 0 Render date: 2024-09-12T10:50:22.791Z Has data issue: false hasContentIssue false
  • English
  • Français

Agave Baroque and Reginald L. Mobley. American Originals: A New World, A New Canon Acis Productions LLC. 2021.

Review products

Agave Baroque and Reginald L. Mobley. American Originals: A New World, A New Canon Acis Productions LLC. 2021.

Published online by Cambridge University Press:  06 September 2023

Karin A. Cuellar Rendon
Karin A. Cuellar Rendon*
Affiliation:
Schulich School of Music, McGill University, Montreal, QC, Canada
*
Email: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Media Review
Information
Journal of the Society for American Music , Volume 17 , Issue 3 , August 2023 , pp. 313 - 314
Copyright
Copyright © The Author(s), 2023. Published by Cambridge University Press on behalf of the Society for American Music

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 See, for example, Black Opera Research Network (blackoperaresearch.net); Composers of Color Resource Project (composersofcolor.hcommons.org); Palfy, Cora S. and Gilson, Eric, “The Hidden Curriculum in the Music Theory Classroom,” Journal of Music Theory Pedagogy 32 (2018; RILM Abstracts of Music Literature 2018-52605)Google Scholar; Dave Molk and Michelle Ohnona, “Promoting Equity: Developing an Antiracist Music Theory Classroom,” New Music Box January 29, 2020 (https://nmbx.newmusicusa.org/promoting-equity-developing-an-antiracist-music-theory-classroom/); ÆPEX Contemporary Performance (http://aepexcontemporary.org); Engaged Music Theory (engagedmusictheory.com); Music by Black Composers (musicbyblackcomposers.org); Institute for Composer Diversity (composerdiversity.com); Expanding the Music Theory Canon (expandingthemusictheorycanon.com); Project Spectrum (projectspectrummusic.com); Lumsden, Rachel and Swinkin, Jeffrey, eds., The Norton Guide to Teaching Music Theory (W. W. Norton & Company, 2018; RILM Abstracts of Music Literature 2018-52608)Google Scholar; and Moore, Robin D., ed., College Music Curricula for a New Century (Oxford University Press, 2017; RILM Abstracts of Music Literature 2017-25093)CrossRefGoogle Scholar. Finally, see Abrahams, Rosa, Ewell, Philip, Grant, Aaron, and Palfy, Cora S., The Practicing Music Theorist, a New Modernized and Inclusive Undergraduate Music Theory Textbook (W. W. Norton, projected release 2023)Google Scholar.

2 Philip Ewell, “Erasing Colorasure in American Music Theory, and Confronting Demons from our Past,” bibliolore, March 25, 2021, https://bibliolore.org/2021/03/25/philip-ewell-erasing-colorasure-in-american-music-theory-and-confronting-demons-from-our-past/.

3 Jim Samson, “Canon (iii),” Grove Music Online, 2001; accessed March 25, 2023.

4 Ewell, “Erasing Colorasure in American Music Theory.”

5 A person from Spanish South or Central America, especially one of pure Spanish descent.

6 A person of mixed race, especially one having Spanish and indigenous descent.

7 A person of mixed white and Black ancestry, especially a person with one white and one Black parent.