by eberrido | Dec 3, 2016
So here we are! Last blog of the semester, and although it has been fun, I’m looking forward to doing more legwork for my own projects and less for Oxford Music Online entries (we love you, Prof. Shanton). At the end of this journey, we ask ourselves this...
by eberrido | Nov 11, 2016
These readings described two typical entities who are charged with the wonderful task of making arguments about music. Analysts look at our craft usually from an academic standpoint, usually for other musicians to read and for the purpose of understanding music from a...
by eberrido | Nov 5, 2016
The Apocalypse is upon us! “How Streaming Media Could Threaten the Mission of Libraries” (cue timpani roll and dissonant chords on low brass) I am not sure how to feel about this article — Is the advent of new avenues of distribution for recorded music a...
by eberrido | Oct 29, 2016
There is SO MUCH to think about the issue of digital access to information nowadays: on one hand we’ve got issues of copyright and ownership; on the other hand we’ve got the benefits of equalized access to information for everyone with access to Internet....
by eberrido | Oct 21, 2016
To play a [historically accurate] note is insignificant; to play without passion is inexcusable! — Beethoven? (maybe). As dry as a dictionary entry might be, the Oxford’s entry on “Historical Performance” sparked some really entertaining thoughts in...
by eberrido | Oct 15, 2016
Definitions, differences, and importance. When researching music, one might find interesting things, erased content or notes to self that composers (or copyists) left themselves in their manuscripts – be it autographs (handmade copies by the hand of someone), or...
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