Welcome from the Editors


Welcome to ECHO.

With our current issue, ECHO continues to explore ways in which music scholarship can be enhanced by the multimedia capabilities of the World Wide Web. We are proud to present two new articles—Richard Leppert’s
Paradise, Nature, and Reconciliation, or a Tentative Conversation with Wagner, Puccini, Adorno, and the Ronettes,” and Sara Nicholson’s Keep Going: The Use of Classical Music Samples in Mono’s ‘Hello Cleveland!’—both of which make significant contributions to ECHO, musicology, and the interdisciplinary study of music.

Richard Leppert, with such seminal works as The Sight of Sound: Music, Representation and the History of the Body, has been one of the most prominent music scholars to break down the walls that have long separated musicology from the rest of the humanities. In his article, Leppert not only manages to examine the works of Richard Wagner, Giacomo Puccini, Theodor Adorno, and the Ronettes—surely an unprecedented feat—but his article also pushes into an area of inquiry not often addressed in musicology: musical representations of nature. We are also delighted to offer our readers Sara Nicholson’s examination of art music samples in electronic dance music. In detailing the array of samples from such composers as Berio, Schoenberg, and Webern in Mono’s “Hello Cleveland!” Nicholson postulates two distinct listening subject positions: the connoisseur and the mainstream listener. This article takes full advantage of our online format—readers will be able to hear sound examples juxtaposing sampled and original musics as they follow Nicholson’s argument. With help from our technical advisor Michael Cohen, we have also provided a QuickTime movie that will lead the readers through the maze of quotations.

One of our goals for ECHO has been to present first-person views about music and culture through interviews. We stepped away from this standard feature with the last issue in order to bring our readers a roundtable discussion of musical responses to September 11th. Here, we return to the interview format, presenting
Gordon Haramaki’s conversation with Yatrika Shah-Rais, a radio programmer for Los Angeles’ KPFK. Our earlier forays into the interview genre have focused upon musicians in relatively conventional roles: composer, performer, scholar. As a radio personality and programmer for KPFK’s Global Village, Shah-Rais has to make practical decisions regarding musical representations of ethnicity, geography, and intercultural exchange. Gordon Haramaki engages Shah-Rais in a conversation that ranges from such practical matters as assembling a set to deeper questions of how music can and should be used to build cultural bridges.

As is customary, this issue includes a number of reviews. In a thoughtful review essay about
Don’t Get Above Your Raisin’: Country Music and the Southern Working Class, Stephanie Vander Wel assesses Bill Malone’s latest contribution to country music studies, paying particular attention to how the author addresses issues of work and leisure, rurality and urbanity, and white southern masculinity. We are also fortunate to publish a review of Paul Robeson, Jr.’s new biography of his father, The Undiscovered Paul Robeson: An Artist’s Journey, 1898–1939. The review author Paul Von Blum is a professor at UCLA’s African American Studies program where he has regularly taught a course on Paul Robeson over the last fifteen years. Von Blum’s review addresses the strengths and contributions of this new biography, which considers Robeson’s career as an athlete, his rise to fame as a stage and screen actor and singer, the difficulties of racism, and provides a look into Robeson’s private life and marriage to Eslanda Robeson.

In the early days of ECHO, when we sat around a table and dreamed about what our ideal journal would publish, we had always hoped that, in addition to reviewing books and recordings, we would also review musical events, concerts, novels, and films. With this issue Caroline Polk O’Meara reviews All Tomorrow’s Parties. Curated by Sonic Youth at UCLA in March of 2002, this first staging of what has been a British musical event lasted three days and turned the campus where we usually study, teach, and eat, into a musical museum. O’Meara considers the implications of creating such a “museum” of musical events, and reviews particular performances including Sleater-Kinney and Japanese electronic dance musician Merzbow.

We are, as always, grateful for the generous encouragement and hospitality of the University of California Press and the Department of Musicology at UCLA, and our publication would not be possible without the financial support from UCLA’s Graduate Students Association Publications Fund.

Cecilia Sun

August 6, 2002
Los Angeles, CA

Maria Cizmic


“Hello Cleveland!”


Yatrika Shah-Rais

Review Essay


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