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Archives
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ECHO
volume VIII, issue 1 (Fall 2006)
| Paul Christiansen |
On Janacek and Obsession |
| John Brackett |
From the Fantastic to the Dangerously Real: Reading John Zorn's Artwork |
| Melissa de Graaf |
The Queer Composition of America's Sound: Gay Modernists, American Music, and National Identity by Nadine Hubbs |
| Sandy Thorburn |
Ivan Anhalt: Pathways and Memory edited by Robin Elliott and Gordon E. Smith |
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ECHO
volume VII, issue 1 (Fall 2005)
| Yubakar Raj Rajkarnikar and Paul Greene |
Echoes in the Valleys: A Social History of Nepali Pop in Nepal's Urban Youth Culture, 1985-2000 |
| Raphael Atlas |
That Loving Feeling Meets the Danger Zone: Men, Sex, and Music in Top Gun |
| David Gramit |
Listening to Reason: Culture, Subjectivity, and Nineteenth-Century Music by Michael P. Steinberg and Music in the Culture of Polish Galicia, 1772-1914 by Jolanta T. Pekacz |
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ECHO
volume VI, issue 2 (Spring 2005)
| W.
Anthony Sheppard |
Representing
the Authentic: Tak Shindo's “Exotic Sound” and Japanese
American History |
| Steve
Waksman |
Metal,
Punk, and Motörhead: Generic Crossover in the Heart of
the Punk Explosion |
| James
Deaville, editor |
Teaching Controversial Topics in American Music: A Panel Discussion |
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ECHO
volume VI, issue 1 (Spring 2004)
| Wayne
Heisler, Jr. |
What
Fun? Whose Fun?: Cyndi Lauper (Re)Covers “Girls Just
Want to Have Fun” |
| Jennifer
Bain |
Hildegard
on 34th Street: Chant in the Marketplace |
| Tamara
Levitz |
Angora Matta: Fatal Acts of North-South Translation
by Marta Elena Savigliano |
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ECHO
volume V, issue 2 (Fall 2003)
| Timothy
D. Taylor |
Music
and Advertising in Early Radio |
| Dale
Chapman |
“Hermeneutics
of Suspicion”: Paranoia and the Technological Sublime
in Drum and Bass Music |
| Carlos
Palombini |
Editing and Translating Elizabeth Wood and Philip Brett's
“Lesbian and Gay Music” |
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ECHO
volume V, issue 1 (Spring 2003)
| Robynn
J. Stilwell |
It
May Look Like a Living Room…: The Musical Number and
the Sitcom |
| Nasser
Al-Taee |
Running
with the Rebels: Politics, Identity, and Sexual Narrative
in Algerian Rai |
| Andrew
Berish |
Dissections and Intersections of the Jazz Scene: An Interview
With Aaron Goldberg |
| Ben
Carson |
John
Adams and a Certain Counterpoint of Contemporary Reasoning:
the Los Angeles Philharmonic’s El Niño, March
2003 |
| Jessica
Courtier |
Harry
Belafonte’s The Long Road to Freedom: An Anthology of
Black Music |
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ECHO
volume IV, issue 2 (Fall 2002)
| Elizabeth
L. Keathley |
A
Context for Eminem's “Murder Ballads” |
Geraldine
Finn and
Marcel Cobussen |
Creativity
and Ethics—in Deconstruction—
in Music: “Intermezzo” |
Olivia
Carter Mather and
J. Lester Feder (editors) |
O
Brother, Why Now?:
A Folk Revival Symposium |
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Essays
by William Hogeland, Rachel Howard, Walter Nelson, Anthony
Seeger, Jeff Todd Titon, and Alan Williams |
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ECHO
volume IV, issue 1 (Spring 2002)
| Richard
Leppert |
Paradise,
Nature and Reconciliation, or, a Tentative Conversation with
Wagner, Puccini, Adorno,
and The Ronettes |
| Sara
Nicholson |
Keep
Going!: The Use of Classical Music Samples in Mono's “Hello
Cleveland!” |
| Gordon
Haramaki |
The
Audible World: An Interview with
Yatrika Shah-Rais |
| Stephanie
Vander Wel |
Don't Get Above Your Raisin’: Country Music
and the Southern Working Class by Bill Malone |
| In Memoriam
Philip Brett |
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ECHO
volume III, issue 2 (Fall 2001)
| Tamara
Levitz |
In
the Footsteps of Eurydice: Gluck’s Orpheus and Eurydice
in Hellerau, 1913 |
| Anahid
Kassabian |
Ubisub:
Ubiquitous Listening
and Networked Subjectivity |
| Francesca
Draughon and Raymond Knapp |
Mahler
and the Crisis of Jewish Identity |
Larraine
Sakata,
Nazir Jairazbhoy,
Ali Jihad Racy,
and Timonthy Rice |
Musical
Perspectives on September 11:
A Roundtable on Music, Community, and Violence |
| Gage
Averill |
Soundly
Organized Humanity |
| Anne
Elise Thomas |
Building
Culture: Reflections on Sept. 11 from Amman, Jordan |
| Sheila
Masson |
Burning
Man: A Photo Essay |
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ECHO
volume III, issue 1 (Spring 2001)
| James
Kippen |
Folk
Grooves and Tabla Tal-s |
| Gina
Fatone |
We
Thank the Technology Goddess for Giving Us the Ability to
Rave: Gamelan, Techno-Primitivism, and the San Francisco Rave
Scene |
| Timothy
S. Murphy and Daniel W. Smith |
What
I Hear Is Thinking Too:
Deleuze and Guattari Go Pop |
| Giorgio
Biancorosso |
Beginning
Credits and Beyond:
Music and the Cinematic Imagination |
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ECHO
volume II, issue 2 (Fall 2000)
| Susan
McClary |
Temporality
and Ideology: Qualities of Motion in Seventeenth-Century French
Music |
| Joseph
Auner |
Making
Old Machines Speak:
Images of Technology in Recent Music |
| Robert
Fink,
Reebee Garofalo,
Becky Gebhardt,
Casper Partovi |
Music
as Object?:
A Napster Roundtable |
| Maiko
Kawabata |
Schoenberg
at UCLA:
Reminiscences with Leonard Stein |
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ECHO
volume II, issue 1 (Spring 2000)
| Robert
Fink |
Orchestral
Corporate |
| Ivan
Raykoff |
Concerto
con amore |
| Elizabeth
Wells |
West
Side Story and the Hispanic |
Dale
Chapman and
Andrew Berish |
Enlighten
the Spirit: Billy Higgins, the World Stage, and Transforming
Society Through Jazz |
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ECHO
volume I, issue1 (Fall 1999)
| Elisabeth
Le Guin |
“Cello-and-Bow
Thinking”:
Boccherini’s Sonata in E-flat major, ‘fuori catalogo’ |
| David
Ake |
Blue
Horizon:
Creole Culture and Early New Orleans Jazz |
| Jason
Middleton |
Heroin
Use, Gender, and Affect in Rock Subcultures |
| Maria
Cizmic |
Composing
the Pacific:
Interviews with Lou Harrison |
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