by hynes1 | Apr 2, 2017 | DUR Spring 2017
Thus far, we have read extensively about mapping practices and methodologies, and we have also held several Skype “dates” with prevalent scholars working on digital humanities projects (including Diana Sinton, Kate Elswit, Harmony Bench, and Todd Decker,...
by hynes1 | Mar 9, 2017 | DUR Spring 2017
Since I have extensive experience with Russian culture and much interest in Soviet culture, I decided to study the composers in the Gulag during Stalin’s era. I quickly realized that the topic was too narrow, and so I broadened it to “Music in the...
by baumga1 | Mar 8, 2017 | DUR Spring 2017
As I continue forward on my research in the world of musical geography, I have found many a philosophical and methodological conundrum that I have had to face on nearly a daily basis. Our readings have shaped how I do research and how I make maps and will continue to...
by baumga1 | Feb 15, 2017 | DUR Spring 2017
Over a single week I have dived head first into the world of musical geography, transitioning from a map novice to a map critic to, finally, a map maker. While this was a very quick turnaround given my complete naïveté with maps only two weeks ago, I feel a sense of...
by overdahl | Oct 21, 2015 | Music in Paris in the 1920s (2015)
My current research revolves around the Société Musicale Indépendante (SMI), a progressive musical organization founded chiefly by Maurice Ravel in opposition to Vincent d’Indy’s reactionary leadership of the Société Nationale de Musique (SN). My most immediate...
