Welcome from
the Editor
Welcome to the
second issue of ECHO: a music-centered journal. In the months since
we first created this forum, we have continued to wrestle with the
questions that hypertext poses, and have learnt from the successes
and shortcomings of our first issue. Publishing online challenges
our conceptions of how information and analysis are presented and
understood: Does a linear argument depend upon the format of the
traditional printed page? Must web-based journals be bound to a
structure of pages read from top to bottom?
Musicologists
have long cringed in response to the witticism that "writing about
music is like dancing about architecture." The best retort to this
quip might be: "And why is the idea of dancing about architecture
so implausible?", but it does rather pointedly identify the central
problem facing musicology as a humanities discipline. To be candid,
it is very difficult to write about what music sounds like without
relying on technical language and notation systems that are inaccessibleeven
alienatingto many cross-disciplinary readers. Music scholarship
above all can profit from online publishing, to say nothing of other
disciplines such as performance studies and media studies (to name
only two). With the technologies of the Internet, we are able at
last to provide sound and film clips integrated into our writing,
expanding (it is hoped) discussion about music and how it works
in society.
But our goal
is to provide an interactive publication that is more than an online
version of a traditional paper journal with added sound clips. The
writings in this issue address topics as yet little-discussed in
music studies, or illuminate familiar subjects in new ways. A theme
of modern urban experience prevails, whether in Robert Fink's work
on the music of corporate culture, Ivan Raykoff's discussion of
how Romantic piano concerti function in Hollywood films, Billy Higgins's
reflections on jazz in various Los Angeles communities, or Elizabeth
Wells's exploration of Hispanic (American) musical identity in West
Side Story. All of these articles engage readers with sound and
film clips as well as links to sites outside our journal.
As always, our
thanks are due to our advisory board and the personnel of the Department
of Musicology and Center for Digital Arts at UCLA we continue
to learn from their work. This is an exciting time to be taking
part in intellectual discourse, as we explore different directions
and strategies. Online publishing is still very much in a state
of flux as readers and writers both in and outside the academy unshackle
themselves from the fetters of the printed page and emerge, blinking
timidly, into the glare of the World Wide Web. With the expressive
possibilities of hypertext, perhaps we can, in fact, find ways to
dance about architecture.
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