Open Access Musicology (OAM) publishes peer-reviewed, scholarly essays primarily intended to serve students and teachers of music history, ethno/musicology, and music studies. The constantly evolving collection ensures that recent research and scholarship inspires classroom practice. OAM essays provide diverse and methodologically transparent models for student research, and introduce different modes of inquiry to inspire classroom discussion and varied assignments. Addressing a range of histories, methods, voices, and sounds, OAM embraces changes and tensions in the field to help students understand music scholarship.

These essays are intended for undergraduates, graduate students, and interested readers without any particular expertise. The topics introduce and explore a variety of subjects, practices, and methods but, above all, seek to stimulate classroom discussion on music history’s relevance to performers, listeners, and citizens. Open Access Musicology will never pretend to present complete histories, cover all elements of a subject, or satisfy the agenda of every reader. Rather, each essay provides an opening to further contemplation and study. 

The third volume of Open Access Musicology presents provocative case studies and analyses through which readers can choose their own path while also putting these essays in conversations from those in previous volumes of OAM. This new volume challenges us to ask difficult questions about the place and function of music in our societies, on our stages, and in our institutions. The authors demonstrate ways in which the past can be re-imagined as well as the ways legacies of the past are inscribed in present-day practices, structures, histories, and beliefs. We invite readers to follow the thematic links between essays, pursue notes and other online resources, or simply repurpose the essay’s questions into new and exciting forms of research and creativity.

Music education today requires an approach rooted in care and kindness that coexists alongside the dismantling of systems that fail to serve our communities in higher education. But, as the essayists in Sound Pedagogy show, the structural aspects of music study in higher education present obstacles to caring and kindness like the entrenched master-student model, a neoliberal individualist and competitive mindset, and classical music’s white patriarchal roots. The editors of this volume curate essays that use a broad definition of care pedagogy, one informed by interdisciplinary scholarship and aimed at providing practical strategies for bringing transformative learning and engaged pedagogies to music classrooms. The contributors draw from personal experience to address issues including radical kindness through universal design; listening to non-human musicality; public musicology as a forum for social justice discourse; and radical approaches to teaching about race through music.

Contributors: Molly M. Breckling, William A. Everett, Kate Galloway, Sara Haefeli, Eric Hung, Stephanie Jensen-Moulton, Mark Katz, Nathan A. Langfitt, Matteo Magarotto, Mary Natvig, Frederick A. Peterbark, Laura Moore Pruett, Colleen Renihan, Amanda Christina Soto, John Spilker, Reba A. Wissner, and Trudi Wright