Arts and Humanities Commons^™

Madrecita Querida, Jaime Navarro

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

The Sound Of Oldies, Andrea Merezko

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Entry 1, Angelie -

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

For My People, Irma Rodriguez

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Til Death Do Us Part, Trenton Dukes

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Love Is Joy And Pain., Davion Holman

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

My Life Is An Obstacle, Alberto Carbajal

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Pressure To Be, Trenton Dukes

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

I Come From..., Steven Corotan

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Mi Pasado No Lo Vences, Jorge Rico

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

In My Moment, The Moment That Stands Out, In My Moment…, Manuel Lopez

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Tortillas, Miles Banda Davila

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Camino A Los Solares De Mi Abuelo, Antonio Barajas

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Untitled, Misael Anguiano

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

I Am From, Irma Rodriguez

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Memories Fade, Samuel Nault

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Troje, Erandi Hernández Aguilar

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Front Matter, Courageous Cuentos

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

Full Issue, Courageous Cuentos

CouRaGeouS Cuentos: A Journal of Counternarratives

No abstract provided.

“It Takes A Big Thrust To Destabilize An Entrenched Practice”: On Taruskin And The Western Traditions, Ronit Seter

Music & Musical Performance: An International Journal

This memorial essay begins with a brief appreciation of Richard Taruskin’s The Oxford History of Western Music and its critical reception (Susan McClary, Charles Rosen). It continues with comments on the early stages of his career, noting his strategic pincer movement, that is, a pivot from his early research on Russian operas—to his 1980 groundbreaking JAMS article on Stravinsky’s The Rite of Spring on the one hand, and a source reading book (Weiss-Taruskin, 1984) on the other. Both became essential for launching his career, and for our field. I then delve into several of Taruskin’s core ideas—about current and past …

Taruskin’S Great Contributions And A Few Shortcomings, Ralph P. Locke

Music & Musical Performance: An International Journal

Among the most needed, and durable, features of Richard Taruskin’s life’s work was his consistent interpretation of music and music-making within and against their societal and cultural contexts. This stood in contrast to the positivistic methodologies that German, British, and American musicology valued in the 1960s–70s: instances of the latter include the making of reliable critical editions and, in a very different sense, various “the notes only” methods of music analysis.

The breadth of Taruskin’s vision and his command of musical and cultural history are apparent in the enormous “Nationalism” entry in the 2001 edition of Grove (now available at …

Transforming “The Ox”, Christopher Gibbs

Music & Musical Performance: An International Journal

This reminiscence recounts my experience transforming Richard Taruskin’s six-volume The Oxford History of Western Music into a single-volume textbook. At Taruskin’s suggestion, I was approached in 2005 by Oxford University Press to see if I was interested in taking on the daunting task of drastically abridging, extensively reshaping, and judiciously augmenting his monumental history. I did so with practical considerations in mind: limitations on space, concrete pedagogical aims, and sharing his desire to tell a compelling story. I worked with editors of the accompanying anthologies and recordings to decide which compositions should receive particular attention and emphasis. In this article, …

Thoughts Upon Richard Taruskin’S Yahrzeit, Scott Gleason

Music & Musical Performance: An International Journal

Teaching portions of Richard Taruskin’s The Oxford History of Western Music to non-music majors at Columbia University (in the early 2000s) offered special opportunities and challenges. Taruskin’s musical ethics, central to that book, are clearly embodied in his writings about John Adams’s The Death of Klinghoffer. The Princeton School of composer-theorists is a litmus test of Taruskin’s thinking: in particular, Taruskin’s emphasis on music criticism can aid in an analysis of Roger Sessions’s 1958 String Quintet. David Lewin’s unpublished 1959 analysis of that same piece (by his teacher) shows a very different approach; Lewin’s analysis is a vivid but rarely …

“Good For You!”: Remembering Richard Taruskin, Anna Dalos

Music & Musical Performance: An International Journal

Richard Taruskin was a major promoter of Eastern European music. His interest was also shaped by his personal contacts, particularly in Hungary, where he visited more frequently in his later years, presenting at conferences. He developed close relations with several representatives of Hungarian musicology, among them Katalin Komlós, László Somfai, László Vikárius, and Tibor Tallián. In addition to presenting conference keynote lectures, and later courses at the Doctoral School of the Liszt Academy of Music, Taruskin also participated in the advisory board of the Béla Bartók Complete Critical Edition, and became an honorary member of the Hungarian Academy of Sciences. …

Richard Taruskin And His Russian Music, Marina Ritzarev

Music & Musical Performance: An International Journal

Richard Taruskin’s contribution to Russian-music studies can profitably be viewed through a historiographic lens. A comparison of the Russian-Soviet and American schools of musicology shows that both were strongly influenced by the same source – the German fin-de-siècle tradition shaped by Hugo Riemann, Hermann Abert, Hermann Kretzschmar, and others. Brought to the United States by German scholars who fled the Nazis, this tradition was transmitted by Paul Henry Lang in his seminal book Music in Western Civilization (1941). On the Russian side, distorted by the ideologized and emphatically nationalistic doctrine of socialist imperialism, it was carefully preserved by those who …

Taruskin’S Dichotomies: Beyond Text And Act, Alon Schab

Music & Musical Performance: An International Journal

Richard Taruskin’s brilliant rhetoric sometimes led him to overly categorical generalizations. One notable example is his four-stage “genealogy of musical morals,” summarizing the history of music’s objectification as “art” through literacy, printing, the birth of transcendent and autonomous art, and recording. Similarly, Taruskin’s subtle bias against the British early music scene was often camouflaged under various generalized dichotomies such as “straight-style versus crooked-style.”

Taruskin’s views, initially seen in CD reviews and newspaper columns, gained enduring influence through their repackaging in Text and Act. This work also impacted John Butt’s Playing with History, where Taruskin played a key role in summarizing …

Richard Taruskin: In Memoriam, Klára Móricz

Music & Musical Performance: An International Journal

What was it like to be a student of Richard Taruskin? What was the most important lesson his students learned from him? In her short memorial essay, the present author considers the imperative of intellectual independence—freedom from methods, schools, political or scholarly agendas—the most lasting lesson she learned from Taruskin.

Richard Taruskin And The Early Music Movement, Uri Golomb

Music & Musical Performance: An International Journal

Richard Taruskin’s writings on the Early Music Movement had a pivotal influence on debates surrounding the concept of historical authenticity in musical performance. Taruskin championed the thesis that historically-informed performance (HIP) is only tenuously connected to actual past practices, that “a specious veneer of historicism clothes a performance style that is completely of our own time, and is in fact the most modern style around” (as Taruskin wrote in a 1988 essay, reprinted in his seminal collection Text and Act). In arguing his case, he correctly diagnosed the practices and motivations of a major group of performers within the Early …

Richard Taruskin And The Art Of Judging Each Other, Michael Beckerman

Music & Musical Performance: An International Journal

Combining personal reminiscence and reflections on a professional life as an academic, this essay deals with the challenges of maintaining personal friendships while judging each other's work with integrity and acuity. It is in the nature of our business that we are evaluated by our most brilliant and successful colleagues. In this case, because of Richard Taruskin’s honesty and his unsparing commitment to certain intellectual standards, the challenge was magnified.

Farewell To A Beloved Buddy, David Josephson

Music & Musical Performance: An International Journal

“You never know when it’s the last time.” For sixty years, from a chance meeting when we were undergraduates at Columbia until his last days, the incomparable Richard Taruskin gave me the great gift of his friendship. I never knew why, still don’t, but I reveled in every moment we shared. After I decamped for Brown ten years later, and he eventually for Berkeley, our meetings grew fewer and a cherished correspondence (those from its last months excerpted here) filled the gaps. COVID-19 put finis to our reunions. “The last time” would come and go with all too little warning, …