Musicology Presentations: A User’s Guide (with Templates!)

We are now well into conference season, and many musicologists are experiencing many a sleepless night trying to put together revelatory presentations of research over the past year (or the past few hours). I thought it might be helpful to provide some templates that you can use to assemble your presentations.

Templates are a useful rhetorical tool. They don’t provide the content of your presentation—only you can do that—but they remind you of the common features of your professional discourse. I provide these templates in the hope that they will prove useful to musicologists who are fretting over their annual professional meetings.

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Against the Honor Code

In my first-year writing course, we were recently having a discussion about plagiarism and citations. My students easily grasped the concept of citations as a way of giving credit to other authors whose ideas they are quoting or paraphrasing. (They were less clear on the notion of citations as a way of pointing to an existing discourse that they are participating in—but learning to participate in such an intellectual conversation is one of the primary goals of the course.)

I then asked my students what they understood plagiarism to mean, and why they shouldn’t do it. Again, they easily understood what plagiarism is, at least in broad strokes. However, I was rather troubled by some of the answers to the question of why it should be avoided. In particular, one student said that plagiarism should be avoided because of the Honor Code. Continue reading “Against the Honor Code”

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Fuck the NCAA

As I write this, I am watching the UNC–Syracuse game in the NCAA men’s Final Four, thus breaking my vow not to watch any of the men’s basketball tournament this year. The spectacle of the game I find pretty repugnant, particularly the student sections who never fail to seize an opportunity to act like jackasses for the national television camera. Continue reading “Fuck the NCAA”

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Cee Lo Green’s Amateur Hour

The past Saturday, I saw CeeLo Green perform. CeeLo is a performer I’ve dug on and off since his 2004 album Cee Lo Green is the Soul Machine, and 2012’s The Lady Killer remains one of my recent favorite albums for its powerful neo-soul hooks and rocking horns. His more recent work has been less than spectacular, though—the laughable Christmas album in 2012 (Cee Lo’s Magic Moment) and last year’s Heart Blanche, which I liked well enough but which Pitchfork didn’t even bother to review.

Continue reading “Cee Lo Green’s Amateur Hour”

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