Editor’s Message

[1] On behalf of the editorial staff, we welcome readers to Music Theory Online 25.4. In this issue, Jennifer Beavers asserts the importance of timbre in interpretation of a Ravel Piano Concerto, Barbara Bleij similarly takes a multi-parametric approach to analysis of three “postbop” pieces by Wayne Shorter, Ben Duinker introduces the concepts of plateau loops and hybrid tonics as means to interpret harmony in recent pop/EDM hybrids, Philip Ewell provides detailed discussion of Boleslav Yavorsky’s reinvention of the Russian term lād as applied to quasi-tonal and post-tonal music, and Patrice Nicolas defends the historical device of the règle de l’octave against both Rameau and some contemporary commentary. Judith Lochhead contributes a review-essay on an important anthology, Music in Time, and Timothy Koozin offers a report on the recent conference at Eastman about the Beatles’ Abbey Road album.

[2] In light of the Society’s recent emphasis on diversity issues, we are pleased to note that, of the seven contributions to this issue, three are by women—a far higher proportional representation than the Society’s membership as a whole. (Issues 11.1 and 24.2, by the way, hold the distinction of female majority authorship. “Beta” issue 0.4 from September 1993 could be included, too, since its only item is an article by Ann McNamee.) On the other hand, our readers will be quite accustomed to the variety of topics and repertoires this issue’s authors cover: from the eighteenth century to the twenty-first, from the United States to France to Russia, from piano concertos to jazz to recent pop music.

[3] Music Theory Online now has a structure with three associate editors, and we very much appreciate the efforts and counsel of Bryn Hughes, Mitch Ohriner, and Brad Osborn. Managing editor Brent Yorgason and his assistants continue their indispensable work on production.

[4] David’s note: My role as interim editor is to work with incoming editor René until she takes over full-time with issue 26.1 or 26.2. My thanks to her for managing the copyediting and initial production stages for this issue. Special thanks to Jeff Perry, who patiently guided me through the various aspects of learning the job, which included a September work day in Baton Rouge (lunch with seafood gumbo soup and crawfish jambalaya was a delightful extra benefit!).

[5] MTO is especially well suited for the publication of articles that incorporate recordings, videos, and other media, but we also welcome text submissions in a variety of formats, including articles, commentaries, and conference reports. Please refer to our submission guidelines.

[6] All MTO volumes dating back to our first issue in 1993 can be accessed from the contents page at http://www.mtosmt.org/issues/issues.html. Thank you, as always, for your support of Music Theory Online—a Journal of the Society for Music Theory.

David Neumeyer, interim editor
René Rusch, incoming editor