The Musical Quarterly is published yearly with the aim to provide music enthusiasts as well as musicians with musical history and analysis. The articles are written by scholars who have great knowledge in their relative fields. The editor for example is the president of Bard College and a music director of American Symphony Orchestra. He is also the author of Jefferson's Children which outlines thought provoking ideas about American culture, education and democracy of that era (Leon Botstein by Random House 2004). The Musical Quarterly is therefore merely another accomplishment among the long list of his talents. In this review researcher will focus on The Musical Quarterly's publication year 1999 Volume 83.

In each issue of The Musical Quarterly, there are about 6 articles with varying length but all provide in-depth analysis. Evaluation is based on specific era or period such as 1950s or 1960s. It is also based on famous figures in the musical world such as Felix Galimar, Eric Salzman, Shostakovich and Mendelssohn, the latter for whom the first Issue of 1999 Volume 83 has been dedicated to. One running theme that runs in almost all of the issues is that the articles are historical in nature and they all provide specific content regarding particular music.

In Issue 1 for example the editor focused on the Mendelssohn, a continuation of the article Volume 82, Number 1 published in Spring 1998. The article by Michael P. Steinberg titled "Mendelssohn's Music and German-Jewish Culture: An Intervention" outlines the validity of Mendelssohn's biographers, specifically on the issue of Mendelssohn's Jewish background. Steinberg first critique Eric Werner's attempt to associate Mendelssohn with German Jews whereas he had been converted from Judaism to Protestantism at an early age. Furthermore the author enumerates on the fact that this distortion in Mendelssohn's background also mislead the reader to interpret the nature of Mendelssohn's music connected with Jews rather than Protestant. In the same issue Peter Jones also criticizes Werner of his dire mistake in Mendelssohn's identity. The rest of the Issue comprise of articles that comprise of Mendelssohn's composition, collaboration in musical concerto etc.

Issue 2 of The Musical Quarterly is not so specifically focused. Instead Issue 2 is based on a combination of topics such as Gershwin-Berg, Mozart's Viennese piano concertos, Stravinsky's Les Noces, Hitchcock's Blackmail etc. The general theme has been directed towards twentieth century artists nevertheless, the historical development of classical music has also been included to provide complete scenario. One article by JS Sposato does continue with the topic of Mendelssohn's identity, it seems to be out of place. Perhaps the editor's attempt has been to motivate the readers to refer to back issues for further readings. Sposato's article is not a criticism but rather an analysis of what other authors have written about Mendelssohn. He writes he agrees with Botstein and Steinberg that Mendelssohn has been guidance for musicians but nevertheless Mendelssohn's relationship with his Jewish heritage has little concern with his music. In fact Mendelssohn has rejected his father's influence at an early age and this fact nullifies the Jewish influence.

In Issue 3 the theme of twentieth century continues with articles by Tomlinson, Straus, Clarkson, Burke and Davis with emphasis on avant garde during this era. For example the development that took place in American music history during the 1950s and 1960s as well as the industrial, technological and institutional roles that played in Shostakovich's music. One article that stands out among others is by Gary Tomlinson who introduced the new concept of Ethno musicology. According to the author musicology has its roots in the gypsies, Latin and Greeks. Today as music enthusiasts we neglect to understand that music is constructural culture that differentiates from historical, recent to local. He outlines the metaphysics of music and how it explains nonacademic culture. The development of “songs” as compositions and popular artists like Prince, Laurie Anderson and Philip Glass although does not resemble the concerto musicians nevertheless they are part of the musicology.

One of the notable things that the researcher notes while reviewing this Journal is that the editor has kept a consistent ideas on American music, music and culture, twentieth century, technologies and primary sources. In Issue 4 too these items have been include with articles focusing on Still's work, Mozart, Nadia and Lili Boulanger, Frank Zappa etc. The articles no doubt are dispersing with no consistent theme. The first article on Arias, Communists and Conspiracies by Tammy L. Kernodle for example focuses on William Grant Still's opera Trouble Island. This article reveals that the Journal is also political in nature. The historical development of the civil rights movement in America is depicted in the liberto by Langston Hughes. Troubled Island therefore gained fame due to it’s resembles to the American social and political scenario at the time.

Overall Volume 83 of The Musical Quarterly provides comprehensive understanding of the nature and development of historical periods and figures with great depth by outlining and re-visiting issues by different scholars.