Well, it's here! This issue of Discourses promises to live up to its reputation as a thoughtful, reader-friendly, informative, sassy, and, at times, in-your-face forum devoted to all aspects of music research or criticism. There are three feature articles that promise to provide something for everyone: Colin Eatock offers a sober snapshot, elegantly rendered of the legendary conductor of the Boston Symphony Orchestra Serge Koussevitzky; Sandy Thorburn's review-cum-essay on the new 2002 edition and translation of Theodor Adorno's music essays sizzles with direct and feuilletonistic verve; J. Drew Stephen has compiled a wonderful resource tool for fans and practitioners of the Canadian woodwind quintet. I am also proud of the work our two book reviewers, Timothy Neufeldt and Luis-Manuel Garcia, have done, for they have contributed two finely crafted and thought-provoking analyses of recent books that consider music, gender and sexuality from two different points of view, as well as from two entirely different centuries. A savvy response by Colin Eatock to Sandy Thorburn's article on commercial opera in seventeenth-century Venice from the Fall 2002 edition of Discourses, and a powerful plea to rid academic discourse of overly jargon-laden language by France Fledderus rounds out this issue.

As always, it is our desire to make Discourses in Music a place for the lively exchange of ideas. To that end, we invite all readers out there in cyberspace to respond to any and all of the scholarship presented in this and future editions. Happy reading and happy Spring!