It is my pleasure to introduce this edition of Discourses in Music! It is clear from the insightful and informative contributions that we have received that both an understanding of discursive practices and the recognition of our own place within these processes provides unlimited potential for exploring diverse topics in music.

This issue features two writers on very different topics: Jiri Smrz offers a fascinating analysis of Soviet Russia's "national realistic school". Through emphasizing the role of 'Sovietizing' pre-revolutionary composers, Smrz details the processes of canonization that shaped the work of Soviet composers. Dana Astmann presents an exciting introduction to the music and culture of queer klezmer. Astmann not only considers the range of musical and social factors that led to the emergence of this movement but she also identifies the fusion of Jewish and queer identity that has resulted in a strong culture and musical voice.

Consistent with the opportunity for ongoing dialogue that Discourses offers, this issue contains two responses to articles that appeared in the spring edition. Sam King provides a valuable addition to Drew Stephen's investigation of Canadian wind quintets. Similarly, Eleanor Johnston raises some additional avenues of inquiry in response to Colin Eatock's discussion of Serge Koussevitzky.

Finally, in Insights and Outlooks, Colin Eatock offers a critical - and possibly controversial - account of his recent academic experience. Eatock proposes that in order to understand music in a way that allows musicologists to communicate with "the rest of the world" we should attempt to view music within the context of a variety of discursive strategies and recognize the importance of many different models of knowledge.

As always, we invite all readers to contribute responses, articles, or reviews. Please don't hesitate to contact Discourses if you would like to get involved: (editors@library.music.utoronto.ca/discourses-in-music/index.html). Enjoy...