During the ragtime craze at the turn of the twentieth century, the popular repertoire of “coon songs” was coupled with a robust style of vocal delivery called “coon shouting.” This vocal technique was associated with white women—the most famous “coon shouters” of the day—who, like the performers of the nineteenth-century minstrel show, claimed to have studied so-called authentic Black performance in order to replicate it on stage. Performing the “coon song” repertoire, these women sang, often from a Black male protagonist's point of view, about the trials and tribulations of Black life and romance. How did the dynamics of race, gender, and sexuality in this repertoire change when it was performed by Black women? This article addresses this question by examining caricatures of Black womanhood within the “coon song” genre and by exploring the phenomenon of Black women performing the “coon song” repertoire, using the career of vaudeville performer Dora Dean (1872–1949) as a case study. I track Dean's participation in the “coon song” craze through an archival survey of sheet music and newspaper reviews dating from the height of her career (ca. 1896–1914). Using these sources, I explore the recurring theme of racial passing and the ubiquity of caricatures derived from blackface minstrelsy within Dean's “coon song” repertoire. I argue that Dean successfully navigated stereotypes of Black women's femininity, sexuality, and morality in her performances of “coon songs” and, in the process, subverted stereotypes of Black life, romance, and vocal sound.

Meyer, Mullen, and Vanhala analysed the inscription SECVNDINVS CACOR accompanying the carving of a phallus on a stone excavated at Vindolanda and explained CACOR as the present passive of the verb cacare ‘to shit out’. I suggest that CACOR may have been intended in abbreviation of CACORVM, the neuter genitive plural of the adjective cacus, a transliteration of the Greek κακός ‘evil’, and that the phallus is depicted ejaculating over this word to symbolise its apotropaic power over evil.

Readers familiar with numbers and their patterns will most likely know of the game-playing exercise where one is invited to spot the next number in a sequence, only to find that after giving an answer there can be a multiplicity of possibilities, each of which is valid according to its own rule of sequence construction. This is an instance of partial sequence matching and the purpose of this note is to show how a simple method of constructing a partial sequence match can be achieved. It requires only a knowledge of polynomials and matrix algebra, which are topics within the grasp of an undergraduate, and will be instanced against the backdrop of some wellknown sequences.

This article discusses a music treatise written in 1812 by the Catholic Armenian polymath Minas Bzhshkean (1777–1851). The article focuses on the historical and intellectual context in which the idea of notational reform emerged within the Armenian diaspora. Bzhshkean was born in the Ottoman Empire but educated at the Mekhitarist monastery of San Lazzaro in Venice, which was the leading intellectual centre of the Armenian Enlightenment. By discussing Bzhshkean’s use of sources from multiple cultural and intellectual traditions (including European authors such as Rousseau), the article provides a new perspective on music and Enlightenment in global context.