Tuesday, December 29, 2015

Year-End Review: AMS-NE in 2015

As the year draws to a close, I thought I'd take the opportunity to summarize and comment upon chapter activities and events that have marked this past year for us in the AMS-NE.

We had a very successful Winter meeting at Boston University on February 21, 2015, which was not only well-attended, but featured particularly good feedback and questions from the audience. I make special note of this as one of the people in attendance that day is no longer with us--Dr. Joel Sheveloff, who left us on November 8, 2015. There have been many beautiful remembrances of Dr. Sheveloff, but I include one from chapter member Fred Thornton at the end of this post. I hope you will take the time to read it, as we lost someone who was an inspiration, mentor, and friend to so many in our chapter.

Early May 2015 brought us to a meeting at Yale, which, despite an unexpected campus-wide power failure, was a lively and enlightening gathering! We look forward to being back in Connecticut at The Hartt School on February 20th! (CFP here).

Our Fall 2015 chapter meeting was held October 3rd at Amherst College, where we were so graciously received by our hosts, and enjoyed a wonderful variety of papers.

We have almost finished migrating the website over to http://ams-ne.blogspot.com, where you can find tabs for the Chapter Bylaws, the Schafer Memorial Award, the Meeting Archive dating back to 2009-10, and quick access to Upcoming Meeting info and Chapter News. At the end of the landing page for the blog/website, you'll find the New England Musicology Conference calendar--a new initiative to help music departments and other music-related organizations in the chapter in their event planning. We are fortunate to have so many institutions in our chapter that offer thought-provoking conferences and symposia, so this is a small effort to try and prevent too many calendar conflicts. To list an event, please e-mail Rebecca Marchand directly: rmarchand at bostonconservatory dot edu

Lastly, a reminder that we are also on Facebook and Twitter, if you are inclined to use social media.


The CFP for our Winter 2016 meeting has been issued and we are looking forward to gathering at The Hartt School on February 20, 2016. We are hoping to have a special event as part of this meeting, so please stay tuned. As always, please watch this website for the most up-to-date information.

In April, we are having our first ever (??) joint meeting with the New England Conference of Music Theorists! This conference will take place at MIT on Friday, April 8 and Saturday, April 9, 2016. We are really looking forward to this joint endeavor and hope that there will be plenty of "infiltration" in all the sessions. ;-)

2016 promises to be another exciting and fulfilling year for AMS! We look forward to your attendance at meetings and invite you to help strengthen our chapter by participating in discussions! The Q & A at these meetings can be just as important as the papers themselves.

As promised, I end with this remembrance of Dr. Joel Sheveloff written by AMS-NE member Fred Thornton, printed here with permission.


By J. Fred Thornton (Boston University, SFAA/CFA, Mus.B. 1970, Music History and Literature)

            For both my wife, Sylvia (Vogel) and myself, Dr. Joel Sheveloff was the most important single influence regarding music in our lives. As Boston University undergraduates, through 1969 in my case and through 1971 in Sylvia’s, we took a number of his courses in music history subjects as wide-ranging as the Music of Joseph Haydn, The Art Song, and Music under the Tsars and Soviets. An infectious, enlightening, dynamic, and vastly informative teacher and lecturer, as well as an entertaining raconteur (as good as Isaac Asimov!), students signed up for his classes first for their next term in order to avoid getting shut out. We just couldn’t get enough. I sat in on a number of his other classes to the point where I can’t always be sure which courses of his I took and which ones I semi-audited. Eventually, both of us changed our majors over to music history, Sylvia from applied piano and myself from music education. And when both of us began graduate school part-time in musicology in 1974 (after my four years in the Navy and our marriage in 1971), we continued to take his courses whenever possible.

            Joel’s popularity occasionally had interesting consequences. Sylvia recalls the first day of one course when the classroom was full to practically overflowing, and Dr. J. (as I liked to call him --- he was a Julius Erving fan) decided to split the class up. Half the class would stay with him and the other half would go to another room with the graduate assistant. Naturally there was much grumbling when the victimized half left. But at the next class two days later, virtually everybody was back in Joel’s classroom, and they wouldn’t budge. Naturally, Joel, who always relished an audience, gave in.

            In recent years, I occasionally saw Joel at AMS conferences, and whenever there was a break he would always be holding court, with at least a half dozen people hanging on to his every word. And most recently, during 2011-2013, I was able to attend his last three sets of daytime lectures for the BU Evergreen program (for alumni 58 years and up), on music of Ravel, Mussorgsky, and finally (on October 23rd and 30th, 2013) the clarinet music of Mozart.

            As an analyst, Joel had no peer. His diagrams of such things as the opening movement of Mozart’s Piano Concerto No. 25 in C (K. 503) were legendary. I remember him spending a whole class on just the first 18 measures of the finale of Haydn’s “Drum Roll” Symphony (No. 103 in E-flat). And he loved to skewer flawed compositions that didn’t quite work. He once referred to an “idée fixe” by Berlioz as being “best characterized by my singing of it”! His most celebrated lecture in this regard was on Liszt’s “Festklaenge” (“Festival Noises”), whose grand theme, he pointed out, was the inspiration for “O, Canada”, Canada’s national anthem. I tried to talk him into doing another Evergreen lecture on “Festklaenge”, but no, he said the Mozart would be his “swan song”.

            Of course, Joel had many strong opinions. He would rail against recordings of 18th- and 19th-century orchestral music that did not split the violins left and right, which, during the 60s and 70s, were virtually all of them. He would play a recording of an early Renaissance piece by the Pro Musica Antigua of Brussels, or some such (this was before H. I. P.), and preface it by saying, “This is dead music, and this is why it died”! But even if he disagreed with you, he would respect your opinion if you could defend it. When I took his Research and Bibliography course in 1977, I wrote a 95-page paper (with Joel, you didn’t want to leave out anything that could possibly make your case) on: “The Practice of Double-Dotting in the Baroque”. Now normally, every assignment one submitted to Joel would come back with a myriad of red ink corrections, suggestions, and the like. But this time, there was nothing! Nothing, except for a slip of paper tucked under the title page which read: “I think both you and Michael Collins are wrong, and that Frederick Neumann is right. Pedantic as usual, but well-researched: A”.

            Newton and Kepler had their “Three Laws of Motion”, and Isaac Asimov had his “Three Laws of Robotics”. I’ve come up with Joel Sheveloff’s “Three Laws for the Performance of 18th- and early 19th-century Music”:

            1. The printed music is not the piece; it is merely the map to the piece.

            2. Never repeat anything exactly.

            3. Articulation and phrasing are paramount in determining a proper tempo.

            In my own concerts as director of the Mayflower Chorale and Chamber Orchestra, and most recently with the Mayflower Camerata Vocal Ensemble, even with non-professional singers I have endeavored to put these principles into practice as much as possible.

            In one course, perhaps it was either Music of the Classic Period, or Music of Mozart, Joel had the class compose and write out a variation for each repeat of the Minuet of Mozart’s Piano Sonata in A Major (K. 331). When he handed them back, he held back three (one of which was mine) to play through “in his imitable fashion”, subjecting each in turn to intense scrutiny. When he came to the third example, he said at one point that this person had incorporated a truly imaginative harmonic change. So at the end of the class someone asked who wrote the three choices, and he identified the first two. “But who wrote that third one?” the student asked. “Oh, that one?” he replied. “That one was mine!”

            Naturally, encouraging students along these lines was bound to come to a head. Joel loved to tell the following story: One day, a student of the celebrated piano teacher Bela Nagy was preparing for her senior recital, and she asked Joel if he could coach her on the side in preparing varied repetitions for a set of Mozart piano variations. At the recital, Joel sat behind Dr. Nagy, and as she began to vary first the repetitions of the theme, and then of each variation, Joel could see that Nagy was becoming increasingly agitated, as he had no inkling that his student was going to do this, and he was afraid she might not be able to carry it through. But carry it through she did, and when she finished, Nagy turned around and blurted out, “Joel, you are a bastard!”

            As I mentioned earlier, Joel was a great raconteur, but I will close with just one more, and leave so many additional stories, including his Army escapades involving outwitting his “superiors”, to the legion of other contributors. When Joel was growing up in New York City, one day he sat riding the subway while studying a pocket score he had bought of “Le Sacre du Printemps” by Stravinsky (his “god”, as he once put it). All of a sudden, an imposing man in his mid-fifties sat next to him, and, pointing to the score, said, “Give me that!” Without a word, Joel handed it over and watched amazedly as this mysterious stranger proceeded to mark up various pages of his score in different colors of ink --- red, blue, green, and black. Finally, without a word, he gave the score back to Joel, got up, and exited the car. Joel didn’t forget his face, but he had no idea who this man could have been.

            Some years later, Joel bought a copy of the recently published “Lexicon of Musical Invective”, and saw a photo of its author. “It’s him!” Yes, that indelible, incredible character was none other than Nicholas Slonimsky!

            Rest in peace, Dr. J.  Your legacy will live on in the many thousands of lives you enriched through your own love of great music.

Sunday, December 20, 2015

CFP: Winter Chapter Meeting, Feb 20, 2016 at The Hartt School (CT)

Call for Papers: 

Winter 2016 Meeting of the AMS New England Chapter
The Hartt School
20 February 2016
The Winter 2016 meeting of the New England Chapter of the American Musicological Society will be held on Saturday, 20 February 2016 at the Hartt School at the University of Hartford in West Hartford, CT.

The Program Committee invites proposals of up to 300 words for 30-minute papers and for roundtable sessions. All abstracts are subject to blind review, and submissions from faculty, independent scholars, and graduate students are all encouraged and welcome. Abstracts should be submitted by Friday, 15 January 2016 via email to jsholes at bu.edu or by mail to Jacquelyn Sholes, AMS-NE Program Chair, Department of Musicology & Ethnomusicology, School of Music, College of Fine Arts, Boston University, 855 Commonwealth Avenue, Boston, MA 02215.

Please refer to the AMS abstract guidelines: “Proposals should represent the presentation as fully as possible. A successful proposal typically articulates the main aspects of the argument or research findings clearly, positions the author’s contribution with respect to previous scholarship, and suggests the paper’s significance for the musicological community, in language that is accessible to scholars with a variety of specializations.”

Presenters must be members of the American Musicological Society. Those who are not currently dues-paying members of the New England Chapter will be asked to kindly remit the modest Chapter dues ($10).

Saturday, November 7, 2015

AMS-NE Representation at AMS Lousiville 2015

Below is a list of papers to be presented at AMS Louisville by people affiliated with institutions or locations in the chapter. Also included are sessions chaired or organized by AMS-NE members. Please consider providing a summary of any of these sessions/papers so that they can be shared here on the AMS-NE Blog.

Please e-mail ams.newengland at gmail dot com with any omissions to this list and/or if you would be interested in "covering" these papers for the AMS-NE Blog. If you are are an AMS-NE member delivering a paper at AMS, we would also welcome a report as well.

11/12 Thursday Afternoon, 2 to 5 p.m.

SESSION: Blackface Legacies
  • Henry Stoll (Harvard University), “Peau blanche, masques noirs: Operatic Blackface in Colonial Haiti”
SESSION: Decoding Film Music 
  •  William O’Hara (Harvard University), “Atonality in Monterey: Leonard Rosenman’s Score for East of Eden and the Sound Worlds of Cinematic Modernism”
SESSION: Listening Beyond Hearing: Music and Deafness
  • Jessica Holmes (McGill University), “‘How to Truly Listen’? Resisting an Idealized Sense of the Deaf Body”
  • Jeannette Jones (Boston University), “‘Hearing Deafly’: Reshaping the Geography of Sound in the Body”

11/12 Thursday Evening, 8 to 11 p.m.

SESSION: Ecomusicology and the History of Science
  • Kate Galloway (Memorial University of Newfoundland), “The Soundscapes and Technologies of Energy Industries”
SESSION: "Making History": An AMS Oral History Panel
Kay Kaufman Shelemay (Harvard University), Chair

SESSION: Prima Donnas and Leading Men on the French Stage, 1830-1900
Session co-organized by Hilary Poriss (Northeastern University)
Sean Parr (Saint Anselm College)

SESSION: What is Accessible Musicology?
Jeannette Jones (Boston University), Organizer
  • William Cheng (Dartmouth College), “Sounding Good: Musicology, Rhetoric, Repair”
  • Meghan Schrader (University of New Hampshire), “Tasting The Forbidden Fruit: Verbal Learners and the Construction of New Music Pedagogy at the Crossroads of Music History and Theory”
11/13 Friday Morning, 9 a.m. to 12 p.m.

SESSION: Albums 
  • Melvin Backstrom (McGill University), “Ned Lagin’s Seastones and the Crossover of High Art and Popular Music within the San Francisco Rock Music Scene”
SESSION: Contemporary "Classical" Music
Daniel M. Callahan (Boston College), Chair
  • Marianna Ritchey (University of Massachusetts, Amherst), “Contemporary Classical Music as Capitalist Mythology”
  • Frederick Reece (Harvard University), “How to Forge a Missing Link: Winfried Michel’s ‘Haydn’ and the Style-Historical Imagination”
SESSION: “It Goes Like This”: Performance Practice
  • Cindy L. Kim (Burlington, Mass.), “In Defense of a Performers’ Art: Nineteenth-Century Singers’ Discourse on Ornamentation”
SESSION: “Nationalism is Back”
David Schneider (Amherst College), Chair

Laura Moore Pruett (Merrimack College), “"Une Fête sous les tropiques: Tourist Nationalism in Gottschalk’s Symphonie Romantique"

SESSION: Nineteenth-Century Piano Culture
  • Paul Berry (Yale University), “Casualties of Scholarship in Brahms’s Piano Trio, op. 8"
11/13 Friday Afternoon, 12:15 to 1:45 p.m.

Louisville’s “Unconscious Composers”: Mildred Hill, the
Courier’s Women’s Edition, and how “Happy Birthday” was
made From African American Street Cries
Anne Shreffler (Harvard University), Moderator

11/13 Friday Afternoon, 2 to 4 p.m.

POSTER SESSION: The Tasso in Music Project
  • Emiliano Ricciardi (University of Massachusetts, Amherst), “The Tasso in Music Project: A Digital Edition of the Madrigals on Torquato Tasso’s Poetry”
11/13 Friday Afternoon, 2 to 5 p.m.
SESSION: Jewish Topics in American Music/Culture
Klára Móricz (Amherst College), Chair

SESSION: Music and Philosophy
  • James Parakilas (Bates College), “From Hesiod’s Muses to Plato’s Music”
SESSION: Tape: An Archaeology of the Twentieth Century
Peter McMurray (Harvard University), Chair
Joseph Auner (Tufts University) and Brian Kane (Yale University), Respondents

11/13 Friday Evening, 5 to 7 p.m.

STUDY GROUP: Music and Philosophy Study Group Business Meeting
  • Felipe Ledesma Núñez (Harvard University), “Defining Mestizaje: Race and Power in Modern Ecuador”
11/13 Friday Evening, 8 to 11 p.m.

SESSION: New Musical Scholarship on Dance
  • Alexandre Abdoulaev (Boston University), “‘So Shout and Feel It’: Count Basie’s Savoy Broadcasts and the Last Great Swing Revolution, 1937-38"
  • Anne Searcy (Harvard University), “‘Ballet is Flowers’: Balanchine and the New York City Ballet in the Soviet Union, 1962"
SESSION: A Serious Effort Not to Think Straight: Suzanne G. Cusick
in Conversation with Emily Wilbourne
Stephan Pennington (Tufts University), co-chair

SESSION: Feminist Musicology and Contingent Labor
  • Clara Latham (Harvard University), “Adjunct Teaching in Musicology”
  • Margarita Restrepo (Walnut Hill School for the Arts), “Contingent Labor and Exclusion”
SESSION: “I Concentrate on You”: Contemplating the Music
and Lyrics of Cole Porter
James Hepokoski (Yale University), Chair and Participant

SESSION: “The Vibrating Tone Travels Onward”: Ernst
Bloch’s Musical Thought"
Benjamin Korstvedt (Clark University)

11/14 Saturday Morning Sessions 9 a.m. to 12 p.m.

SESSION: (During and After) World War II
  • Emily Richmond Pollock (Massachusetts Institute of Technology), “Rank and File: The Everyday Autobiographies of German Opera after World War II”
SESSION: Topics in Dance
  • Damien Mahiet (Boston, Mass.), “‘A Ballet of Children for Children’: The Unbearable Lightness of the Nutcracker”

11/14 Saturday Afternoon Sessions 12:15 to 1:45 p.m.

Committee on Career-Related Issues, Session IV:
“Beyond the Printed Page: Electronic Publishing and
its Implications for Musicology”
Michael Scott Cuthbert (Massachusetts Institute of Technology),

11/14 Saturday Afternoon Sessions 2 to 5 p.m.

SESSION: Ars Nova in Flux
  • Karen Desmond (McGill University), “When Was the ars nova?"
  • Anna Zayaruznaya (Yale University), “New Voices for Vitry”

SESSION: Austria and Germany, c. 1800
  • Tom Beghin (McGill University), “Beethoven’s ‘Hammerklavier’ Sonata op. 106: Legend, Difficulty, and the Gift of a Broadwood Piano"
  • Laura Stokes (Brown University / Indiana University), “Imagining Historical Prussia through Lebende Bilder”
SESSION: Technologies
Joseph Auner (Tufts University), chair
  • Daniel Walden (Harvard University), “Schoenberg’s Typewriter: The Notenschreibmaschine and Musical Composition”
SESSION: Twentieth-Century France
  • Steven Huebner (McGill University), “Faith and Ideology in Francis Poulenc’s Dialogues des Carmélites”
SESSION: Women Composing Modern Opera
  • W. Anthony Sheppard (Williams College), “Exoticism: Do Women Do It Differently?”

11/14 Saturday Evening Session 7:30 to 9:30 p.m.

SESSION: New Perspectives on Fidelio at Its Bicentenary
Paul-André Bempechat (Harvard University), Respondent

11/14 Saturday Evening Session 8 to 10 p.m.

Ludomusicology Study Group Inaugural Meeting
William Cheng (Dartmouth College), Chair

11/14 Saturday Evening Session 8 to 10:30 p.m.

SESSION: Music and Emotion in Televised Political Ads
Paul Christiansen (Gorham, ME.), Chair and Participant

11/15 Sunday Morning 9 a.m. to 12 p.m.

SESSION: Medieval and Renaissance Composition
  • Alessandra Ignesti (McGill University), “The regula del grado and cantus planus binatim in the Venetian Area”
  • Alexis Risler (McGill University), “From Vocal to Instrumental: Stretto fuga in the Lute Fantasias of Albert de Rippe (1500-51)
  • Julie Cumming and Peter Schubert (McGill University), “Traces of Improvised Practice in Composed Music, 1425-1610
 SESSION: Music, Place, and Identity
  • Samuel Parler (Harvard University), “Americanizing the First Americans: Assimilating Indians in Three Late Gene Autry Films”
  • Olivia Lucas (Harvard University), “Black Metal and Appalchian Coal Culture: Sound, Environment, and History in Panopticon's Kentucky"
SESSION: Reframing Opera
W. Anthony Sheppard (Williams College), Chair

SESSION: Resituating Russia
  • Kirill Zikanov (Yale University), "Music without Content: Balakirev Reception in the 1860s"
  • Rebecca Perry (Yale University), "Texbook Models: Prokofiev's Thematic Simultaneities and the Russian Sonata Tradition"

Monday, October 12, 2015

Upcoming Conferences & Festivals: Bach, Clemens non Papa, Phillipe de Vitry

Clark University, late September through mid-November: Bach to Bach 

Bach’s Art of Fugue in Color
Wednesday, October 21, 2015 at 7:30 p.m. in Razzo Hall

Johann Sebastian’s Bach’s Art of Fugue is one of his last great masterpieces.  As Bach’s final, encyclopedic exploration of the art and science of counterpoint and fugue, it has left a great legacy to the future.  The final fugue was left unfinished at the composer’s death, and has thus posed fascinating riddles ever since.  And the performance of this highly intricate, deeply beautiful score presents a wonderful series of challenges and opportunities to performers and listeners alike.  This performance will embrace and celebrate Bach’s Art of Fugue.
Featuring Frances Conover Fitch with Arcadia Viols and guest instrumentalists 
In addition, Frances Conover Fitch and members of the Arcadia Viols will offer a pre-concert demonstration for students at 4:00 in Razzo Hall.  Interested members of the university community and the public are free to sit in.

An Evening of Bach Sonatas 
Saturday, October 24th at 7:30 p.m. in Razzo Hall
with Peter Sulski on violin/viola, Ariana Falk on violoncello, and Andrus Madsen on keyboard.  The program will include Violin Sonatas by J.S. Bach, a Trio by C.P.E. Bach and a Viola da Gamba Sonata by J.S. Bach.

Bach, alone
Sunday, November 8 at 3:00 P.M. in Razzo Hall
Shay Rudolph will perform three of Bach’s intimate yet intense suites for solo cello.

Bach and others
Friday, November 13 at 7:30 P.M. in Atwood Hall
The Clark University Concert Chorus and Chamber Choir will perform Bach’s Cantata 150 (Nach dir, Herr, verlanget mich), one of his first works in the genre, as well as works by other Baroque composers.

Boston University, November 6-7, 2015

Valorizing Clemens non Papa: Towards a Polycentric Model for Renaissance Music

An International Conference and concert by Cappella Pratensis with Joshua Rifkin

Presented by the Center for Early Music Studies (Victor Coelho, director)

This conference, presented in partnership with the Alamire Foundation (Leuven),  will feature leading international scholars presenting on the person and music of Clemens from various musicological, historical, and performance perspectives. The acclaimed Dutch vocal ensemble Cappella Pratensis will be in residence throughout the conference, and will present a concert on Friday, November 6 at Marsh Chapel, Boston University, under the direction of Joshua Rifkin. The concert is free and open to the public.

Please visit the conference website to find a complete schedule, presenters, abstracts, and logistical details. The conference has no fee, but do register to attend.

Yale University, November 6-7, 2015

Phillipe De Vitry: An International Symposium

Philippe de Vitry (1291–1361) was a renowned poet, music theorist, composer, diplomat, and bishop. Along with Guillaume de Machaut (c. 1300–1377), he is emblematic of the French fourteenth century—a pivotal era in the history of Western music and poetry, and one in which he flourished as an influential public intellectual and early humanist. But while Machaut has been the subject of numerous books and conferences, Vitry’s story has been told piecemeal in shorter studies that focus on one or several aspects of his output and legacy (musical, musico-theoretical, poetic, historical, bibliographic, bibliophilic) at the expense of the others.

This symposium, co-organized by Anna Zayaruznaya (Yale University) and Karen Desmond (McGill University), and hosted by Yale University, will be the first to focus on this important figure, and will feature papers by an international panel of experts (from universities in the U.S., Canada, France, the Netherlands, Germany, the U.K., and Australia) on medieval music, literature, and intellectual and institutional history. The conference will enable detailed investigation of Vitry and the social and political contexts in which he worked. It is anticipated that this event will revitalize discourse in the field around this important figure, generate substantial new research, and provide a secure basis for interdisciplinary engagement with broader issues fundamental to understanding intellectual culture of the fourteenth century.

Keynote Speaker: Andrew Wathey (Northumbria University), “Vitry at Meaux”



Monday, September 21, 2015

Fall Chapter Meeting: Saturday, October 3, 2015 (Amherst College)

PLEASE NOTE: This program has been revised with new times to reflect a last-minute change (9/30/15)

AMS-NE Fall Chapter Meeting
October 3, 2015
Amherst College
Arms Music Center, Room 3
Free Weekend Parking Available in lots

9:45-10:15 Refreshments and Registration (Chapter Dues $10: exact change appreciated)

Morning Session
10:15   Welcome 

10:20  Arnold Dolmetsch against Antiquarianism: The Development and Endurance of Period Instrument Revival Ideologies

Maia Perez (Boston University)
Arnold Dolmetsch cut a fascinating figure in the eyes of his contemporaries: the eccentric but devoted leader of one of the first major early music revivals of the 20th century, essential to its success, and the primary force behind its dissemination. But as the century continued, his amateurism and his unshaken belief in the musical authority of a semi-mystical “performer’s insight” prevented most musicologists (and even his own students, such as Robert Donington) from critically engaging with his ideas. Lauded as an early pioneer, he was simultaneously dismissed as a serious influence on mid-20th-century early music revivals.
    Yet Dolmetsch’s ideologies survived as surely as his insistence on using period instruments did--and understanding how they developed brings new insights into the oft-debated roles “authenticity” and authority have played in early music. Through close examination of Dolmetsch’s reception in the late 1890s and early 1900s, we can see how Dolmetsch and his supporters’ struggle against continual criticisms of “antiquarianism” led to the development of an explicitly living revival. Dolmetsch’s personal vibrancy became a valuable tool, and his insistence on the importance of performer “insight” became a way to keep early music engaged with the present moment. I argue these solutions to the problem of antiquarianism continued to influence the performers and scholars of later early music revivals, complicating the idea of the revival’s derivation from modernist authoritarianism, and questioning the totality of “authenticity’s” authority over the performer. 

Maia Williams Perez is a second-year M. Mus. student in Historical Musicology at Boston University. She holds a B. Mus. in Oboe Performance from Lawrence University, where she wrote an honors thesis on the Period Instrument Revival’s intersection with modernism. At Boston University, Maia will be continuing this work in her master’s thesis, which will focus on the role of instruments and instrument-makers in the early music revivals of the 20th century. Her other research interests include 18th century music in France, early modernisms, and musical and literary collaborations.

11:00   The Godfather: Georg Philipp Telemann, Carl Philipp Emanuel Bach, and the Family Business

Ellen Exner (New England Conservatory / University of South Carolina)
In 1714, Johann Sebastian Bach and his wife Maria Barbara chose Georg Philipp Telemann as a godparent for their newborn son, Carl Philipp Emanuel. Most scholars agree that the choice of Telemann was somehow meaningful to Sebastian Bach and that the connection was probably useful to Emanuel as his career unfolded. The extent of Telemann’s personal relationship with the Bach family nevertheless remains a matter of debate. The great Bach scholar Hans-Joachim Schulze, for example, doubts whether Sebastian Bach and Telemann enjoyed any kind of real friendship. In his opinion, irrefutable proof of particular affection among these towering figures of the eighteenth century remains elusive and basic questions remain unanswered: we do not know, for example, whether Telemann was even present at Emanuel’s baptism. Schulze asserts that he was not. The weight of circumstantial evidence however (some of which was unknown to Schulze) strongly suggests that he was.  

This paper challenges what we have long understood about the relationship between the Bach family and Telemann and introduces a new dimension to the narrative: the findings of an exhaustive study into the social meanings of baptism in eighteenth-century Leipzig.[1] On the strength of this study and information new to Bach research, Schulze’s conclusions must be revised and the biographies of three eminent composers reconsidered­—particularly Emanuel Bach’s.

[1] T. Schmotz, “Die Taufpatenschaften der Leipziger Professorenfamilien im 17. und 18. Jahrhundert”, in Stadtgeschichte: Mitteilungen des Leipziger Geschichtsvereins Jahrbuch 2008, Hrsg. Markus Cottin, Detlef Dörring, und Catharin Friedrich (Sax-Verlag, 2008), 37-54. 

Ellen Exner is a specialist in music of the eighteenth century, specifically music of the Bach family. After receiving undergraduate degrees from the University of Massachusetts/Amherst in Music History as well as Russian Language and Literature, Exner went on to receive an MA from Smith College and then a PhD in Historical Musicology from Harvard University. Her current book project re-examines the eighteenth-century roots of Mendelssohn’s famous 1829 Berlin performance of J. S. Bach’s St. Matthew Passion.
Exner is actively engaged with baroque repertory as both a scholar and a performer on historical oboes. She has published two critical editions of music by J. S. Bach’s student Gottfried August Homilius with Carus-Verlag (Stuttgart) and is finishing commissioned work on Emanuel Bach’s 1779 Passion according to St. Luke for the Carl Philipp Emanuel Bach: Complete Works Edition. Her writings also appear in the journal Eighteenth-Century Music, the New Grove Dictionary of American Music, and in German-language publications dedicated to the most recent scholarship on Georg Philipp Telemann and his contemporaries. Exner is a member by invitation of the Editorial Board of the American Bach Society and serves as Editor of its official newsletter, Bach Notes. She has taught courses on baroque music as well as the history of art song by invitation at Boston University, Harvard University, and the Massachusetts Institute of Technology. She joins the full-time faculty at New England Conservatory in Fall 2015 following three years as Assistant Professor of Music History at the University of South Carolina School of Music.

11:40-1:40   Lunch Break

1:40-2:00     Business Meeting

Afternoon Session   

2:00     Symphonies for Sale: How Composers and Publishers Negotiated the Style of Concert Music in the Long Nineteenth Century

Derek Strykowski (Brandeis University)

During the long nineteenth century, the sale of published sheet music became a primary source of income for many European concert composers, but the artistic impact of this business on the style of their music is rarely acknowledged in the literature. Encouraged by strong commercial demand, sheet music publishers maintained a vast international retail network throughout the century. These publishers were intermediaries of the musical marketplace who engaged in economic competition for both content and customers. Standing to profit not only from the sale of conducting scores and parts but also from the sale of piano arrangements for two and four hands, publishers sought to establish professional relationships with whomever the most popular—or promising—composers of concert music might be.
Concert composers likewise found themselves in economic competition as the financial importance of this revenue drove many to pursue the most prestigious publishers even as publishers pursued the most prestigious composers. Records of correspondence between composers and their publishers drawn from throughout the period reveal the degree to which these composers possessed not only a keen business acumen but also, crucially, an understanding of how the style of their music could be made to accommodate the tastes of both the publishers and the buying public.
Business negotiations, personal communications, and other historical documents illuminate an often collaborative relationship forged between composers and publishers in which the demands of the musical marketplace tempered composers’ personal styles, and even the genres in which they chose to work, as much as those styles and genres gave shape to that market in the first place. These findings reveal that the business of music publishing influenced not only the livelihood but, through it, the artistry and style of the foremost composers of nineteenth-century concert music.

Derek R. Strykowski holds an M.F.A. in historical musicology from Brandeis University, where he is now a Mildred and Herbert Lee graduate fellow in the department of music. His doctoral research investigates matters of stylistic development and artistic analysis through a combination of qualitative and quantitative techniques. An article on Alban Berg is forthcoming from the Journal of Musicological Research.

2:40    Processes of Spectralization: From Josquin’s Missa L’homme armé super voces musicales to Haas’s Trio ex Uno 

Mike Ford (Rutgers University)

It is commonly known that Austrian composer Georg Friedrich Haas applies spectral techniques to pre-existent sound, creating new music from the acoustical fingerprints of his source material. He deconstructs these sounds into collections of partials and uses them as compositional or conceptual tools. Despite the increasing familiarity with Haas’s music, his precise spectral methods have never been closely examined; these bear important implications for an understanding of his work and that of other contemporary composers.
While many assume that spectralization relies exclusively on a novel treatment of timbre, my study demonstrates that Haas applies his distinctive method to numerous other components of music as well. His techniques include the use of the natural harmonic spectrum and altered versions thereof, polyspectrality, and processes as organizing principles. In this paper, I shed new light on Haas’s methods through an analysis of Tria ex Uno (2001), which paraphrases a piece published half a millennium earlier: the Agnus Dei II from Josquin des Prez’s Missa “L’homme armé” super voces musicales (1502), which, in addition to the cantus firmus technique, employs paraphrasing techniques itself. Haas presents Josquin’s work in its original form in Tria ex Uno I and re-orchestrates it in Tria ex Uno II, where various instrumental timbres are emphasized. Josquin’s composition is further reworked in Tria ex Uno III, which shapes the original material through spectralization. I illustrate the transformation from the Agnus Dei II to Tria ex Uno by analysing Haas’s specific spectral paradigms and techniques. My research provides a means to understand the spectral treatment of existing music within the discourse on musical borrowing; additionally, my discussion of the techniques employed in Tria ex Uno proves useful to analyses of other music by spectral composers.
Mike Ford is a student in the MA/PhD program in musicology at Rutgers University. His main research interests include: 20th and 21st century music, chamber music, philosophy of music, psychoanalysis, and semiotics. Mike also enjoys writing about musical borrowing and the contemporary treatment of existing music. In 2012 he completed his BMus in orchestral conducting at the University of Pretoria and has since been actively involved in the musicological circles of both South Africa and the United States. Mike is currently serving as secretary for the Rutgers University Musicological Society. 

3:10     Bob Dorough’s Settings of Langston Hughes’s Poems in Lawrence Lipton’s Jazz Canto: A Musical-Literary Exchange

Melissa Goldsmith (Westfield State University)

Lawrence Lipton (1898-1976) was best known for The Holy Barbarians (1959), a book on the Venice (Los Angeles) beats. He also worked fervently behind the scene to advance the area’s jazz poetry, including editing contemporary colleagues’ jazz poems (adding performance indications) and performing them in public music venues like the Venice West Café. By rekindling his friendship with Kenneth Rexroth (1905-82), Lipton also kept abreast of jazz poetry in San Francisco, while sharing information about his own jazz poetry, performance practices, and local poets and musicians. In the 1920s, both heard Langston Hughes (1902-67) read his poems with musical accompaniment while in Chicago. Rexroth viewed Hughes as a major influence on his jazz poetry, whereas Lipton regarded Hughes as creator of the “talking blues,” jazz poetry’s ancestor.
In 1958 Lipton conceived and organized an LP anthology he titled Jazz Canto, produced by World Pacific Records. Intended as the first volume of a jazz poetry recording series, it featured poems by Walt Whitman, Dylan Thomas, William Carlos Williams, Philip Whalen, Lawrence Ferlinghetti, Lipton, and Hughes. For the first time this paper traces the documented history of this project, especially the exchange on poetry and music between Hughes and Lipton in unpublished letters unearthed in special collections at the University of California, Los Angeles and the University of Southern California. Having heard informal rehearsals of Lipton’s jazz poetry experiments at his Venice home, Hughes encouraged Lipton’s project and gave permission for three poems, the most by any one poet on the album, from “The Dream Keeper” and Other Poems (1932). Hughes’ poems were selected by Lipton, based on suggestions by jazz composer Bob Dorough (b. 1923), who performed them on the album. Lipton’s thoughts on Dorough’s settings are expressed in his drafts of the album’s liner notes and his letters to Hughes.

Melissa Goldsmith is a visiting lecturer in the music department at Westfield State University as well as a composer and sound engineer for her company Dapper Kitty Records. She specializes in popular music, film music, and jazz poetry. Her current academic projects include an encyclopedia on films that focus on musicians and a global hip hop encyclopedia.

3:40     Refreshments

Wednesday, July 29, 2015

CFP: Fall 2015 AMS-NE Chapter Meeting (Oct 3 Amherst College)

Call for Papers: 

Fall 2015 Meeting of the AMS New England Chapter
Amherst College
3 October 2015
The Fall 2015 meeting of the New England Chapter of the American Musicological Society will be held on Saturday, 3 October 2015 at Amherst College in Amherst, MA.

The Program Committee invites proposals of up to 300 words for 30-minute papers and for roundtable sessions. All abstracts are subject to blind review, and submissions from faculty, independent scholars, and graduate students are all encouraged and welcome. Abstracts should be submitted by Tuesday, 1 September 2015 via email to jsholes at bu.edu or by mail to Jacquelyn Sholes, AMS-NE Program Chair, Department of Musicology & Ethnomusicology, School of Music, College of Fine Arts, Boston University, 855 Commonwealth Avenue, Boston, MA 02215.

Please refer to the AMS abstract guidelines: “Proposals should represent the presentation as fully as possible. A successful proposal typically articulates the main aspects of the argument or research findings clearly, positions the author’s contribution with respect to previous scholarship, and suggests the paper’s significance for the musicological community, in language that is accessible to scholars with a variety of specializations.”

Presenters must be members of the American Musicological Society. Those who are not currently dues-paying members of the New England Chapter will be asked to kindly remit the modest Chapter dues ($10).

Wednesday, July 22, 2015

CONF: Mozart Society of America 2015 (September 11-13 at Tufts University)

The Mozart Society of America is delighted to announce a conference:

Mozart and His Contemporaries
The Sixth Biennial Meeting of the Mozart Society of America
Tufts University (Medford, Massachusetts)
September 11-13, 2015 

This conference will bring together over twenty scholars and performers to explore the lives and music of Mozart and his contemporaries in their domestic, courtly, ecclesiastical, and theatrical spheres. Special events include a visit to the musical instruments collection at Boston’s Museum of Fine Arts, a Viennese Redoute featuring dances taught and led by renowned dance historian Ken Pierce, and a concert of chamber music for pianoforte, violin, and cello, performed on original instruments.

The registration form and schedule are available at the AMS-NE Facebook page as well as the AMS-NE Google Group.

A block of rooms has been reserved at the Hyatt Place - Boston/Medford (877 540-3721).  The code is “MSA Conference” and the conference rate of $189 + tax is available until August 10.  (All rooms are doubles and may be shared.)  Free parking and a free shuttle to Tufts are available.  To reserve online, go to: http://bostonmedford.place.hyatt.com/boszmmsac2015.html

Hope you can make it!

With best wishes,
Jessica Waldoff
Program Committee Chair
Mozart Society of America

Associate Professor
Department of Music
College of the Holy Cross
Worcester, MA  01610

Saturday, April 25, 2015

Travel Info for May 2nd meeting at Yale (Updated 4/28)

For those of you coming from Boston who might wish to take public/mass transportation, the possibilities are rather limited in terms of getting there in time for the start of the meeting. The 6:40am Amtrak train out of South Station will get you to Union Station in New Haven at 9:07am. There are no Megabus or Greyhound/PeterPan busses in the morning, from what I can tell.

The following links provide all transportation-related information. 

http://to.yale.edu/parking-map (parking map)**

http://to.yale.edu/train (train/shuttle info)

The meeting will be held at Sudler Recital Hall at Yale School of Music:

We look forward to seeing you there!

**4/28 UPDATE**: From the Yale Parking Office: ""The Grove St garage is not open on the weekends. You can park in lot 16 at Whitney and Humphrey St for free parking on the weekends. You can can also park in lot 78 and 78W which is near the Payne Whitney gym."

Saturday, April 18, 2015

Spring Chapter Meeting: Saturday, May 2, 2015 (Yale University)

AMS-NE Spring Chapter Meeting
May 2, 2015
Sudler Hall
Yale University

9:45-10:15 Refreshments and Registration

Morning Session

10:15   Welcome

10:20   Assimilation, Gypsies, and Jews in Meyerbeer's Ein Feldlager in Schlesien

                   Laura Stokes (Indiana University / Brown University)

Giacomo Meyerbeer was appointed General Music Director of the Berlin Royal Opera in June 1842. The recently ascended king Friedrich Wilhelm IV—who had an ambitious program to remake Berlin as a European cultural center—persuaded Meyerbeer to return after an absence of over three decades. Meyerbeer, who was Jewish, was appointed music director of the Royal Opera at a time of political challenge for Prussia’s Jewish community: that same year, Friedrich Wilhelm IV proposed that the Jewish community be separated into its own Estate, attempting to counter decades of assimilation of Jews into Prussian society.  Thus Meyerbeer encountered a situation in Berlin where the status of assimilated Jews was under significant threat.

The only opera that Meyerbeer composed during his four-year tenure in Berlin was Ein Feldlager in Schlesien (The Encampment in Silesia), a Singspiel recounting episodes from the life of Frederick the Great.  The lead female character, Vielka, is an adopted Gypsy (Roma) who, through the power of her voice, obedient self-sacrifice, and her ability to navigate across cultures, saves Frederick the Great from the hands of enemy soldiers.  Vielka’s Act I aria, “Es summt und schwirrt,” is the key to her cross-cultural navigation and use of exotic musical powers to the benefit of her adopted country, Prussia.

Although Vielka cannot and does not hide her background, her Prussian loyalty is nonetheless clear.  Given the unstable status of assimilated Jews in Berlin at the time of this work, it is notable that Meyerbeer gave a key role in saving Prussia in this Singspiel to an adopted member of an outsider ethnic group.  Meyerbeer’s portrayal of Vielka was a clear stance in favor of assimilation of non-Germans into Prussian society, thus musically dissenting from the king’s proposed measures. 
Laura Stokes is the Performing Arts Librarian at Brown University and a doctoral candidate in musicology at Indiana University.  She holds a master of arts in musicology from Indiana University, and is currently writing a dissertation on music and cultural politics in mid-nineteenth-century Prussia under the direction of Halina Goldberg.  She also holds a master of science in information from the University of Michigan and a bachelor of arts in music from Carleton College.  She has previously presented her research on Felix Mendelssohn’s sacred music and Fanny Hensel’s piano music at meetings and conferences in the United States and the United Kingdom.  She is an assistant editor for the journal Notes, and the vice-chair/chair-elect of the New England Music Library Association.

11:00   Joseph Joachim and the Mendelssohn Legacy
                    Robert W. Eshbach (University of New Hampshire) 

In 1853, W. H. Riehl wrote that Felix Mendelssohn had been “the first musician who made music for ‘fine society’ — in the good sense of the word.” Riehl located the unique depth and breadth of Mendelssohn’s influence throughout Germany in the fact that the gebildete Gesellschaft in which he had lived and worked — whose spirit he had expressed — was, throughout all of Germany, the same. 

With Mendelssohn’s death in 1847 and the ubiquitous revolutions of 1848, mid-19th century Germany experienced a caesura in its musical and cultural life. The times were imbued with the Hegelian notion of progress, and devolved into partisan dispute. In Germany, the Mendelssohnian ideal of music-making for the gebildete Gesellschaft was substantially interrupted by social turmoil, and by the radical challenge from the New German School, which viewed the Bildungsbürgertum as essentially and irrecoverably philistine. 

Joseph Joachim was Mendelssohn’s protégé, and his early career was conditioned by Mendelssohnian ideals. After Mendelssohn’s death, he spent several years in close personal and musical contact with Liszt, becoming an early and enthusiastic advocate of the progressive new music of the “école de Weimar.” Then, in 1853, he left to take a job as concertmaster in Hanover, and was gradually drawn into Schumann’s circle. In a famous 1857 letter, Joachim distanced himself from Liszt, causing an irrevocable and painful split between the erstwhile friends. Joachim’s late-career work can be seen as an attempt to counter the social and political program of the New Germans, picking up the Berlin Hochschule project that Mendelssohn had left undone, and attempting to perpetuate the social ideals of pre-March music making. My paper will examine Joseph Joachim’s relationship with Mendelssohn, and his project to keep the Mendelssohn legacy alive. 

Violinist, conductor, and historian Robert Whitehouse Eshbach is an honors graduate of Yale University (BA), where he majored in music history and minored in German literature. He studied violin at the Vienna Conservatory (now the Konservatorium Wien Privatuniversität) with Walter Barylli, concertmaster of the Vienna Philharmonic and State Opera Orchestras, and earned a Master of Music degree in violin at New England Conservatory, studying with Eric Rosenblith. His recent publications and invited papers have focused on nineteenth-century musicians: Joachim, Brahms, Schumann, Reinecke, and Wilhelmine Norman-Neruda (Lady Hallé). His article, “Joachim’s Youth — Joachim’s Jewishness,” was published in the Winter 2011 issue of The Musical Quarterly. His chapter “The Joachim Quartet Concerts at the Sing-Akademie zu Berlin: Mendelssohnian Geselligkeit in Wilhelmine Germany” appeared in the volume Brahms in the Home and the Concert Hall: Between Private and Public Performance, Katy Hamilton and Natasha Loges (eds.), Cambridge University Press, 2014.
Eshbach is an associate professor of music at the University of New Hampshire. 

11:40    The Turn to subtilitas and the Motet Apta caro / Flos virginum

                       Karen Desmond (McGill University)

In the middle of the fourteenth century, the author of the Tractatus figurarum invoked the example of the motet Apta caro/Flos virginum as representative of a new more ‘subtle’ style of composition (modus subtilior) that was compared to an older style exemplified in the motet Tribum que/Quoniam secta. Mid-fourteenth-century theorists such as Johannes Boen, Petrus frater dictus Palma ociosa, and Aegidius de Murino all emphasized the positive aspects of subtilitas with respect to musical composition.

But subtilitas was also characterised as superficial complexity that counters utility: subtilitas obscures that which ought to be clear. For example, the music theorist Jacobus, in his Speculum musicae, a treatise written slightly earlier in the fourteenth century, specifically objected to the subtle mathematical calculations applied to musical durations by modern theorists and composers (the moderni), and devoted an entire chapter of his seventh book to a criticism of these subtilitates. In these complaints Jacobus echoed the sentiment of John of Salisbury’s mostly negative characterisation (in his Metalogicon) of the subtilitates practiced by twelfth-century philosophers and logicians (who John also referred to as the moderni). 

This paper examines the emergence of the aesthetic of subtlety in music in the middle third of the fourteenth century (that is, before Ursula Günther’s ars subtilior), and explores how this aesthetic was linked to the innovative notational techniques of the ars nova. Given its texts, its wide copying, prominent placement in its manuscript sources, and its invocation in music theory treatises, I suggest the possibility that Apta caro/Flos virginum was written as a demonstration of this desired ars nova aesthetic.

Karen Desmond (PhD, New York University, 2009) is a musicologist and medievalist whose research focuses on the intellectual and aesthetic experience of music in the thirteenth and fourteenth centuries. From 2011 to 2013 she held a two-year visiting teaching post at University College Cork, Ireland, concurrently with a one-year research post at the Institut für Musikwissenschaft at the University of Cologne. In 2013 she was awarded a one-year NEH Research Fellowship for her monograph on novelty and change in early fourteenth-century music, titled Greedy for New Things: Novelty in Early Fourteenth-Century Music. In 2014, she was appointed as a two-year Banting postdoctoral fellow at the Schulich School of Music at McGill University. She has published articles in Journal of Musicology, Plainsong and Medieval Music, Early Music History, and Musica disciplina, with a second article in Journal of Musicology forthcoming, and her translation of Lambert’s Ars musica, edited by Christian Meyer, will be published April 2015 by Ashgate as part of the RMA Monographs series.

12:20-2:00   Lunch Break

2:00-2:30     Business Meeting

Afternoon Session                

2:30     Dissonance Resolved: Occursus and the Surrender of Ornamentation to the Countersubjects in the Finale of Beethoven's Grosse Fuge, op. 133

                     Stephen Husarik (University of Arkansas -- Fort Smith)

The source of the cantus firmus in Beethoven’s Grosse Fuge, Opus 133 has remained a mystery for nearly two hundred years and the composition itself has been perceived by one critic as a “Chinese puzzle.” This paper offers Christoph Willibald Gluck’s “Dance of the Blessed Spirits” from the opera Orphée et Eurydice (1774) as a likely source of the cantus firmus. Briefly examining its evolution in Beethoven’s Autograph 11 sketchbooks, and showing Haydn’s String Quartet in G, Opus 33 No. 5 as the probable route of transmission, this paper describes how the transformation of the cantus firmus within the final composition arises from treatment of characteristic Baroque figures.

Grosse Fuge
is presented as a humoristic composition whose cantus firmus is rhythmically varied with figures such as interruptio, hyperbole, abruptio and trilletto to produce a comedic work. Specific baroque rhetorical figures are defined in the course of the discussion and their applications are shown in selected portions of the music. In particular, Beethoven attaches rhetorical figures to the cantus firmus at the beginning of the Grosse Fuge but transfers them to the countersubjects at the end in order to resolve long-term dissonance. He thus generates a compositional procedure that currently has no name in musicology but is here labeled the Occursus technique. As an outgrowth of the discussion, a new explanation is offered for the often-debated trilletto sign (same-note slur) placed upon the notes of the cantus firmus that shows how it is transformed into a tie that contributes to a final comedic resolution of the work.  


 Stephen Husarik, Ph.D. is Professor of Humanities/ Music History at the University of Arkansas – Fort Smith where he serves as Head Carillonneur. Husarik has received teaching excellence awards and local, national and international recognition for his publications. He was the recipient of several National Endowment for the Humanities college teacher and traveling fellowships to the University of Maryland, Harvard University, New York University and Bayreuth, Germany. In addition to reading numerous papers at national and international conferences, he has authored and/or contributed to over half a dozen books and nearly thirty articles in the areas of music and humanities. His textbook entitled Humanities Across the Arts (Kendall Hunt, 2014) received an award of excellence from the Humanities Education Research Association. Husarik has published articles on Beethoven in The Musical Times, The Journal of International Humanities and Speculum Musicae.


3:10    Monstrous North: Utopian and Dystopian Fantasies in Glenn Gould's Idea of North
               Brent Wetters (Providence College)

Musicological work on Glenn Gould’s groundbreaking radio documentary, The Idea of North, has tended to focus on the work’s generic status and its musical construction (Sallis, 2005; Bazanna, 2005; Cushing, 2012). Considerably less interpretive work has been done on its meaning and message. I intend to show avenues by which Gould constructs something like a thesis about the north through the assemblage of divergent voices in the work’s production. Much of the documentary is concerned with the north not just as idea, but as ideal. The north appears to be, as one of the interviewees says, “the final playing out of those two great dreams of man: Eldorado and Utopia.” This sentiment is further supported as the participants ponder the north as a potential space, and a space of pure potentiality. The documentary ends with an assertion of an ethical purity in the north—a place where humanity is still at the mercy of a powerful and dominating nature. This assertion is played against the triumphant strains of Sibelius’s Fifth symphony, again evoking a kind of power and victory embodied in the desolate isolation of the north. The north, as a blank and potential space, functions more as mirror than Utopia. It shows humanity both its highest aspirations and most troubling impulses—and the two are frighteningly hard to separate. In this paper, I investigate the ways that Gould simultaneously constructs the north as both utopia and dystopia. Between the two, the north itself may be salvaged, precisely for its capacity to disturb the very concept of humanity.

Brent Wetters is a musicologist and composer, and currently Adjunct Professor of Music at Providence College. He holds degrees in composition from University of Michigan, Wesleyan University and a doctorate in musicology from Brown University, with a dissertation on the Darmstadt Summer Courses. He has two articles on Bruno Maderna published in 19th-Century Music and the Cambridge Opera Journal. He is currently preparing a volume of collected essays with Anthony Cushing on Glenn Gould's Idea of North.

3:50     "Laughter is Preferable to Tears": John Cage and Golden-Age Television
                     John Green (Eastman School of Music)

John Cage often voiced his disdain for electronic broadcast forms, once declaring to Richard Kostelanetz, “I don't keep any records...I don't even bother looking at the television anymore.  I don't ever listen to the radio.  You could say, perhaps, that I'm not a proper member of the twentieth-century society.”  Yet, his ambivalence concealed his important role in the mid-century avant-garde's evolving relationship with broadcast technologies.  The composer's appearance on two 1960s game shows are the most visible manifestations of his links to mass media.  He premiered his composition Water Walk on Italian television in January 1959 for the quiz show Lascia O Raddoppia and later reprised a similar performance on the American game show I've Got a Secret in January 1960.  While no film of the Italian appearance survives, an examination of the score and American performance footage highlights the composer's satire of both musical and visual conventions.

Cage's deliberate pace and use of readymade instruments in a kitchen-like arrangement evoked the postwar domesticity that historian Lynn Spigel believes television helped create.  At the same time, Cage's inversion of gender surely baffled the mainstream audience, as he performed feminine household chores and interacted with newly-minted appliances.  These visual features, along with musical events, such as a dominant-seventh chord answered by a bang of the piano lid, form his commentary on mid-century composition and television culture.  Yet in his examination of the performance, scholar Andre Mount does not find Cage's connection to television either a conscious “artistic medium” or “promotional tool.”  However, Cage's attention to television as a medium in Water Walk shows that broadcast media represented a defining facet of his career, persona, and reception.

John Green is a PhD musicology student at Eastman School of Music, University of Rochester.  He holds a BM in saxophone performance from SUNY Fredonia as well as an MA  in musicology from Eastman.  His research areas include late-twentieth century modernism, popular music, and ethnomusicology.  In addition to pursuing a dissertation that explores John Cage's links to radio, television, and film, Green also performs traditional and diasporic Zimbabwean music.

4:30     Sonic Materiality and Psychoanalytic Technique: Helmholtz, Freud, and the "Talking Cure"
             Clara Latham (Harvard University)

“He must adjust himself to the patient as a telephone receiver is adjusted to the transmitting microphone.”
--Sigmund Freud, “Recommendations for Physicians Practicing Psychoanalysis”

Recent research (Latham, 2014; Kane, 2014) suggests that the technique of psychoanalysis, the so-called “talking cure”, was part of an epistemological change in aurality. In 1856, the year of Freud’s birth, Hermann von Helmholtz’s experiments proved the ear was a resonator, mechanically identical to those he fashioned out of glass and pigskin. What is the relationship between Freud's metaphor of the telephone as the instrument of psychoanalysis and Helmholt'z metaphor of the resonator as the instrument of hearing?

By demonstrating that the ear can pick out individual tones from a complex sound with a resonator sealed to the inner ear, Helmholtz argued that the ear was split into a bodily ear (das körperlice Ohr) that perceived Ton, and a mental ear (das geistige Ohr), that perceived Klang. Ton correspond to the mathematical resonance of objects in the world, while Klang is the corresponding mental understanding of that acoustic phenomenon, something like a sign that the mind hears. I show how this split buttresses the technique of the “talking cure”, in which patients speak their traumas in order to move those traumas out of the body and eradicate their corresponding hysterical symptoms.

Helmholtz’s split ear stages the modern subject explicitly in terms of hearing tones. Freud’s “talking cure” expands this split ear beyond object and subject to an aural interaction between two people – analyst and analysand. In the psychoanalytic encounter the bodily ear is mechanically and materially tied not to a tone, but to the voice of another. By explicitly tracing listening in psychoanalysis, this history confirms the relationship between musicology and recent philosophical work on music (Zizek and Dolar, 2001, Nancy, 2007, Szendy, 2008).

Clara Latham is a Boston based composer and musicologist. She recently completed her PhD in music at New York University, where she received the NYU Dean's Dissertation Award and the Woodrow Wilson Women's Studies Dissertation Fellowship for her dissertation, titled "Listening to the Talking Cure: Sound and Voice in Psychoanalysis”. She has a chapter in the edited volume Sound, Music, Affect: Theorizing Sonic Experience, and an essay in the forthcoming issue of Women and Music. Clara is also active as a composer and performer. Her works explore the relationship between voice and identity, and have been performed by groups such as the International Contemporary Ensemble, the Argento Ensemble, Ensemble mise-en, and Kammerensemble Neue Musik Berlin. She is also the singer and guitarist in a number of experimental rock bands.

5:10     Refreshments