Tuesday, November 22, 2016

CFP: Winter Chapter Meeting, Brandeis University (Saturday, Feb. 4, 2017)

The Winter 2017 meeting of the New England Chapter of the American Musicological Society will be held on Saturday, February 4th, at Brandeis University in Waltham, Massachusetts.

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 Sunday, December 11th, 2016 via email to jschwindt@bostonconservatory.edu, or by mail to Joel Schwindt, AMS-NE Program Chair, Boston Conservatory at Berklee, 8 The Fenway, 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, September 10, 2016

Fall Chapter Meeting: Saturday, October 1 (Smith College)

Please note: Bios & Abstracts will be added as they become available.
The meeting will take place in the Earle Recital Hall (Sage Hall, First Floor) at Smith College. Maps/Directions/Parking info are found under the Upcoming Meetings tab.

9:30-10:00 a.m.       Refreshments and Registration

10:00 a.m.           Welcome

Morning Session: The Dynamic Canon

10:05 a.m.    

"Surface and Depth": Beneath the Reception of Rudolph Reti's Thematic Process, A Mid-Century Interdisciplinary Theory of Music
Eric Elder (Brandeis University)

The place of Rudolph Reti’s 1951 book, The Thematic Process in Music, has been greatly understated in considerations of the history and development of current streams of musical thought. While frequently included in such outlines, the work’s long reception history, stretching from Vincent Persichetti (1951) and Alvin Bauman (1952) to Peter Kivy (1990) and beyond, is marked by a consistently high degree of subjectivity. Indeed, sixty-five years after its initial publication, The Thematic Process in Music has yet to be treated in a manner suggesting any substantial depth or meaningful affinity with trends—past or present—in musico-theoretical understanding. Along the way, Rudolph Reti has become a ready straw man, a veritable “foot-notorious” figure among scholars of music. But Reti, who acknowledged the novelty and crudeness of his study, provided well-placed cues for locating the work in its own intellectual context, thereby supplying an aid for grasping its fuller implications.

The present investigation illuminates these cues, namely, Reti’s prominent references to the English mathematician and father of process philosophy, Alfred North Whitehead. By directly comparing Reti’s words and analytical observations to the fundamental concepts and principles of Whitehead’s cosmological constructs, features of The Thematic Process in Music routinely dismissed as arbitrary gain new significance. Further, reinstating “process” in The Thematic Process in Music by treating it as purposeful within the context of Whitehead’s ontology of becoming points to Reti’s unrecognized role as a pioneer in developing cross-disciplinary approaches to understanding and relating to music. It also finds Reti’s theory in surprisingly sympathetic dialogue with important contributions to the continuing discourse on musical form as process, including Caplin’s concept of retrospective reinterpretation (1998), Hepokoski and Darcy’s sixteen propositions underlying Sonata Theory (2006), and Schmalfeldt’s notions of “becoming” and “the Beethoven-Hegelian tradition” (2011).
Eric Elder is a candidate for the PhD in Musicology at Brandeis University, where his working under the guidance of Dr. Allan Keiler. Eric holds a BM in Jazz and Commercial Music from Roosevelt University’s Chicago College of Performing Arts, an MA in Jazz History and Research from Rutgers University, and an MFA in Musicology from Brandeis. His primary research interests lie at the intersection of theory and analysis, history of theory, philosophy in musical thought, and music and meaning, particularly in the cultural milieux of fin-de-siècle Vienna and mid-century America. Eric is also keenly interested in eighteenth-century Viennese music, the music of Alban Berg, and nineteenth- and early-twentieth-century American popular music.

10:45 a.m                      
"I hope somebody cares for these minutiae": Women, "Smallness," and the Marginalization of English Music in the Long Nineteenth Century
Lidia Chang (Boston, MA)

Barring a few notable exceptions, English music between the eighteenth and twentieth centuries earns scant notice in music history textbooks, despite overwhelming evidence that England enjoyed a vibrant musical culture, especially during the Georgian era. However, I will argue that the English of this period were, in many respects, even more devoted to music-making than their continental counterparts. The problem, for England, was not that it made no music during this period, but that it made the wrong kind of music, and enjoyed it in the wrong ways. At a time when Germanic critics like E.T.A. Hoffmann and A.B. Marx were establishing grand, large-scale musical masterpieces (and the singular geniuses who created them) as the highest form of art, the English prioritized musical process over the musical work, and remained committed to music that could be played and enjoyed socially, in drawing rooms. I argue that England’s absence from the standard music history is due to three primary social issues: England’s complex and longstanding cultural anxieties regarding music’s supposed ability to feminize men and empower women; the invisibility of England’s most musical citizens (women); and a vibrant culture of domestic music-making (dominated by women) that was incompatible with the new aesthetic values of nineteenth-century Romanticism, which placed greater importance on the autonomous musical product than the malleable musical process.
A versatile musician and well-rounded scholar, Lidia Chang double majored in Flute Performance and Music History at the University of Massachusetts. She went on to earn a Master's in Historical Performance on the Baroque flute at McGill’s Schulich School of Music, and has recently completed a Masters in Historical Musicology at the University of Massachusetts. Lidia has the pleasure of performing as a soloist and with a number of period instrument ensembles including Ensemble Ad Libitum, Arcadia Players, and Ensemble Musica Humana, of which she is a founding member. Recently she has released two albums of Regency era dance music (Twelve Cotillions by Giovanni Gallini, 1770 and Country Dances by Thomas Skillern, 1781), which can be heard on the BBC’s recent adaptation of Poldark. As a scholar, Lidia’s primary focus is on the intersection of literature, gender, aesthetics, and music performance practices in the long nineteenth century. She has presented her research to great acclaim at the Jane Austen Society of North America’s annual and regional meetings, and at the Museum of Fine Arts in Boston. Lidia is currently pursing a PhD in Musicology at the City University of New York.

11:25 a.m.            
Hidden in our Publications: New Concordances, Quotations, and Citations in Fourteenth-Century Music
Michael Scott Cuthbert (Massachusetts Institute of Technology)

The overwhelming majority of known fourteenth- and early-fifteenth century music already appears in print.  Over the past sixty years, using myriad manuscript and facsimile sources, the editors of series such as Polyphonic Music of the Fourteenth Century have identified many quotations and concordances among pieces.  Since the completion of the major “M2” series, the vast majority of new concordances and new similarities have come from the discovery of new sources, primarily fragments. Yet with almost 2,500 pieces from the period already discovered, giving over 3 million pairs of pieces which could have connections, is it not possible that many citations have been missed?

This paper says, “Yes.”  By pairing a new database of transcriptions of over 80% of the known repertory from 1300–1420 with the music21 software toolkit, I have been able to identify over fifty definitive cases of quotation, citation, borrowing, or previously unknown concordances. The paper begins with a brief explanation of the methodology of identifying citations computationally, but focuses primarily on the implications for musicology of ten of these citations.

Among the most important discoveries are: an unknown use of parody by Ciconia, new polyphony in the Tournai Mass manuscript, new concordances for Zachara da Teramo and Hubertus de Salinis, citations between Credos by Feragut and Tapissier, and five new identifications of earlier repertories on the back of initial letters of the manuscript Bologna Q15.  Two new identifications of Italian composers for what were previously assumed to be French works give further evidence to recent theories that much of the anonymous French repertory of the post-Machaut period is of Italian origin. 
Michael Scott Cuthbert is Associate Professor of Music at MIT.  His work focuses on medieval music, computational approaches to musicology, and occasionally the intersection of the two.  Formerly on the faculties of Smith College and Mount Holyoke College, Cuthbert is the winner of the Rome Prize, a Villa I Tatti Fellowship, and the Radcliffe Fellowship.

12:05-1:50  p.m.      Lunch Break

1:50-2:10  p.m.       Business Meeting

Afternoon Session: The Dynamic Vision            

2:10 p.m.            
"Reinterpreting the 'Drowned Woman'": Feminist Readings of Isabelle Aboulker's  Femmes en Fable
Rachael Lansang (Rutgers University)

“It is nothing, only a drowned woman.” This well-known French idiom is derived from “La Femme Noyée,” one of the fables from Jean de la Fontaine’s famous seventeenth-century collection. The texts of these fables, compiled from international folklore and other fabulists like Aesop, are regarded as morality tales for children, and are often dismissed as archaic and patriarchal. The stories usually feature animals, and sometimes humans, confronting difficult moral quandaries.  

Musical settings of these tales abound, and French composer Isabelle Aboulker (b. 1938) wrote no fewer than three large-scale vocal works based on Fontaine’s famous Fables: the first is for children’s voices, and accompanies an illustrated children’s book. The second is a quasi-staged reading for three singers and a small chamber ensemble. The third, Femmes en Fables, is a cycle of four songs scored for a medium female voice and piano; it stands apart from these others as it sets texts featuring only female protagonists. Aboulker’s works are known in France, but the wider musical community would benefit from exposure to her socially conscious, carefully crafted music, which represents a new phase in the tradition of the French modernism encompassing Fauré, Massenet, Les Six, and Aboulker’s own grandfather, Henry Février .

Aboulker’s setting provides stunning feminist insight into the famous stories. I argue that the interpretation of stories about women in settings by a female composer and performances by a female singer enables a new perspective. Aboulker, through various scalar, harmonic, and formal techniques, emphasizes new aspects of the narratives in ways that thwart long-held misogynistic readings. The composer’s approach to the text setting, combined with the interpretive forces of a female voice, provides a musical space that can accommodate multiple, simultaneous, and synthesized viewpoints of the female experiences depicted in the stories.
Rachael Lansang is a PhD candidate in Musicology at Rutgers University.  She received her bachelor’s and master’s degrees in vocal performance at the University of Connecticut. Her research interests include the intersection of gender studies and twenty-first century song, as well as opera and musical theater in the United States. An active performer, specializing in operatic and contemporary repertoire, she is a member of the C4: the Choral Composer/Conductor Collective, based in New York City, and has performed with New Jersey State Opera, Regina Opera of Brooklyn, Hartford Opera Theater, the Baltimore Bach Society, and more. 

2:50  p.m.
The Topos of Jealousy in Late Sixteenth-Century Ferrarese Culture: Luzzaschi’s Setting of Tasso's “Geloso amante” (1576)
Emiliano Ricciardi (University of Massachusetts-Amherst)

3:30 p.m.                
Elizabethan Traces in Appalachia? How Music Critics Interpret Dolly Parton's Songs  and Voice
Lydia Hamessley (Hamilton College)
Music critics often find it challenging to describe Dolly Parton’s music. While her straightforward country and pop songs present few difficulties, critics often struggle to find a vocabulary for the distinctive characteristics they hear in songs like “Jolene,” “Down From Dover,” “The Bargain Store.” When they use phrases like “old-world” and “Appalachian ballads,” they are on the right track. Indeed, Dolly makes this link: “My songs come directly from the English, Irish, and Scottish folk songs of old.” However, critics often also use the word “Elizabethan” and phrases like “an antique ‘Greensleeves’ feel” as a way to capture Dolly’s unique sound, calling on “Elizabethan” as shorthand for modal inflections and Dolly’s idiosyncratic vocal quality.

This use of “Elizabethan” is spurious. It is based on simplistic understandings of the Anglo-Celtic roots of Appalachian music as described by folksong collector Cecil Sharp, among others, as well as a lack of familiarity with the range of Appalachian vocal styles. It is also likely a remnant of writings by American nationalist composers such as Lamar Stringfield and John Powell in the 1930s who sought to elevate Appalachian music by conflating it with Elizabethan music. “Elizabethan” maintains its currency through its recuperative status in our culture.

My paper traces and critiques the widespread use of “Elizabethan” in Dolly hagiography from its origin in the 1970s to contemporary writing. I then analyze some of Dolly’s songs and her vocal style, using a musical vocabulary and approach that clarifies, rather than idealizes, her musical influences. Dolly’s vocal style and songs are influenced by Appalachian ballad singers not in the timbre or pitch of the voice, but in the nuanced vocal embellishments that permeate her singing and the modal harmonies she writes. Thus, Dolly does evoke an “old-world sound,” as she says. But it is not specifically “Elizabethan.”
Lydia Hamessley (HAM' ess lee) is Professor of Music at Hamilton College, where she teaches courses in Medieval and Renaissance music, American music, music in film, world music, and country music. She received her Ph.D. in musicology from the University of Minnesota, and she was the coordinator of the first Feminist Theory and Music conference held in Minneapolis in 1991. She has published in Music & Letters, Queering the Pitch, Women & Music, and Ruth Crawford Seeger's Worlds. She is the co-editor, with Elaine Barkin, of Audible Traces: Gender, Identity, and Music. She is currently writing a book about Dolly Parton for the University of Illinois Press Women Composers series. She is also a clawhammer banjo player.

4:10                 Refreshments

Thursday, July 28, 2016

CFP: Fall Chapter Meeting, October 1, 2016 at Smith College (MA)

Call for Papers: AMS-NE Fall 2016
Smith College (Northampton, MA)
October 1st, 2016
Submission deadline:
August 19th, 2016
The Fall 2016 meeting of the New England Chapter of the American Musicological Society will be held on Saturday, October 1st, 2016 at Smith College in Northampton, Massachusetts. 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, August 19th, 2016 via email to jschwindt at bostonconservatory dot edu, or by mail to Joel Schwindt, AMS-NE Program Chair, The Boston Conservatory, 8 The Fenway, 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).

Thursday, June 16, 2016

2015 - 2016 Schafer Award Winner

We had an outstanding group of papers that were submitted for the 2015-2016 Hollace Anne Schafer Memorial Award. The award is presented annually by the AMS-NE for the best scholarly paper read by a graduate student at a chapter meeting. The full details and requirements, as well as a list of recent winners, can be found here.

This year's committee selected Kirill Zikanov (Yale University) as this year's award recipient for his paper "Glinka's Three Models of Instrumental Music," delivered at our Winter 2016 meeting at Hartt School of Music.

Congratulations to Kirill, and many thanks to all those who submitted their papers for consideration! We encourage graduate students in the chapter to keep this award in mind and to submit proposals for chapter meetings. CFPs for each meeting are posted here, our Facebook page, and to our mailing list via GoogleGroups.

Friday, April 1, 2016

Bios and Abstracts (AMS-NE only)

The following is an alphabetical list of AMS-NE presenters, abstracts, and bios for the Joint Meeting of the NECMT and AMS-NE on April 8-9 at MIT, program here. If information is missing, it is because it is not yet available.

Melody Chapin (Tufts University)

Opera and Modernity in Brazil: Camargo Guarnieri and Mário de Andrade's Pedro Malazarte 

The ethnomusicologist Gerard Béhague defined Brazilian modernism as coinciding with Brazilian nationalism whereby a musical brasilidade was developed by shedding European influences and legacies. Yet a modernist work such as the one-act comic opera Pedro Malazarte (1932) offers a different account of early twentieth-century Brazilian national style. This paper argues that the composer Camargo Guarnieri and the librettist Mário de Andrade hybridized, rather than rejected, European heritage with national musical traditions. Their one-act comic opera aspires to bring the traditional character of Malazarte out into an international avant-garde.

This paper focuses on three musical moments crucial to understanding Pedro Malazarte’s cultural project, corresponding to three musical genres firmly rooted in the Brazilian tradition which are inserted into the dramatic texture of the opera. First, Baiana sings a modinha, the traditional art song; then Malazarte, a character related to commedia dell’arte types, sings an embolada; and then the townspeople sing a ciranda in the town square, voicing and enacting vox populi by way of a playful collective circular dance.

Lastly I argue that a close look at Pedro Malazarte affords a new way of discussing Brazilian modernism in relation to issues of Brazilian national identity. In turn this work undoubtedly offers new perspectives on the history and historiography of twentieth-century opera.

Melody Chapin is an MA candidate in Musicology at Tufts and a graduate of the University of New Hampshire with a BM in Voice Performance. She has also studied at the University of São Paulo, Brazil with a US Student Fulbright Grant (2012) and with a research grant from the University of New Hampshire (IROP, 2009). Her prior research concerned the performance and diction technique of Brazilian art song. Melody's Master thesis focuses on aspects of brasilidade in M. Camargo Guarnieri's opera Pedro Malazarte. She is also interested in issues of accessibility of Latin American and Iberian art music and in English poetic translation from the Spanish and Portuguese languages.

Heather De Savage (University of Connecticut)
Before and After Debussy: Gabriel Fauré's Pelléas et Mélisande in New York and Boston, 1902 - 1912

Maurice Maeterlinck’s play, Pelléas et Mélisande, inspired diverse musical settings following its French premiere in 1893, including those by Claude Debussy, Gabriel Fauré, Arnold Schoenberg, and Jean Sibelius. Today, Debussy’s opera is by far the most familiar of these, particularly in the U.S., where it gained steady popularity following its New York premiere in 1908. However, it was actually Fauré’s setting with which American audiences first became acquainted in the early- twentieth century, in both its original context as incidental music, and as a suite for orchestra. Audiences in New York and Boston first heard the score in 1902 as part of an English staging of Pelléas by the famed actress, Mrs. Patrick Campbell, for whom Fauré had composed the music four years earlier. It was particularly appreciated in Boston, a Francophile city that had embraced Fauré’s music since the 1890s. The Boston Symphony Orchestra performed the suite for the first time in 1904, and in the following years included it on numerous programs, at home and on tour. This offered critics various opportunities to discuss Fauré’s approach to Maeterlinck’s text, eventually in comparison to Debussy’s opera, and to express a clear preference between the two.
This paper considers the reception of Fauré’s Pelléas music in the U.S., with a focus on New York and Boston, 1902–1912. Critical writings illustrate the response to Fauré’s setting as it was first heard in Campbell’s production, and extracted as concert music, as well as the gravitation toward Debussy’s opera in the following years. The ten-year anniversary performance of Maeterlinck’s play in Boston (1912) offers a unique point of comparison, as his wife, Georgette Leblanc- Maeterlinck, performed in both Debussy’s opera and in the play (featuring Fauré’s score), at the Boston Opera House that year.

Heather de Savage recently completed a Ph.D. in music history and theory at the University of Connecticut; she holds a master’s degree in music history from the University of New Hampshire, and a bachelor’s degree in vocal performance from the Eastman School of Music. Her doctoral dissertation examines Gabriel Fauré’s American reception, with a particular focus on Boston, 1892−1945. She recently presented a portion of this research at the conference Effable and Ineffable: Gabriel Fauré and the Limits of Criticism, and at the North American Conference on Nineteenth-Century Music. She has also presented on the topic of embedded elements in the late motets of Heinrich Schütz, at the Society for Seventeenth-Century Music, and AMS-NE. Publications include a contribution to the Cambridge Companion to Vaughan Williams, and co- authored articles on harmonic text painting in the lieder of Franz Liszt (Gamut: Online Journal of the Music Theory Society, with Richard Bass and Patricia Grimm), and historical performance practice in fifteenth-century Franco-Flemish chanson repertoire (Early Music, with Peter Urquhart). She is currently assisting on the Oxford critical edition of Vaughan Williams’ Ninth Symphony (ed. Alain Frogley). In addition to her research activities, Heather teaches a variety of courses at UConn’s Storrs, Avery Point, and Greater Hartford campuses.

David Ferrandino (University of Buffalo, SUNY)
Getting "Satisfaction" from Others: Cover Songs, Irony, and The Rolling Stones

 After being released as a single in the U.S. in June 1965, "(I Can't Get No) Satisfaction" quickly established The Rolling Stones as the archetypical rock stars by succinctly articulating the sense of irreverent rebellion crucial to the rock discourse.  For this reason, "Satisfaction" remains one of the most frequently recorded songs in rock history, though not all of these covers are faithful recreations. "Satisfaction" has been covered by a number of artists, from Otis Redding to Britney Spears, but this paper will focus on two versions that challenge the legacy of the Stones: one by the avant-garde collective the Residents from 1975 and one by new-wave band Devo from 1978. The Residents obsess over the iconic guitar riff, layering it with inversions and harmonization while obligerating the singer's vocal timbre with heavy distortion and compression effects. Devo takes an opposite approach, preserving the lyrics verbatim, while drastically altering the musical setting.  These two groups are both indebted to and repulsed by their rock and roll predecessors and their versions of "Satisfaction" demonstrate that cover songs can be the perfect vehicle for ironic critique.
Cover songs are necessarily intertextual artifacts, with the reproduction both borrowing from and bringing additional meaning to the original.  Though normally associated with homage or nostalgia, a cover song can also critique, drawing attention to defects or excesses in the previous version or insinuating  things about the performer or their audience.  Using Deena Weinstein's concept of "stereophony," I aruge that the way we listen to a pop song is greatly impacted by our knowledge of its creation, familiarity with the original, and our own previous listening experiences.  A song as influential as "Satisfaction" will have accrued many layers of signifcation and many different interpretations are not only possible, but unavoidable. 
 David Ferrandino recently received his Ph.D. in musicology from the University at Buffalo, SUNY where he studied post-1945 American music under Dr. Stephanie Vander Wel. Ferrandino's research interest focus on the socio-political implications of popular music in American culture, the performance of musical identity, and musical minimalism. His dissertation, entitled "Irony, Mimicry, and Mockery: American Popular Music of the Late Twentieth Century" discusses the ways in which irony has become a driving creative force in popular culture at the end of the twentieth century and explores methodologies for using irony in the analysis of popular music created during this time.
Erinn Knyt (University of Massachusetts, Amherst)
"A History of Man and His Desire": Ferrucio Busoni and Faust

  Relying on knowledge of Karl Engel’s edition of the Volksschauspiel, Karl Simrock’s version of the puppet play, Gotthold Lessing’s Faust fragments, and versions of the Faust legend by Christopher Marlowe and Johann Wolfgang von Goethe, among others, Ferruccio Busoni (1866-1924) crafted his own hybrid libretto for Doktor Faust that depicts a mystical and broad-minded Faust. Busoni’s music corresponds to the richness of Faust’s mind, combining heterogeneous timbres, forms, and styles, including a Gregorian Credo, Palestrina-style choral settings, a Reformation hymn, a Baroque dance suite, an organ fantasia, operatic recitatives, impressionistic symphonic writing, and experimental passages. At the same time, Busoni sought to write “a history of man and his desire” rather than of a man and the devil. It is Faust’s own dark side, rather than the devil, that distracts him and prevents him from completing his greatest work. With Kaspar removed from the plot, Mephistopheles, who as spirit, is not always distinct from Faust the man, becomes Faust’s alter ego.  This duality is expressed musically when Faust assumes Mephistopheles’ characteristic intervals.
Although Doktor Faust has already been studied by several scholars, including Antony Beaumont, Nancy Chamness, and Susan Fontaine, there is still no detailed analysis of Busoni’s treatment of Faust. Through analyses of autobiographical connections, Busoni’s early settings of Faustian characters, and the text and music in Doktor Faust, with special attention on the Wittenberg Tavern Scene that has no precedent among the versions of the Faust legend, this paper reveals Busoni’s vision of Faust as a broad-minded, and yet conflicted character, shaped idiosyncratically to convey Busoni’s personal artistic ideals. In this way, the essay not only contributes to ongoing discourse about Doktor Faust, Busoni’s chef d’oeuvre, but also expands knowledge about ways the Faust legend was interpreted in the early twentieth century.

Erinn Knyt is an assistant professor of music history at the University of Massachusetts Amherst. She received her B.A. in Music (Music History and Performance) with highest honors from the University of California, Davis in 2003, and M.M. in Music from Stanford University in 2007, and a Ph.D. in Music and Humanities from Stanford University in 2010.
 Knyt specializes in 19th and 20th century music, aesthetics, and performance studies and has written extensively about Ferruccio Busoni.  She has articles in the Journal of the Royal Musical Association, American Music, the Journal of Musicology, the Journal of Music History Pedagogy, and Twentieth Century Music, and has presented papers at conferences throughout the U.S. and abroad.  Her book, which is under contract with Indiana University Press, explores Busoni's relationship with early and mid-career composition mentees, including Jean Sibelius, Edgard Varèse, Otto Luening, Louis Gruenberg, and Philipp Jarnach.  She received a Faculty Research Grant for archival research related to her book.

Nona Monahin (Five College Early Music Program, Mount Holyoke College)
A Tale of Three Sciolte: Triple Meters in the Danced Suites of Fabritio Caroso

My paper concerns tempo relationships between the movements of danced suites in two treatises by the distinguished Italian dancing master Fabritio Caroso: Il Ballarino (1581) and Nobiltà di Dame (1600).
Caroso’s suites—most of which are labelled balletto—consist of an unnamed movement in either duple or triple meter followed by one or more sciolte. In Caroso’s usage the term sciolta refers to a triple-meter rendition of musical material initially presented in the opening movement. Although the sciolte are often based on dance types, and are labelled accordingly (sciolta in gagliarda, sciolta in saltarello), it is clear that Caroso uses the term to refer to the music only. In fact the choreography that accompanies such a sciolta need not necessarily contain any of the steps normally associated with the dance type on which it is based. At times the different sciolte appear to have been selected for purely musical reasons, in particular for the temporal and rhythmic contrasts they provide, rather than for the wish to display a particular dance attribute.
The question of tempo relationships between different meters is one of the thorniest areas of Renaissance music research, yet it is of crucial importance for performance practice. Musicological studies dealing with this topic have tended to focus on the writings of music theorists, composers, and practitioners.  The theoretical portions of dance treatises should also be considered as many of them address questions of relative tempo, meter, and tactus (albeit somewhat indirectly or using specialized terminology) in ways that correlate with the writings of music theorists such as Martin Agricola and Adriano Banchieri.
In my paper I apply such combined information to a choreomusical analysis of a mock tournament dance named Barriera, which employs three different sciolte—grave, saltarello, and gagliarda—that appear to have been selected for their contrasting tempos in order to underscore the choreographer’s particular dramaturgical vision.

Nona Monahin teaches early dance in the Five College Early Music Program at Mount Holyoke College, and works in the Robert Frost Library at Amherst College. Originally from Australia, she received her Ph.D. in Musicology (with a focus on 16th-century Italian dance suites) from Monash University in 2014. Nona has given presentations at meetings of the Society of Dance History Scholars, the Shakespeare Association of America, the International Shakespeare Association, the Symposium of the International Musicological Society, and the New England Chapter of the American Musicological Society, and has taught workshops on historical dance and music-dance interactions in Australia, Europe, and North America. In addition to Renaissance music and dance theory, Nona's interests include dance in Shakespeare. She has choreographed for many theater productions and will co-teach a dance workshop at the upcoming World Shakespeare Congress in Stratford-upon-Avon in August of this year.  She has a chapter in the forthcoming Oxford Handbook of Shakespeare and Dance (expected 2017), and is currently working on a project focusing on music and dance relationships in ballets choreographed to Prokofiev's Romeo and Juliet score.

Sean Parr (Saint Anselm College) 
Vestiges of Virtuosity: Origins of the French Coloratura Soprano  


From the origins of opera, singers were expected to have the vocal facility to sing melismas, a tradition especially prominent during the so-called “bel canto” period of the early nineteenth century. By the end of the nineteenth century, however, coloratura had become a rare feature in Franco-Italian operatic vocal writing. I focus on the end of this transition, when the coloratura soprano had become an established dramaturgical “type” in French opera. My paper proposes that the role pairings in Meyerbeer’s nineteenth-century repertory operas serve as precursors to the marking of the virtuosic soprano as a type in late nineteenth-century operas by Offenbach, Delibes, and Massenet. As observed by Mary Ann Smart (2003), Meyerbeerian role pairings and musical characterization manifest in Les Huguenots (1836). This very popular nineteenth-century repertory opera serves as a starting-point for understanding the transition from coloratura as a normative singing style to one that functions as an uncommon and conspicuous gesture in late nineteenth-century operas: Offenbach’s Les contes d’Hoffmann (1881), Delibes’ Lakmé (1883), and Massenet’s Manon (1884). The soprano roles in these operas hark back to the zenith of coloratura singing at mid-century, when high notes and melismas were a kind of aural analogue to the ornamental decadence of Second Empire Paris. In building on previous studies (2011 and 2012) of mid-century coloratura and on a pivotal créatrice, Caroline Carvalho, I argue that coloratura became gendered feminine and became identified with a particular tradition of French voice typing. This argument is supported by an exploration of the original soprano creators of the roles and their reception history, as well as the musical evidence. Coloratura arias in these operas are the late-century exceptions that prove the rule; they are echoes of the virtuosic vocalism so prominent earlier in the century.

 Sean M. Parr is Associate Professor of Musicology at Saint Anselm College where he teaches music history and voice performance, as well as humanities courses in the core curriculum.  With a PhD in Historical Musicology from Columbia University, his research interests focus on nineteenth-century French and Italian opera, dance, the operatic voice, and gender.  His work on coloratura and the female singer in Second Empire Paris has been published in the Cambridge Opera Journal and 19th-Century Music.  He is currently completing a monograph on the history of the coloratura soprano.  He is also founder of Morningside Opera, a New York City company dedicated to challenging the boundaries of opera, and acclaimed by the New York Times for its "bold imagination and musical diligence" and for having a "serious foundation in rigorous musicology."
David Schulenberg (Wagner College)
Between Frescobaldi and Froberger: From Virtuosity to Expression

The discovery of new sources and the re-evaluation of previously known ones has led to revised work-lists for Frescobaldi and Froberger, two of the most original composers of keyboard music in the early Baroque. Toccatas and contrapuntal compositions which Frescobaldi published in a series of widely influential volumes are now supplemented by many additional works preserved in manuscript. Comparable works by Froberger, although not published during his lifetime, were gathered by the composer in several authoritative manuscripts whose contents are now also joined by further works. The quadricentennial of Froberger, born in 1616, is a fitting time to reconsider the music of both compsoers.

The “new” compositions are preserved in relatively unauthoritative sources, and their chronology as well as their attribution is accordingly less certain. Especially problematical are three toccatas, transmitted anonymously in the Roman manuscript Chigi 25, which have long been considered transitional between Frescobaldi and his pupil Froberger.

This presentation supports a proposed attribution of these toccatas as late works of Frescobaldi. It argues further that they hint at an ongoing transition also also evident in other late works of Frescobaldi from early-Baroque virtuosity to a style that placed greater emphasis on subjectivity or expressivity. This trend was crucial for the even more personal style of Froberger, Frescobaldi’s pupil, whose early development is tentatively traced through a number of works that possibly preceded his first securely dated compositions (in an autograph of 1649). Yet Froberger also cultivated an ostentatiously learned type of contrapuntal writing modeled on that of Frescobaldi, at times going beyond the latter in the use of chromatic subjects and newly invented modes. The juxtaposition in Froberger’s autographs of subjective music to be played “à discrétion” with abstruse “scientific” experiments in counterpoint made explicit the shattered subjectivity characteristic of the European Baroque, which is only implicit in the music of the previous generation.
David Schulenberg is the author of The Keyboard Music of J. S. Bach and The Music of C. P. E. Bach  as well as the textbook and anthology Music of the Baroque, now in its third edition.  He has also edited keyboard sonatas and concertos by C. P. E. Bach and is a contributor to the new Breitkopf & Härtel edition of the organ works of J. S. Bach.  A performer on harpsichord and other early keyboard instruments since his college days at Harvard, he has been heard as a soloist across North America and on chamber music CDs on the Naxos, Hungaroton, and Albany Records labels.  He chairs the music department at Wagner College in New York City and is, additionally, a faculty member in the Historical Performance program at The Juilliard School.  He has also taught at Boston University.  Further writings, editions, and recordings are online at faculty.wagner.edu/david-schulenberg.


Saturday, March 26, 2016

SPRING Joint Meeting NECMT & AMS-NE Program (April 8 & 9, 2016 at MIT)

What follows is a snapshot of the program for the joint meeting of the AMS-NE and the New England Conference of Music Theorists (NECMT), which includes registration times, papers, and receptions. The full can be found here). Many thanks to our two program committees and special gratitude goes to Michael Scott Cuthbert for volunteering to help merge the schedules of our two societies and for his work on laying out the joint program. We are also very indebted to Emily Richmond Pollock and Elina Hamilton for their work regarding local arrangements at MIT. 

Please note that the meeting will be held on Friday-Saturday, 8-9 April at MIT; AMS-NE papers will be heard on Saturday only, but everyone is invited and encouraged to attend the paper sessions and the informal dinner on Friday, to be held at the house of NECMT president, Suzie Clark (please note that this is a change of location).  We look forward to seeing you at the meeting!


LOCATION: Lewis Music Library, Bldg 14N-109

12:30 PM Registration Opens

1:30 - 3:30PM Ways of Hearing (NECMT Session)

  • 'Conoscere e riconoscere': Fragmentation, Repetition, nd Formal Process in Sciarrino's Instrumental Music -- Antares Boyle (University of British Columbia)
  • How Cage Misreads Webern -- Jeffrey Perry (Louisiana State University)
  • Between Reality and Imagination: Listening to Claude Vivier's Lonely Child -- Christopher Gainey (University of British Columbia)

3:50 - 5:10PM Songs (NECMT Session)

  • "So Complete in Beautiful Deformity:" Hearing the Rhythms of Meshuggah's obZen -- Olivia Lucas (Harvard University)
  • "Aber auf einmal...": Dynamic Discourse in Lyric Poetry and Song -- Matt Bailey-Shae (Eastman School of Music)
5:40 PM Informal dinner at Suzie Clark's house (directions available at the meeting)--AMS-NE members welcome. (this is change of location)


8:30 AM Registration Opens (Killian Hall Lobby, Bldg 14)


1a: Brazil: Historical, Theoretical & Ethnographic Approaches (Joint Session)--Killian Hall, Bldg 14

  • Opera and Modernity in Brazil: Camargo Guarnieri and Mário de Andrade's Pedro Malazarte -- Melody Chapin (Tufts University)
  • Circulariade: Theorizing Temporality in Afro-Brazilian Popular Song -- Christopher Stover (The New School)
  • The Red-Bulling of the Music Industry: Co-Branding, Corporate Sponsorship, and Shifts in Musical Agency in Brazil --Kariann Goldschmitt (Wellesley College) **Conference invited speaker**
1b: Sonata Theories (NECMT session)--4-270 Lecture Hall
  • Mendelssohn's Formal Frames: Multi-Stage and Recurring Introductions -- Catrina Kim (Eastman School of Music)
  • Bartók's Sonata-Rondo: Semiotics and Narrative in the Sonata for Two Pianos and Percussion --Emma James (Eastman School of Music)
  • Between the Signposts: Thematic Interpolation and Structural Defamiliarization in Prokofiev's Sonata Process -- Rebecca Perry (Yale University)

2a: 16th and 17th-century Italy and Beyond (AMS-NE Session)--Killian Hall, Bldg 14

  • Between Frescobaldi and Froberger: From Virtuosity to Expression -- David Schulenberg (Wagner College)
  • A Tale of Three Sciolte: Triple Meters in the Danced Suites of Fabritio Caroso -- Nona Monahin (Five College Early Music Program, Mount Holyoke College)

2b: Fin-de-siècle France (Joint Session)-- 4-270 Lecture Hall

  • Lost in Translation: Exoticism as Transculturation in Saint-Saëns's Africa -- Toru Momii (Columbia University)
  • Before and After Debussy: Gabriel Fauré's Pelléas et Mélisande in New York and Boston, 1902 - 1912 -- Heather de Savage (University of Connecticut)
12:30 - 2:30 LUNCH

  • AMS-NE in Killian Hall
  • NECMT in 4-270

3a: Motivic Approaches (NECMT Session)--Killian Hall, Bldg 14

  • Analyzing Liszt's Songs: A Grundgestalt and Transformational Perspective -- Jeffrey Schaeffer (Central Michigan University)
  • Motivic Analysis Reimagined in Light of Performance -- Andrew Friedman (Harvard University)
  • Sound to Point and Line: Visualizing Music at the Bauhaus -- Stephanie Probst (Harvard University)
3b: Vocal Music and Interpretation (AMS-NE Session) -- 4-270 Lecture Hall
  • Vestiges of Virtuosity: Origins of the French Coloratura Soprano -- Sean M. Parr (Saint Anselm College)
  • "A History of Man and His Desire": Ferrucio Busoni and Faust -- Erinn Knyt (University of Massachusetts, Amherst)
  • Getting "Satisfaction" from Others: Cover Songs, Irony, and The Rolling Stones -- David Ferrandino (University of Buffalo, SUNY)
5:10PM Conference Reception: Food and Drink generously sponsored by Conference Co-Host Harvard Music Department  --Meadhall, 4 Cambridge Center (5 minute walk)