Monday, December 10, 2018

CFP: Winter 2019 Chapter Meeting (23 February, Wellesley College (MA))

The Winter 2019 meeting of the New England Chapter of the American Musicological Society will be held on Saturday, February 23, 2019 at Wellesley College in Wellesley, MA.

The Program Committee invites proposals of up to 300 words for 20-minute papers and for roundtable sessions or workshops (pedagogical, performative, and/or scholarly). All abstracts are subject to anonymous review, and submissions from faculty, independent scholars, and graduate students are all encouraged and welcome. Abstracts should be submitted by Tuesday, January 15, 2019 via email to Karen Cook:  kacook -at-

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.” Applicants may submit only one proposal per meeting; bibliographies, figures, and examples should not be included with your submission. If submitting for a roundtable or workshop, the same guidelines apply, and we would kindly ask for a proposal for the session as a whole, including information for all participants, rather than individual proposals.

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).

Program Committee Members:
Karen M. Cook, University of Hartford, chair
Kate Galloway, Wesleyan University
Timothy Mangin, Boston College
Emiliano Ricciardi, University of Massachusetts, Amherst
Gail Woldu, Trinity College

Wednesday, September 19, 2018

Fall Chapter Meeting at ECSU Sept 29 (Parking, Directions, Food...)

Chapter Meeting Program available HERE

Although the official address for Eastern Connecticut State University is 83 Windham St, Willimantic, CT 06226, the two primary entrances to campus are on High Street (Please see the campus map: The main entrance next to Admissions (Building #25 on the map) has a large sign with the school’s name and leads directly to the iconic clock tower; the other and best entrance for conference attendees is Charter Oak Rd next to public safety on one side (#50 on the map) and the Child and Family Development Resource Center on the other (#49 on the map). Be sure to include the name of the school in your GPS app. 
The conference will take place in the Fine Arts Instructional Building, the building with the glass front on High Street (#32). 

Parking Please park in one of two lots; consult this parking map for more information:
1. The Fine Arts Center Lot (labeled U on the map). The lower entrance of the Fine Arts Instructional Center is adjacent to this lot. 2. If the Fine Arts Lot is full, use the Wood Support Services Lot (labeled O on the map) next to the Gelsi-Young Building; you will need to go to the main entrance to access this lot. 

There are a variety of quality lunch options within about a mile of the Fine Arts Instructional Center: 1. Willimantic Brewing Company/Main Street Cafe ($$): 976 Main St 
2. Cafemantic ($$): 948 Main St 
3. Harp on Church ($$): 69 Church St #1 
4. Fiesta Cinco de Mayo ($$): 1228 Main St 5. On Campus ($): Student Center Food Court (in the Student Center across the lawn from the Fine Arts Instructional Center) 
6. Fast Food ($): Domino’s Pizza (241 Valley St) and Taco Bell/McDonald’s/Burger King on Rt 32 (south on High St from campus, turn right at T) 
7. Grocery Stores: Willimantic Food Co-op (91 Valley St; Stop & Shop (1391 Main St)

Friday, September 14, 2018

Fall 2018 Chapter Meeting (Saturday, September 29 ECSU)

AMS-NE Fall Chapter Meeting

September 29, 2018

Eastern Connecticut State University
--Fine Arts Instructional Building

Abstracts and Bios are posted as they become available.

Directions/Parking/Food Info now available HERE.

8:45-9:15 Refreshments and Registration
Morning Session

9:15 Welcome

9:20 The Duty of the Musicians: Resistance Tactics and Lived Practices of le Front national des musiciens (1940-1944) - Julie VanGyzen (University of Pittsburgh)

Following the invasion and subsequent occupation of France by Nazi Germany, musicians Elsa Barraine, Louis Durey, and Roger Désormière formed the resistance organization le Front national des musiciens (FNM). The main goals of the FNM was to promote the music of French composers, protect young French musicians from deportation, and to distribute an underground newspaper titled Musiciens d’Aujourd’hui. While the intent of Musiciens d’Aujourd’hui was to arm readers with a variety of resistant tactics, it primarily urges against cooperating with Germans or associating with collaborators and state organizations.

However, as previously explored by other musicology scholars, prominent members of the FNM frequently did associate with occupying forces and collaborators, either by performing for German audiences, accepting state sponsored commissions, or traveling for German musical events. While Leslie Sprout says this brings into question whether these activities were actually considered “shameful,” the presence of such a contradiction between method and practice begs for critical inquiry. Why does the FNM insistently warn against collaboration with the occupiers if its own members would not follow such direction? How does this contradiction impact the effectiveness of Musiciens d’Aujourd’hui as a resistant tactic? And if such activity actually was perceived as shameful, how would FNM members justify doing it?

Using archival material from le Musée de la Résistance nationale and le Bibliothèque nationale de France, I will explore these questions through a close reading of Musiciens d’Aujourd’hui. Employing James C. Scott’s theory of public and private transcripts, I argue that the contradiction should be understood not as a result of the activities by FNM members but as a shift between resistant practices. As a result, I aim to provide a better understanding of the tactics and activities of the FNM and moreover what it means to “resist.”

Julie Cleary is a PhD candidate in Historical Musicology. Hailing from New England, she has obtained her BM in Clarinet Performance from Rhode Island College and her MFA in Musicology from Brandeis University where she wrote her master’s thesis, “La Victoire du peril rose: Contextualizing Sociological Narratives and Wagnerian Aesthetics in Lili Boulanger’s Faust et Hélène.” Her currently scholarly interests focus on French music during World War II, music and resistance, and women composers of early twentieth century France with a special focus on the life and work of Elsa Barraine (1910-1999). Her dissertation, ’L’art n’a pas de partrie?’: Musical Production and Resistance, in Nazi-Occupied Paris, 1940-1944 explores these themes and argues that composition, performance, and listening are all acts of real resistance. Having presented her most recent findings at the 2017 American Musicological Society Annual Meeting (Rochester, NY), Julie is also the awardee of multiple grants and fellowships for her research, including a University of Pittsburgh A&S Graduate Fellowship (2014), a European Studies Center Klinzing Doctoral Research Grant (2017), and an Andrew Mellon Predoctoral Fellowship (2017). As a Teaching Fellow at the University of Pittsburgh, Julie has taught recitations for Introduction to Western Art Music and classes for Fundamentals of Music Theory and Class Piano. She also guest lecturers for community organizations and in music history classes at Rhode Island College.

10:00 An Illusion of Musical Democratization: The Spanish National Society of Music (1915-1922) - David Ferreiro Carballo (Complutense University of Madrid/Yale University)

The foundation in 1915 of the National Society of Music promised a solution for two long-standing problems of the Spanish musical milieu. Firstly, there was a need to define the country’s musical identity, which translated in a strong concern about the development of Spanish music and its integration in the international context. Secondly, the musical canon was dissociated from new creations, which had difficulties finding their way into the musical circuit and to the audience. Yet, during the Society’s years of activity (1915-1922), a strong cultural restoration was going on, in which music was placed, at last, at the height of the other arts.

Consequently, the institution introduced a wide range of old and new repertoire made by Spanish composers, as well as pieces created by foreign musicians following the new European musical practices. In this sense, both the society’s identity as «national» and its apparent integrating nature suggest a clear attempt to democratize Spanish music, giving space to composers and performers, but also through concerts opening up the musical circuit to a wider array of audiences. However, Was this attempt of democratization a real priority for the National Society of Music?

In this paper, I explore this question by studying how the society’s defining ideology and its social impact affected its active involvement in disseminating music. Firstly, I analyze the ideological and aesthetic debates generated throughout its foundation and, secondly, one issue related to its operation: the selection of the repertoire. Finally, I examine the typology of its members and the opinions of the critics. In doing so, I show that the National Society of Music was a non-democratic institution with an elitist understanding of the art, a reality that strongly contrasts its typically idealized conception.

David Ferreiro Carballo completed studies in Musicology (2013) and Clarinet (2014) at the Conservatory of Vigo (Spain); as well as in Musical Education (2009) at the University of Vigo. He also holds a Master Degree in Spanish and Hispano-American Music from the Complutense University of Madrid (2015), a degree he finished with the highest qualifications.
Currently, he is a Researcher in the Musicology Department at the Complutense University, where he is writing his dissertation on the lyrical works of Spanish composer Conrado del Campo (1878-1953) under the direction of Elena Torres Clemente (Complutense University) and Patrick McCreless (Yale University). In addition, he has a four-year scholarship from the Government of Spain to promote the University Teacher Training.

10:40 Expanding the Map: Listening Across Approaches to Geospatial Analysis - Kate Galloway, Katrice Kemble, Douglas Kiman, Marvin McNeil, and Gene Lai (Wesleyan University)

This roundtable addresses a range of geospatial analytic approaches that can be used address how music circulates, moves, and is mapped through places, pathways, materials, and bodies, and technologies. We collectively place in dialogue a curated survey of interdisciplinary perspectives from our respective research projects–ranging from the performance networks of European klezmer festivals to the circuitous and intersecting arteries of the musical circulatory system of New Orleans; from digital sound mapping to the spatiality of metal festival venues; and from untangling online networks of musical social media to the complex relationship between sound and space along the festival procession routes of the Tamil folk drumming ensemble urumi mēlam–that integrate digital methods with both ethnography and history to map the nodes, pathways, boundaries, and movements of sonic phenomena and musical life. This roundtable not only address the physical cartography and circulation of music cultures, but also, the online spaces music moves through. In the opening decades of the 21st century, new media practices and Web 2.0 modalities (e.g. Spotify, YouTube, Twitter, Facebook) have enabled new patterns and pathways of circulation and new approaches to participatory musicking. Our work considers varied geospatial analytic perspectives that explore how mapping, broadly defined, serves as a conceptual, technological, corporeal, and spatial mode of thinking about and experiencing music, sound, sensory information, and performance. The participants in this roundtable interrogate how music and sound media map–and are mapped by–their audiences and how listeners sense musical spaces and music shaped by place.

Kate Galloway is Visiting Assistant Professor at Wesleyan University. She specializes in North American music that responds to and problematizes environmental issues and relationships, sonic cartography, radio, sound studies, science and technology studies, new media studies and audiovisual culture, and the digital humanities. Her monograph Remix, Reuse, Recycle: Music, Media Technologies, and Remediating the Environment examines how and why contemporary artists remix and recycle sounds, musics, and texts encoded with environmental knowledge. Katrice Kemble is interested primarily in the study of popular musics, and her current research is in metal music studies. Within that area, she is investigating issues related to gender and sexuality as well as the performance and theatricality of violence. Additional areas of interest include performance studies, applied ethnomusicology, and digital humanities. Douglas Kiman is a second year PhD student in ethnomusicology from Paris. His research focuses on the emergence and the development of the contemporary European klezmer scene. Gene Lai is a PhD Candidate in Ethnomusicology at Wesleyan University. His research focuses on the urumi mēlam, a Tamil folk drum ensemble in Singapore and Malaysia. As a Carnatic music student, he studies mrdangam and solkattu under David Nelson, and Carnatic vocal and improvisational techniques under B. Balasubrahmaniyan. Marvin McNeill is a second year Master of Arts student in Ethnomusicology at Wesleyan University.  After serving as a college band director for 20 years, first as the Director of Bands at Sacred Heart University, Fairfield, CT (1997-2002), then as the Associate Director of Athletic Bands at the University of Connecticut, Storrs, CT (2002-2017), Marvin returned to academic study to enrich and fulfill some of his own research interests and passions as well as grow intellectually in a way that will prepare him to serve his future students in a greater capacity. Marvin’s research interests include New Orleans Brass Band Music and Culture, African American/Black Music and Culture, Afro-Caribbean Music and Culture, Music and Urban Geography Studies, Affect Theory, and Popular Music Studies. Marvin is the founding member of the Funky Dawgz Brass Band and is the Director of the Charter Oak Cultural Center Brass Band, a non-profit afterschool youth program in Hartford, CT.

12:00-1:40 Lunch Break
1:40-2:00 Business Meeting
Afternoon Session 

2:00 Pythagorean Rationality and Descartes’s “Clear and Distinct Ideas” - David Cohen (Max Planck Institute for Empirical Aesthetics)

Descartes’ early Compendium of Music begins by arguing that the senses can take “delight” only in objects which, because they exhibit simple proportional relations, are perceived “distinctly.” Our minds, he holds, are inevitably deceived by proportions of excessive complexity, such as those involving irrational quantities, which “can in no way be perfectly known … to perception.” Thus—as the eminent Descartes scholar Stephen Gaukroger has observed—right from the start we find Descartes treating as foundational a version of what will later, in his most celebrated and influential writings, constitute the epistemological foundation of the Cogito: those mental entities or events that he comes to call “clear and distinct” ideas or perceptions.

As I go on to show, much the same concern for clarity and simplicity—for immediate, effortless intellectual perspicuity—had for centuries before Descartes played an equally crucial role in precisely this domain of intellectual endeavor, the “Pythagorean,” mathematical theory of music. In discussing these points I focus on the philosophical reasons why mathematical music theory—unlike geometry—from antiquity through early modernity had always rejected the irrational in favor exclusively of rational quantities, and had moreover sometimes regarded as “irrational” certain proportions that are in fact not so. I thus identify an idiosyncratic “Pythagorean” form of “rationality,” whose lifespan extended from antiquity into at least the seventeenth century, when, transmuted by the alembic of Descartes’ thought, it came to play an unlooked-for role in the foundation of modern philosophy.

David E. Cohen is Senior Research Scientist with the research group, “Histories of Music, Mind, and Body” at the Max Planck Institute for Empirical Aesthetics in Frankfurt, Germany. His research focuses on the history of music theory from Greek antiquity through the nineteenth century. A PhD graduate of Brandeis University (1993), he has held professorships at Columbia, Harvard, and Tufts Universities, and visiting professorships at Yale and McGill Universities. His article, “‘The Imperfect Seeks its Perfection’: Harmonic Progression, Directed Motion, and Aristotelian Physics” received the 2001 Best Publication award of the Society for Music Theory. Among his current projects are an essay about the musical note as the “element” of music, a study on Rameau’s harmonic theory, and a book, The End of Pythagoreanism: Music Theory, Philosophy, and Science from the Middle Ages to the Enlightenment.

2:40 “What are we here if not for each other?” Performance and Authorship in the Music of Caroline Shaw - Rachael Lansang (Rutgers University)

The fully authoritative notated musical score is a waning phenomenon in the contemporary art music scene, as performer-centered or collaborative approaches weaken the score’s authority. The work of composer/vocalist/violinist/producer Caroline Shaw (b. 1982) is a case in point: in the score for her Pulitzer Prize-winning Partita for Eight Voices, Shaw indicates that, “no single document should ever be treated as ultimately prescriptive.” Shaw, like many of her female contemporaries, acknowledges the musical score as an abstraction, unable to fully express or represent the intentions of the composer or accurately describe the literal soundings of an initial performance.

Using Shaw’s compositional technique as a model, this paper identifies that the logocentrism of Western musical practice is one of the major obstacles delaying gender parity in the field. While women have long been accepted in musical circles as performers, their role as composers is far less established. Today, these legal and social barriers are largely decimated, but ingrained habits of thought and well-worn analytical models employed by critics and analysts persist, resulting in major disparities in programming, awards, and opportunities for female composers.

Drawing on the work of musicologists Susan McClary, Suzanne Cusick, and Nina Eidsheim, as well as new materialist philosophy and contemporary performance studies scholarship, I argue for the development of new analytical frameworks focused on the performance and the performing body rather than score. These approaches can accommodate the increasingly permeable barrier between composer and performer in contemporary art music, and can provide alternatives to traditional hermeneutic models that are often inherently biased against women composers by virtue of their fundamental logocentricity.

Rachael Lansang is a PhD candidate in Musicology at Rutgers University in New Jersey. She received her bachelor’s and master’s degrees in vocal performance at the University of Connecticut. Her dissertation project is titled, “Women’s Bodies in Song: Text, Performance, and Embodiment” and focuses on new methodological approaches to contemporary art song by women composers. An active performer specializing in operatic and contemporary repertoire, she is a member of the C4: the Choral Composer/Conductor Collective in New York City, and has performed with numerous opera companies throughout the U.S. and Europe.

3:20 Forging the Heavy Metal Canon: Extreme Metal, Abject Subgenres, and the “Post-Extreme” Canon - Nathan Landes (Indiana University)

Metal fans construct their identity around an imaginary canon of subgenres and bands in a way that creates feelings of solidarity and shared values across a global community. By sharing individual understandings of the canon with others through means ranging from academic syllabi to YouTube debate shows to conversations amongst friends, metalheads constantly renegotiate the symbolic boundaries of metal identity. At the same time, certain metal fans use the canon to exclude or marginalize subgenres, bands, and fans that they deem “not quite metal enough.” Fans who wish to “insulate their cherished classics from the messy marketplace in which culture has always been negotiated,” to borrow the words of Gary Tomlinson in “Cultural Dialogics and Jazz: A White Historian Signifies,” marginalize or exclude what Eric Smialek calls “abject subgenres” in an effort to preserve a vision of metal that is sonically extreme, hypermasculine, and resistant to change. The academic discipline of metal music studies, which is composed largely of what Henry Jenkins calls aca-fans, disproportionately canonizes these “extreme metal” bands in a way that praises the music’s transgressive properties while criticizing its troubling politics.
Despite the prevalence of extreme metal in the metal canon, a significant segment of the metal community appears to be moving away from extreme metal in favor of what I call the “post-extreme” canon, a canon that rejects the aesthetics and politics of extreme metal in favor of musical experimentation and progressivism. The post-extreme canon appears in metal music studies scholarship as well in the work of Amber Clifford-Napoleone and Rosemary Lucy Hill, among others. By outlining the aesthetic and moral boundaries of post-extreme metal, I offer a model for how metal musicologists can reconstruct their canon to embrace diversity and to resist forming what Karl Popper calls a “closed society.”

Nathan Landes is a PhD candidate in Musicology at Indiana University. An active performer and private teacher, Nathan holds an undergraduate degree in music performance from Oberlin Conservatory and two master’s degrees, one in bassoon performance and the other in music history, from the New England Conservatory. At Indiana University he has taught topics including Medieval Music and Medievalism, Mozart and Critical Theory, The Blues and Politics, and Hip Hop and MTV. His dissertation, “That’s Not Metal: The Metal Music Studies Canon and Boundaries of Identity,” focuses on the tastes of the metal music studies community, a group of intellectuals and academics who construct a canon of metal music that highlights transgressive behaviors and extreme aesthetics at the expense of more mundane or mainstream metal music and culture. Nathan currently lives in Providence, RI, with his wife Molly and dog Clara.

4:00 Refreshments

Thursday, August 30, 2018

CFP: Woodstock 50--Stardust and the Devil's Bargain (Berklee College of Music, April 5 - 7, 2019)

Woodstock 50: Stardust and the Devil’s Bargain
Submission deadline: October 15
April 5-7, 2019
Berklee College of Music (Boston, MA)
In August of 1969, a dairy farm in the state of New York hosted a pivotal moment in the history of pop music. Taking place only two years after the "Summer of Love” and one year after the tumultuous events of 1968, the Woodstock Music and Art Fair put an exclamation point on the transformational decade of the 1960s.
Joni Mitchell did not attend Woodstock, but her song of the same name captures an opposition inherent to the turbulent and divisive era. “We are stardust...caught in the devil’s bargain,” Mitchell sings, “...and we’ve got to get ourselves back to the garden.” The committee hopes that these evocative lyrics inspire a similarly wide-ranging set of proposals.
Berklee's Liberal Arts Department is pleased to announce a conference marking the 50th anniversary of Woodstock. We are soliciting proposals on any topic related to the festival itself, its performers, or its longterm impact. Given our foundation in the liberal arts, we seek proposals from any discipline as well as those that are interdisciplinary in nature. We also encourage proposals from scholars at any stage of their career.
    Please submit your proposal at Submissions are due by October 15, and accepted speakers will be notified by December 15.
    For questions, please contact Alex Ludwig: aludwig -at-

    Monday, July 16, 2018

    CFP: Fall 2018 Chapter Meeting (29 Sept, Eastern Connecticut State University)

    The Fall 2018 meeting of the New England Chapter of the American Musicological Society will be held on Saturday, September 29, 2018 at Eastern Connecticut State University in Willimantic, CT.
    The Program Committee invites proposals of up to 300 words for 30-minute papers and for roundtable sessions or workshops (pedagogical, performative, and/or scholarly). 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 Wednesday, August 15, 2018 via email to

    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.” Applicants may submit only one proposal per meeting; bibliographies, figures, and examples should not be included with your submission. If submitting for a roundtable or workshop, the same guidelines apply, and we would kindly ask for a proposal for the session as a whole, including information for all participants, rather than individual proposals.
    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).

    Program Committee Members:
    Karen M. Cook, University of Hartford, chair
    Kate Galloway, Wesleyan University
    Emiliano Ricciardi, University of Massachusetts, Amherst
    Gail Woldu, Trinity College
    Timothy Mangin, Boston College

    Friday, April 20, 2018

    Election Information for Saturday's Meeting

    Elections for the Chapter will be held on Saturday, April 21st at the Business Meeting. Voting will be conducted by paper ballot. The slate of nominees is as follows:

    Jacquelyn Sholes (re-election)

    Program Chair
    Karen Cook (The Hartt School/University of Hartford)

    Student Representatives (vote for 1)
    Miklós Veszprémi (Yale University)
    Cat Slowik (Yale University)
    Eric Elder (Brandeis University)

    Offices are described in Article V of the Chapter Bylaws.
    The program for Saturday's meeting is here.

    Thursday, April 5, 2018

    Spring 2018 Chapter Meeting (U Mass Amherst, April 21)

    AMS-NE Spring Chapter Meeting
    Saturday, April 21st, 2018
    University of Massachusetts at Amherst
    Room N610, Life Science Laboratories Building (LSL)
    Amherst, MA
    **Will be updated with bios and abstracts as they become available.**

    9:15 - 9:45 a.m.  Refreshments and Registration

    Morning Session: French identity, Identifying as French

    9:45 a.m.                Welcome

    10:00 a.m. "American Perspectives on the Fauré Centennial, 1945: The Writings of Aaron Copland, Elliott Carter, and Irving Fine”
    Heather DeSavage (University of Connecticut)

    Heather de Savage holds a Ph.D. in music history and theory from the University of Connecticut. Her primary research considers Gabriel Fauré’s American reception, with a focus on activities in Boston; she has presented portions of this research, and her work on biblical exegesis in the late motets of Heinrich Schütz, at numerous conferences. Publications include items for the Nineteenth-Century Music Review, among them a review article on new editions of Fauré’s vocal music, and a review of the Bärenreiter critical edition of his orchestral works; co-authored articles address harmonic text painting in Liszt’s lieder (Gamut), and performance practice in fifteenth-century Franco-Flemish chanson (Early Music). In progress is an article on American performances of Fauré's music for Maeterlinck’s Pelléas et Mélisande. Beyond her scholarship, Heather is a dedicated classroom instructor and has taught various courses in classical and popular music at UConn, and was the 2017 recipient of the Outstanding Adjunct Award for the School of Fine Arts. This semester she is also teaching a music history course at the University of Hartford, The Hartt School.

    10:40 a.m. “‘Snobs in Search of Exotic Color’: Blackness and Subversion in the Appropriation of Jazz in Interwar Paris”
    Uri Schreter (Harvard University)

    This paper explores the appropriation of jazz in the 1920s by a group of French composers known as Les Six and its relation to their avant-garde image. It has often been claimed that these works blurred and transgressed racial borders. However, I demonstrate that by presenting a diluted, “white” form of jazz as an exotic symbol of blackness, they actually served to reinforce those borders. Unlike past studies on this topic that have focused either on socio-historical context or on musical analysis, my paper investigates textual sources, music scores and recordings side-by-side, in order to account for the distinct aesthetic characteristics of various sub-genres, as well as the cultural connotations associated with them. Additionally, I explore an important venue that has been so far completely neglected: the French music-hall. Songs and revues have often been mentioned in studies about Les Six, but the music itself has never been seriously examined. By comparing scores and recordings from the French music-hall with recordings of black jazz and works by Les Six, I demonstrate that some famous works touted as being influenced by jazz actually drew on popular French music.
    The reception of jazz in Paris provides a unique vantage point for understanding the crystallization of French perspectives on race. After it rapidly conquered popular entertainment venues, jazz began to infiltrate other domains of Parisian cultural and intellectual life, including the musical avant-garde. Its risqué and modern character appealed to many audiences, but it also sparked turbulent debates about race, class and national identity that reflected anxieties in the aftermath of World War I. French society was purportedly “color-blind,” inspiring hundreds of African Americans to immigrate to Paris; but as the appropriation of jazz reveals, French notions about blackness were expressed in nuanced ways that perpetuated long-standing exoticized representations of the black other.

     Uri Schreter is a PhD student in historical musicology at Harvard University. Prior to Harvard he studied at Tel Aviv University, where he received his MA in history and his BA in composition and musicology. His MA dissertation explored the cultural and musical appropriation of jazz in interwar Paris. His interests span the fields of twentieth century music, French music, jazz, electronic music, Jewish music and music in Israel. He is the recipient of numerous academic awards, including the Martin Gehl Foundation Grant for Research of French History, a research scholarship from the Thomas Arthur Arnold Fund for Excellence in Historical Research, and a scholarship in musical composition from the America-Israel Cultural Foundation.

    11:20 a.m. “Musique Alexandrine: Guillaume Crétin’s Deploration and the French Royal Court”
    Jeannette Jones (Boston University)

    12:00 - 2:00p.m.      Lunch Break
    2:00-2:20        Business Meeting and Elections

    Afternoon Session: Ideals and Idols on Stage and Screen

    2:20 p.m. “The Sweet Life, Song, and Sound: “Patricia” in La dolce vita
    Melissa Goldsmith (Westfield State University)

    The Italian film La dolce vita (1960) became internationally famous after it won the Palme d’Or (Golden Palm), the highest distinction, at the 1960 Cannes Film Festival. It was the sixth close collaboration between director and writer Federico Fellini (1920–93) and composer Nino Rota (1911–79), whose creative process involved sitting together as Rota composed original music and arranged previously composed songs. Before Rota began working on the film, Fellini selected composer Pérez Prado’s (1917–89) song “Patricia” (1958). Rota’s arrangement of the chart-topping hit accompanies pivotal narrative moments as protagonist Marcello, a journalist, gallivants in the worlds of Rome’s most jaded rich and famous.
    By using autograph sources that include Rota’s arrangements of “Patricia” (housed in the Nino Rota Collection at the Giorgio Cini Foundation in Venice), my paper explores the song’s structural and dramatic role in the film, Rota’s compositional techniques and approach to arranging, and Fellini’s use of the song within the context of the film’s sound. Previous literature, like Peter Bondanella’s The Films of Federico Fellini (2002) and Richard Dyer’s Nino Rota: Music, Film, and Feeling (2010), just briefly explains the film’s structure and use of “Patricia.” Fra cinema e musica del novecento: Il caso Nino Rota: Dai documenti (Between Cinema and Twentieth-Century Music: The Case of Nino Rota: From the Documents, 2000), edited by Francesco Lombardi, discusses Rota’s work and “Patricia” within the context of the film’s narrative. This paper is the first to offer an analysis that considers the film’s music, visual, and sound tracks. It is also the first to give attention to the history of “Patricia,” in addition to Rota’s scoring, Fellini’s overdubbing the film’s sound with Rota’s arrangements, Fellini’s sound sources (for example, a jukebox and an RCA album), as well as Fellini and Rota’s sense of play with music.

    Melissa Ursula Dawn Goldsmith is a Visiting Lecturer/Associate Professor in Westfield State University’s Music Department/College of Graduate and Continuing Education. She holds a Ph.D. in musicology from Louisiana State University in Baton Rouge and she specializes in American vernacular music, film music, and twentieth-century music aesthetics and criticism. Goldsmith’s recent books include Listen to Classic Rock! Exploring a Musical Genre (under contract, ABC-CLIO, 2019), Hip Hop around the World: An Encyclopedia (forthcoming, ABC-CLIO, 2018), and The Encyclopedia of Musicians and Bands on Film (Rowman & Littlefield, 2016). Her articles and reviews have appeared in American Music, Choice, Fontes artis musicae, The Journal of Film Music, The Journal of the Society for American Music, Music Theory Online, Naturlaut, Notes, portal, and Screening the Past. Goldsmith is also a songwriter, music engineer, and multi-instrumentalist for her sound recording company, Dapper Kitty Music. Her music and spoken word recordings have received national airplay

    3:00 p.m. “Ferruccio Busoni: Architect of Sound"
    Erinn Knyt (University of Massachusetts-Amherst)

    While approaching death in spring 1924, Ferruccio Busoni reportedly confessed to his pupil, Gottfried Galston, that it had been a dream from his youth to become an architect rather than a musician. However, as the son of musicians, his path in life had seemed predetermined. Although Busoni never realized his aspiration to design buildings, he became an architect of sound. An architectural mindset became scaffolding for the way he approached music, influencing elements from form to acoustics, harmony, color, and timbre.

    Relying on a close reading of an incomplete essay from 1916, “Thoughts about Expression in Architecture,” in addition to analyses of Doktor Faust (1925), the final movement of the Piano Concerto (1904), and recordings of Busoni’s performances, the article reveals how architecture inspired some of Busoni’s most innovative timbral and acoustic choices.  In Doktor Faust, Busoni created a sense of three-dimensionality by thinking about ways pitches could come from different directions to create a “horizon” of sound. In addition, he created the illusion of distant tolling of cathedral church bells with traditional acoustic instruments. In the final movement of the piano concerto, inspired, in part, by sounds of men and boys singing in the Strasbourg Cathedral, Busoni played with the contrasts between the timbres of an all male choir and a virtuosic piano soloist.  As a performer, he created a sense of architectural shape through a play with register, note doublings, and the pedal.

    This article thus provides the first comprehensive view of how architecture informed Busoni’s creative activities. In the process, the article expands knowledge about relationships between architecture and music in the late 19th and early 20th centuries.

    Erinn Knyt is assistant professor of music history at the University of Massachusetts Amherst. She received her B.A. in Music (Music History and Piano Performance) with highest honors from the University of California, Davis in 2003, an M.M. in Music from Stanford University in 2007, and 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, the Journal of Musicological Research, Musicology Australia, 19th-Century Music, and Twentieth Century Music, and has presented papers at conferences throughout the U.S. and abroad. Her book, which was published in 2017 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.  Her book was awarded an AMS 75 Pays Endowment Book Subvention Grant.

    3:40 p.m. “Operatunistic Gains: Reconciling Public Perceptions of
    Opera in Contemporary England”
    Allison Smith (Boston University)

    In the postmodern era, dialectics concerning the perceived repositioning of elite and popular art have implications in contemporary opera, especially in England.  In an attempt to reconcile opera’s perceived elite status with its past as a popular art, The English National Opera (ENO) produced Operatunity, a 2003 docu-reality series that ​conducted a nationwide search to find someone within the United Kingdom without formal opera training who could be coached to sing in a professional production of Verdi’s ​Rigoletto​ with a year’s training.  Alexandra Wilson has argued that Operatunity was ultimately a failure for two reasons: firstly, the contestants who won Operatunity, Jane Gilchrist and Denise Leigh, did not end up having professional opera careers and secondly, the locus of the power remained in the ENO, an elite opera institution, creating a top-down imposition of opera on the public.  While I concur with Wilson’s second point, I argue that, although Operatunity itself was unsuccessful, Gilchrist and Leigh were successful in reconciling elitism conceived to be inherent to opera with the public through allowing the public to experience opera through amateurs; amateur vocal production underscores opera as a popular art and helps create a space for audiences to listen to opera outside of the elite space of the opera house.  First, I will borrow from Michel Foucault’s concept of institutional power and Henri Lefebvre’s spatial triad to theorize these elite and public spaces and how power is negotiated in them via vocal production.  Secondly, Judith Butler’s and Eve Kosofsky Sedgwick’s conceptions of performativity and periperformativity, respectively, will assist in my analysis of how Gilchrist’s and Leigh’s performances operated in both spaces. I will ultimately argue that because Gilchrist and Leigh were able to combine amateur vocality with opera, they were able to reconcile opera with the public in a way that Operatunity, particularly the ENO, could not.

    Allison Smith is currently a PhD student in Historical Musicology at Boston University.  She received a B.A. in Saxophone Performance from the University of Mary Washington in 2014, graduating magna cum laude.  She studied in Doug Gately’s studio.  She received an M.M. from the University of Massachusetts at Amherst in Historical Musicology in 2017.  Her thesis, entitled, “Islamophobia, Anti-Semitism, Censorship: Reflections on Religious and Political Radicalism in John Adams’s The Death of Klinghoffer,” focused on Adams’s musical treatment of the Palestinian and Jewish narratives in contexts of audience reception, J.S. Bach’s Passions, and Erik Satie’s Gymnopédies.  
    Continuing her work in contemporary opera, Allison has recently expanded her research interests to contemporary British chamber opera and dialectics considering religion, gender, and the body.  She has presented her work at conferences at UMass Amherst and CUNY, and has published a conference report in Bach Notes.  In addition to her PhD studies, Allison currently teaches a survey of Western music history to graduate students.

    4:20 p.m.                Refreshments

    The evening reception will be at the University Club (243 Stockbridge Rd)--a short walk from the LSL building.