tag:blogger.com,1999:blog-13871179735705911422024-03-19T02:26:05.934-07:00AMS-NE: New England Chapter of the AMSThis is the primary website for the New England Chapter of the American Musicological SocietyAMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.comBlogger104125tag:blogger.com,1999:blog-1387117973570591142.post-48517402093560331032022-07-30T05:47:00.002-07:002022-07-30T05:47:13.376-07:00NEW CHAPTER WEBSITE!<p> Please visit: <a data-saferedirecturl="https://www.google.com/url?q=https://www.newengland.ams-net.org/&source=gmail&ust=1659271491477000&usg=AOvVaw2qarJEfqDJJYhiQKHhgqdQ" href="https://www.newengland.ams-net.org/" style="background-color: white; color: #1155cc; font-family: "Times New Roman", Times, serif; font-size: 16px;" target="_blank">https://www.newengland.<wbr></wbr>ams-net.org/</a> as we transition to our new site. This current site will no longer be updated, but will be retained while we transfer the chapter archives. For the Fall 2022 CFP, please visit the new site: <a data-saferedirecturl="https://www.google.com/url?q=https://www.newengland.ams-net.org/&source=gmail&ust=1659271491477000&usg=AOvVaw2qarJEfqDJJYhiQKHhgqdQ" href="https://www.newengland.ams-net.org/" style="background-color: white; color: #1155cc; font-family: "Times New Roman", Times, serif; font-size: 16px;" target="_blank">https://www.newengland.<wbr></wbr>ams-net.org/</a></p>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-81534709695494134712022-03-25T06:57:00.001-07:002022-04-16T07:35:57.928-07:00SPRING 2022 Chapter Meeting (virtual) - Saturday, April 23, 2022 (hosted by Yale)<p> </p><p><u style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: small;"><br /></u></p><p><span style="font-family: georgia;"><span style="background-color: white; color: #222222;">If you plan to participate in this virtual meeting, please register (for free) in advance at this link:</span><br style="background-color: white; color: #222222;" /><a data-saferedirecturl="https://www.google.com/url?q=https://yale.zoom.us/meeting/register/tJMld-irpjIjG9OtYGyavj-U-T8CeFvUrFOz&source=gmail&ust=1648300304421000&usg=AOvVaw0i3Db72tdWQXW7LarVBx0m" href="https://yale.zoom.us/meeting/register/tJMld-irpjIjG9OtYGyavj-U-T8CeFvUrFOz" style="background-color: white; color: #1155cc;" target="_blank">https://yale.zoom.us/meeting/<wbr></wbr>register/tJMld-<wbr></wbr>irpjIjG9OtYGyavj-U-T8CeFvUrFOz</a></span></p><p><u style="background-color: white; color: #222222;"><span style="font-family: georgia;"><br /></span></u></p><p><u style="background-color: white; color: #222222;"><span style="font-family: georgia;">Program (all times listed below are EDT) </span></u></p><p><u style="background-color: white; color: #222222;"><a href="https://docs.google.com/document/d/1-jUXWngR-3L1IZQTC0dj9yxFg25s_ZHHv8Bhy0bqPrE/edit?usp=sharing" target="_blank"><span style="font-family: georgia;">ABSTRACTS AND BIOS</span></a></u></p><span style="font-family: georgia;"><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;">9:30-9:45AM </span><b style="background-color: white; color: #222222;">Welcoming Remarks</b><br style="background-color: white; color: #222222;" /><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;">9:45AM-11:15AM </span><b style="background-color: white; color: #222222;">Session #1</b><span style="background-color: white; color: #222222;"> (session c0-chairs: Zachary Stewart and Renée Becker, Yale University)</span><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;"><br /></span></span><div><ul style="text-align: left;"><li><span style="font-family: georgia;"><span style="background-color: white; color: #222222;">Mary Greer (Cambridge, Massachusetts): "Hercules the Serpent-throttler as Model for Christ the Serpent-trampler: Overlooked Parallels between 'Hercules at the Crossroads" (BWV 213) and Bach's </span><i style="background-color: white; color: #222222;">Christmas Oratorio</i><span style="background-color: white; color: #222222;">" </span></span></li><li><span style="font-family: georgia;">McKay Perry (University of Massachusetts Amherst): "'Amphion's Warbling Strings': A Case Study of Mythical Music in English Madrigals"</span></li><li><span style="font-family: georgia;">Emily Korzeniewski (Yale University): "Machaut's Notations in Flux: The Chansons of the <i style="background-color: white; color: #222222;">Remede de Fortune</i><span style="background-color: white; color: #222222;">"</span></span></li></ul><span style="font-family: georgia;"><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;">11:15AM-11:30AM </span><b style="background-color: white; color: #222222;">Coffee Break #1</b><br style="background-color: white; color: #222222;" /><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;">11:30AM-12:30PM </span><b style="background-color: white; color: #222222;">Session #2 </b><span style="background-color: white; color: #222222;">(session chair: Philip Bixby, Yale University)</span><br style="background-color: white; color: #222222;" /></span><ul style="text-align: left;"><li><span style="background-color: white; color: #222222;"><span style="font-family: georgia;">Jacques Dupuis (Northeastern University): "Honoring Clara Schumann"</span></span></li><li><span style="font-family: georgia;">Misti Webster (University of Utah): "Zitkala-Ša: Dissonance Between Musical and Cultural Identity"</span></li></ul><span style="font-family: georgia;"><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;">12:30PM-2:00PM </span><b style="background-color: white; color: #222222;">Lunch Break</b><span style="background-color: white; color: #222222;"> (with the option to socialize/network virtually)</span><br style="background-color: white; color: #222222;" /><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;">2:00-2:30PM </span><b style="background-color: white; color: #222222;">Chapter Business Meeting</b><span style="background-color: white; color: #222222;"> (including elections for Chapter Officer positions)</span><br style="background-color: white; color: #222222;" /><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;">2:30-4:00PM </span><b style="background-color: white; color: #222222;">Session #3</b><span style="background-color: white; color: #222222;"> (session chair: Knar Abrahamyan, Yale University)</span><br style="background-color: white; color: #222222;" /></span><ul style="text-align: left;"><li><span style="background-color: white; color: #222222;"><span style="font-family: georgia;">Eloy Ramirez (Harvard University): "'A Heritage of Discouragement' in the New York Philharmonic: A Documentary Study of Auditions by Black Musicians, 1969"</span></span></li><li><span style="font-family: georgia;">Elaine Fitz<span class="gmail_default" style="color: #222222;"> </span><span style="background-color: white; color: #222222;">Gibbon (Harvard University): "</span><span class="gmail_default" style="color: #222222;">Inverted History, Dirtied Waters</span><span style="background-color: white; color: #222222;">: Reevaluating Political</span><span style="background-color: white; color: #222222;"> </span><i style="color: #222222;">Musiktheater</i><span style="background-color: white; color: #222222;"> </span><span style="background-color: white; color: #222222;">in Mauricio Kagel's</span><span style="background-color: white; color: #222222;"> </span><i style="color: #222222;">Mare Nostrum</i><span style="background-color: white; color: #222222;"> </span><span style="background-color: white; color: #222222;">(1975)"</span></span></li><li><span style="font-family: georgia;">Wenzhuo Zh<span style="background-color: white; color: #222222;">ang (<span class="gmail_default">State University of New York</span> at Fred</span><span style="background-color: white; color: #222222;">onia): "'We Are Not Anonymous': Gender and Self-identity in Rock Star Tan Weiwei's 2020 Virtual Performance"</span></span></li></ul><span style="font-family: georgia;"><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;">4:00-4:15PM </span><b style="background-color: white; color: #222222;">Coffee Break #2</b><br style="background-color: white; color: #222222;" /><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;">4:15-5:15PM <b>Keynote Address</b></span><span class="gmail_default" style="background-color: white; color: #222222;"><b></b> (moderated by Evan MacCarthy, University of Massachusetts Amherst, AMS-NE President)<b></b></span><br style="background-color: white; color: #222222;" /></span><ul style="text-align: left;"><li><span style="background-color: white; color: #222222;"><span style="font-family: georgia;">Ireri Chávez-Bárcenas (Bowdoin College): "Turu lu neglo y nigliya vamo correndo adorá: Sounds of Race in Seventeenth-Century Puebla de los Ángeles"</span></span></li></ul></div>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-19982165299803111282022-02-19T06:47:00.003-08:002022-02-19T06:49:20.116-08:00CFP SPRING 2022 Chapter Meeting (Virtual): Saturday, April 23, 2022 (hosted by Yale University)<p> </p><div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 12pt;"><span style="font-family: Calibri, Helvetica, sans-serif;"><br class="Apple-interchange-newline" />The <b>Spring Meeting</b>, our third and final one for this academic year of the <b>New England Chapter of the American Musicological Society</b>, will be held <u>virtually</u> on <b>Saturday, 23 April 2022</b>, hosted by <b>Yale University</b>. Details and Zoom link will follow with the program announcement in early April.</span><div><br /></div><div><span style="font-family: Calibri, Helvetica, sans-serif;">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 blind review, and submissions from faculty, independent scholars, and students are all encouraged and welcome. Abstracts should be submitted by <b>Wednesday, March 9, 2022</b>, to Mark DeVoto, chair of the Program Committee: mdevoto -at- granite dot tufts dot edu, who urges you to send your proposal as soon as practicable. Proposals will be evaluated as speedily as we can, in order to give presenters time to work on their papers while the snow and ice disappear from our front steps.<br /></span></div><div><br /></div><div><span style="font-family: Calibri, Helvetica, sans-serif;">Please refer to the AMS 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 the submission is 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.</span></div><div><br /></div><span style="font-family: Calibri, Helvetica, sans-serif;">Your personal biography may be submitted at the same time, in a separate ¶ on the same page if you prefer --- it will be set aside while the committee deliberates. The Bylaws of the AMS stipulate that “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).</span><br /></div><div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 12pt;"><span style="font-family: Calibri, Helvetica, sans-serif;"><br /></span></div><div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 12pt;"><span style="font-family: Calibri, Helvetica, sans-serif;">Please see the AMS-NE website for details as they become available: <a data-saferedirecturl="https://www.google.com/url?q=https://ams-ne.blogspot.com&source=gmail&ust=1645367999526000&usg=AOvVaw2YU2EjKPxa_je3e_Dc1GsA" href="https://ams-ne.blogspot.com/" style="color: #1155cc;" target="_blank">https://ams-ne.blogspot.com</a></span></div>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-52396682563738072002022-01-14T07:26:00.003-08:002022-01-23T08:55:43.338-08:00WINTER 2022 CHAPTER MEETING (Virtual) - Saturday, February 5 (Brandeis University)<p>Hosted by Brandeis University</p><p>If you plan to participate in this virtual meeting, please register (for free) in advance at this link: <a href="https://brandeis.wufoo.com/forms/m1vzze2b1xkz2we/">https://brandeis.wufoo.com/forms/m1vzze2b1xkz2we/</a> </p><p>After registering, you will receive a confirmation email containing information about joining the Chapter meeting on <b>February 5, 2022 </b>(including the Zoom link for the meeting). </p><p>Program (all times listed below are EDT) </p><p>PDF with program and abstracts <a href="https://drive.google.com/file/d/1ocWZruAZ4yswkMo9USMKZMDDL8m75bDd/view?usp=sharing" target="_blank">here</a></p><p>Abstracts and bios available <a href="https://docs.google.com/document/d/1jn23t75R-fmSPPZhBg7GdMs7U9W4y9DrB1YqftVad5c/edit?usp=sharing" target="_blank">here</a></p><h3 style="text-align: left;">10:45-11:00AM Welcoming Remarks </h3><h3 style="text-align: left;">11:00AM-12:30PM Morning Session <span style="font-weight: normal;"><span style="font-size: small;">(chaired by Chloe Danitz, Brandeis University)</span> </span></h3><h4 style="text-align: left;">“Navigating a Changing Music Business: Giulio Briccialdi and the Musicians’ Response to Shifting Demands” </h4><p>Samantha Tripp (Tufts University) </p><h4 style="text-align: left;">“Digital Amati: Structure and Interpretation of Classical Stringed Instruments” Harry Mairson (Brandeis University) </h4><h4 style="text-align: left;">“‘Just to <i>Be</i> and <i>Dance</i>’: Jerome Robbins, J.S. Bach, and Late Style” </h4><p>Erinn Knyt (University of Massachusetts Amherst) </p><h3 style="text-align: left;">12:30PM-1:45PM Lunch Break (with the option to socialize/network virtually) </h3><h3 style="text-align: left;">1:45-2:00PM Chapter Business Meeting <br /><br /></h3><h3 style="text-align: left;">2:00-4:00PM Afternoon Session <span style="font-weight: normal;"><span style="font-size: small;">(chaired by Anna Valcour, Brandeis University)</span></span></h3><h4 style="text-align: left;">“‘Comme rousignol en chantant’: Animality and Anthropomorphization in a 13th Century Devotional Song” </h4><p>Áine Palmer (Yale University) </p><h4 style="text-align: left;">“Puccini’s Last Act: Finishing <i>Turandot</i>” </h4><p>Deborah Burton (Boston University) </p><h4 style="text-align: left;">“‘…a phenomenon that cannot be explained’: The Queer Enigma of Martha Argerich” </h4><p>Alexander Hardan (Brown University) </p><h4 style="text-align: left;">“Meredith Willson and the Reconciliation of Cultural Hierarchy in <i>The Music Man</i>” </h4><div>James Delorey (University of Southern California)</div>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-33093096235538833172021-11-16T16:22:00.006-08:002021-11-16T16:22:51.750-08:00CFP: WINTER 2022 Chapter Meeting (Saturday, February 5, 2022 - Virtual)<p><br /></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0in;">The Winter 2022 meeting of the New England Chapter of the American Musicological Society will be held virtually on <b>Saturday, February 5, 2022</b>. Details and Zoom link will follow with the program announcement in mid-January.</p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0in;"> </p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0in;">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 blind review, and submissions from faculty, independent scholars, and students are all encouraged and welcome. Abstracts should be submitted by <b>Sunday, December 5, 2021,</b> to Mark DeVoto, chairman of the Program Committee: mdevoto -at- granite dot tufts dot edu. Proposals will be evaluated as speedily as we can, in order to give presenters time to work on their papers during holidays.</p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0in;"> </p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0in;">Please refer to the AMS 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 the submission is 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.</p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0in;"> </p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0in;">The Bylaws of the AMS stipulate that “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).</p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0in;"> </p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: "Times New Roman", serif; font-size: 12pt; margin: 0in;">Please see the AMS-NE website for details as they become available: <a data-saferedirecturl="https://www.google.com/url?q=https://ams-ne.blogspot.com&source=gmail&ust=1637194723693000&usg=AOvVaw0TJrgb14mLCCFaD9UfNO60" href="https://ams-ne.blogspot.com/" style="color: #1155cc;" target="_blank">https://ams-ne.blogspot.com</a></p>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-33992630944803771872021-09-18T08:34:00.001-07:002021-09-18T08:37:32.402-07:00FALL 2021 CHAPTER MEETING (Virtual) - Saturday, October 2, 2021<p> The Fall 2021 Meeting of the New England Chapter of the American Musicological Society will take place virtually on Saturday, October 2nd, hosted by the University of Massachusetts Amherst.</p><p><br /></p><p>If you plan to participate in this virtual meeting, please register (for free) in advance at this <a href="https://umass-amherst.zoom.us/meeting/register/tJArd--gpjgtEt3xCylFCOhqqgKP_Q2hDzcz">link</a>.</p><p>After registering, you will receive a confirmation email containing information about joining the Chapter meeting on October 2, 2021 (including the Zoom link for the meeting).</p><p><br /></p><h3 style="text-align: center;">PROGRAM </h3><p>(Full program with abstracts and bios as provided as of 9/18 available <a href="https://drive.google.com/file/d/1nUOGFTCm2KudntLz5FjIn9AumYn61ZUl/view?usp=sharing" target="_blank">here </a>as a pdf).</p><p>All times listed below are EDT.</p><h4 style="text-align: left;">10:15 - 10:30 AM Welcoming Remarks</h4><p><b>10:30 - 12:00 PM MORNING SESSION</b></p><p style="text-align: left;"></p><ul style="text-align: left;"><li>"For Your Eyes Only? Optical Illusion and Offstage Music in Nineteenth-Century Europe" - Feng-Shu Lee (National Yang Ming Chiao Tung University)</li></ul><p></p><p style="text-align: left;"></p><ul style="text-align: left;"><li>"Kaija Saariaho's <i>L'amour de loin</i> as Modern Symbolist Opera" - Madison Spahn</li></ul><p></p><p style="text-align: left;"></p><ul style="text-align: left;"><li>"Stockhausen's <i>Weltmusik</i> at the Crossroads of Serialism and Postwar Utopianism" - Mylène Gioffredo (Université de Lorraine, CRULH)</li></ul><h4 style="text-align: left;">12:00 PM - 1:15 PM Lunch break (with virtual socializing/networking options)</h4><h4 style="text-align: left;">1:15 PM- 1:30 PM Chapter Business Meeting</h4><h4 style="text-align: left;">1:30 - 3:30 PM AFTERNOON SESSION</h4><h4 style="text-align: left;"><ul style="text-align: left;"><li><span style="font-weight: normal;">"A Musical Diary: Amy Beach's Art Song Corpus" - Megan Lyons (University of Connecticut)</span></li></ul></h4><div><ul style="text-align: left;"><li><span style="font-weight: 400;">"Bess Disembodied: Re-sounding Black Womanhood in <i>Porgy and Bess</i>" - Annie Kim (Brown University)</span></li></ul></div><div><ul style="text-align: left;"><li>"'Memory's Atlas': Utopian Longing and Musical Representation of Dementia in John Mackey's 'Places We Can No Longer Go'" - Chris Ramos (The Hartt School, University of Hartford)</li></ul></div><div><ul style="text-align: left;"><li>"Public Practice: TwoSet Violin and Classical Music's Digital Turn" - Leo Sarbanes (Harvard University)</li></ul></div><p></p>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-31891499674966559932021-08-11T13:40:00.000-07:002021-08-11T13:40:20.349-07:00CFP: Fall Chapter Meeting (Virtual) -- Saturday, October 2<p> <span style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">The New England Chapter of the American Musicological Society announces a virtual meeting, to be held via Zoom on <b>Saturday, </b></span><b style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">October 2, 2021.</b><span style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;"> At this time, we do not have a sponsoring institution for this meeting, but we hope that a sponsor will be established in the near term.</span></p><div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;"><br /></div><div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">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 blind review, and submissions from faculty, independent scholars, and students are all encouraged and welcome. Abstracts should be submitted by <b>Sunday, September 5,</b> to the Chairman, Mark DeVoto: mdevoto -at- granite dot tufts dot edu.</div><div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;"><br /></div><div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">Please refer to the AMS 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 the submission is 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.</div><div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;"><br /></div><div style="background-color: white; font-family: "Times New Roman", Times, serif; font-size: 16px;">The Bylaws of the AMS stipulate that 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)</div>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-71521724537948312322021-05-01T07:46:00.002-07:002021-05-01T07:51:12.947-07:00SPRING 2021 CHAPTER MEETING (Virtual) - Saturday, May 15, 2021<p> For the full program with linked abstracts and bios, please click <a href="https://drive.google.com/file/d/163JDhnr9Ri7weVQTOmekn-Gmhj8DUZHU/view?usp=sharing" target="_blank">here</a>.</p><p>Full abstracts and bios <a href="https://docs.google.com/document/d/1vq1Q3kcRF_-SKV5xS-ZoMpy4_y2O_JYK52d1T3InHLc/edit?usp=sharing">here.</a> Registration info is at the bottom of this post.</p><p><br /></p><p style="text-align: center;">AMERICAN MUSICOLOGICAL SOCIETY</p><p style="text-align: center;">NEW ENGLAND CHAPTER</p><p style="text-align: center;">Spring 2021 Meeting</p><p style="text-align: center;">Virtual Meeting hosted by University of Massachusetts Amherst</p><p style="text-align: center;"><b>SATURDAY, MAY 15, 2020</b></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in;"><span style="font-family: garamond, times new roman, serif;">Program (all times listed below are EDT)</span></p><div class="separator" style="clear: both; text-align: center;"><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in; text-align: start;"><span style="font-family: garamond, times new roman, serif;"> </span></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in; text-align: start;"><span style="font-family: garamond, times new roman, serif;">10:15-10:30AM Welcoming Remarks<span class="gmail_default"> (ZOOM)</span></span></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in; text-align: start;"><span style="font-family: garamond, times new roman, serif;"> </span></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in; text-align: start;"><span style="font-family: garamond, times new roman, serif;">10:30AM-12:00PM <b>Morning Session (ZOOM)</b></span></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in; text-align: start;"></p><ul style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; text-align: start;"><li style="margin-left: 15px;"><span style="font-family: garamond, times new roman, serif;"> “Reassessing Eichheim’s Oriental Music: Some Preliminary Remarks”<br />Richard Mueller (Willington, Connecticut)</span></li><li style="margin-left: 15px;"><span style="font-family: garamond, times new roman, serif;">“Monteverdi and Striggio’s <i>Orfeo</i>: Modern Music, for a Pre-modern Play”<br />Joel Schwindt (Boston Conservatory at Berklee)</span></li><li style="margin-left: 15px;"><span style="font-family: garamond, times new roman, serif;">“‘The soul of man is a limpid wave’: Liszt, Lamartine, and <i>Bénédiction de Dieu dans la solitude</i>”<br />Andrew Haringer (Saint Anselm College) </span></li></ul><p style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; text-align: start;"></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in; text-align: start;"><span style="font-family: garamond, times new roman, serif;">12:00PM-1:15PM Lunch Break (with the option to gather virtually using <b>REMO</b>)</span></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in; text-align: start;"><span style="font-family: garamond, times new roman, serif;"> </span></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in; text-align: start;"><span style="font-family: garamond, times new roman, serif;">1:15-1:30PM Chapter Business Meeting (including Chapter Elections) (<b>ZOOM</b>)</span></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in; text-align: start;"><span style="font-family: garamond, times new roman, serif;"> </span></p><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in; text-align: start;"><span style="font-family: garamond, times new roman, serif;">1:30-3:00PM <b>Afternoon Session (ZOOM)</b></span></p><ul style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; text-align: start;"><li style="margin-left: 15px;"><span style="font-family: garamond, times new roman, serif;">“In Search of the First Note: An Artistic Research Approach to Romantic Preluding Practices and Creative Agency at the Keyboard Today”<br />Victoria Tzotzkova (Massachusetts Institute of Technology)</span></li><li style="margin-left: 15px;"><span style="font-family: garamond, times new roman, serif;">“New Insights into the Fair Copy of the <i>St. Matthew Passion</i>”<br />Mary Greer (Cambridge, Massachusetts)</span></li><li style="margin-left: 15px;"><span style="font-family: garamond, times new roman, serif;">“Bridges of ‘Caravan’ and ‘Caravan’ Excursions: Travels with Mr. Ellington”<br />Melissa Ursula Dawn Goldsmith (Westfield State University)</span></li></ul><p class="MsoNormal" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; margin: 0in; text-align: start;"><span style="font-family: garamond, times new roman, serif;">3:00-4:30PM <b>Virtual Reception for Socializing and Networking (REMO)</b></span></p><div><span style="font-family: garamond, times new roman, serif;"><b><br /></b></span></div></div><p class="MsoNormal" style="margin: 0in;"><span style="font-family: garamond, times new roman, serif;">If you plan to participate
in this virtual meeting, please register (for free) in advance at this link:</span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: garamond, times new roman, serif;"><a data-saferedirecturl="https://www.google.com/url?q=https://umass-amherst.zoom.us/meeting/register/tJwqdOigqD0jH9J9Xo1p1_p_l5IC9I2fTeUZ&source=gmail&ust=1619963824607000&usg=AFQjCNG9p33QBEveqMFQW-6Y7kKHhfK0gA" href="https://umass-amherst.zoom.us/meeting/register/tJwqdOigqD0jH9J9Xo1p1_p_l5IC9I2fTeUZ" style="color: #0563c1;" target="_blank">https://umass-amherst.zoom.us/<wbr></wbr>meeting/register/<wbr></wbr>tJwqdOigqD0jH9J9Xo1p1_p_<wbr></wbr>l5IC9I2fTeUZ</a> </span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: garamond, times new roman, serif;"> </span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: garamond, times new roman, serif;">After
registering, you will receive a confirmation email containing information about
joining the Chapter meeting on May 15, 2021 (including the Zoom link for the
meeting). </span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: garamond, times new roman, serif;"><br /></span></p><p>
</p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: garamond, times new roman, serif;">A separate link and instructions will be circulated to registrants
just before 15 May for networking via REMO during the lunch break and following
the afternoon sessions. This is free to all registrants.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /><p></p>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-36368348892622007232021-03-23T15:04:00.001-07:002021-03-23T15:05:00.196-07:00CFP: Spring Chapter Meeting (Virtual) -- Saturday, May 15, 2021<p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 12px;"><span class="s1" style="font-kerning: none;"> The Spring 2020-2021 meeting of the New England Chapter of the American Musicological Society will be held on Saturday, May 15, 2021. It will be hosted virtually by the Department of Music & Dance at the University of Massachusetts Amherst; details and Zoom link will follow with the program announcement in late April.</span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span class="s1" style="font-kerning: none;"></span><br /></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;">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 blind review, and submissions from faculty, independent scholars, and students are all encouraged and welcome. Abstracts should be submitted by <b>Friday, April 16, 2021,</b> to Mark DeVoto: mdevoto -at- granite dot tufts dot edu.</span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span class="s1" style="font-kerning: none;"></span><br /></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;">Please refer to the AMS 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 the submission is 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.</span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span class="s1" style="font-kerning: none;"></span><br /></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;">The Bylaws of the AMS stipulate that 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).</span></p>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-64614441297015147172021-01-21T06:37:00.007-08:002021-02-05T14:28:15.888-08:00WINTER CHAPTER MEETING (Virtual) -- Saturday, February 13, 2021 (hosted by Tufts University)<p><span style="font-family: georgia;"><span style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px;">FULL PROGRAM <a href="https://docs.google.com/document/d/125tiIl3vYPlGVyBV-lNq7khsdJ-GZvhm1-u5kSOnars/edit?usp=sharing" target="_blank">here </a>(bios and abstracts as available)</span></span></p><p><span style="font-family: georgia;"><span style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px;">Register for free <a href="https://umass-amherst.zoom.us/meeting/register/tJArcOutpzkrE9HKslOmJ92ZXrel0FyfQKEp" target="_blank">here </a>and you will receive a confirmation email containing information to join the February 13th meeting via Zoom.</span></span></p><p><span style="font-family: georgia;"><span style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px;"><br /></span></span></p><p><span style="font-family: georgia;"><span style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px;">American Musicological Society -</span></span><span style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-family: georgia; font-size: 14px;">New England Chapter </span></p><p class="p1" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">Winter Meeting</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">Saturday, February 13, 2021</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">Virtual Meeting hosted by Tufts University</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"> </span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">Program (all times listed below are EST)</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ul style="text-align: left;"><li><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"> </span></span><b style="font-family: georgia;">10:00-10:15AM Welcoming Remarks</b></li><li><b style="font-family: georgia;">10:15-11:45AM Morning Session </b><span style="font-family: georgia;">(chair: Melinda Latour, Tufts University)</span></li></ul><p></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">“<a href="https://docs.google.com/document/d/125tiIl3vYPlGVyBV-lNq7khsdJ-GZvhm1-u5kSOnars/edit#bookmark=id.fqzvgefd4v6a" target="_blank">Claudio Santoro, <i>Música Viva</i>, and the Emergence of German Modernism in Brazilian Music</a>”</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">Pablo Marquine (University of Florida)</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"> </span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"><a href="https://docs.google.com/document/d/125tiIl3vYPlGVyBV-lNq7khsdJ-GZvhm1-u5kSOnars/edit#bookmark=id.sk7vt8iu8voq" target="_blank">“Score-Based Site-Specificity in the Music of John Cage”</a></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">Michael Boyd (Chatham University)</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"> </span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">“<a href="https://docs.google.com/document/d/125tiIl3vYPlGVyBV-lNq7khsdJ-GZvhm1-u5kSOnars/edit#bookmark=id.alprk0f1me3b" target="_blank">Mind to Music: Composing the Torino Mass from Memory</a>”</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">Lukas Perry (Eastman School of Music)</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"> </span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ul style="text-align: left;"><li><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"><b>11:45AM-1:45PM Lunch Break</b></span></span></li><li><b style="font-family: georgia;">1:45-2:00PM Chapter Business Meeting</b></li><li><b style="font-family: georgia;">2:00-3:30PM Afternoon Session </b><span style="font-family: georgia;">(chair: Jessica Fulkerson, Brandeis University)</span></li></ul><p></p><p class="p1" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"> </span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"><a href="https://docs.google.com/document/d/125tiIl3vYPlGVyBV-lNq7khsdJ-GZvhm1-u5kSOnars/edit#bookmark=id.a5uebticrmnl" target="_blank">“A Piano Concerto without Orchestra? Clementi's Opus 33, no. 3, First Movement and Beethoven's Opus 2, no. 3, First Movement, Compared"</a></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">James MacKay (Loyola University New Orleans)</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"> </span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"><a href="https://docs.google.com/document/d/125tiIl3vYPlGVyBV-lNq7khsdJ-GZvhm1-u5kSOnars/edit#bookmark=id.75dz8q5yqtzy" target="_blank">“Open-Source Music Communities and the Promise of Democracy”</a></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">Drake Andersen (Vassar College)</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"> </span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"><a href="https://docs.google.com/document/d/125tiIl3vYPlGVyBV-lNq7khsdJ-GZvhm1-u5kSOnars/edit#bookmark=id.2ww7sniu9m66" target="_blank">“Dancing to Bach’s <i>Goldberg Variations</i>”</a></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(34, 34, 34); background-color: white; color: #222222; font-size: 14px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 48px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">Erinn Knyt (University of Massachusetts Amherst)</span></span></p>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-86476851836376515202021-01-14T12:11:00.000-08:002021-01-14T12:11:05.294-08:00CFP: Joni Mitchell's BLUE at 50: A Celebration of Her Life and Music (Virtual - U Conn, April 9, 2021)<span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">This year marks the fiftieth anniversary of the release of Joni Mitchell’s groundbreaking album </span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;"><i>Blue</i></span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">. </span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;"><i>Blue</i></span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;"> has been cited by many musicians and critics as her greatest album, the culmination of her early recordings, a work unprecedented in its emotional and psychological depth, craftsmanship, and sheer beauty.</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">The Department of Music at the University of Connecticut will host a virtual conference commemorating this event:</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Joni Mitchell’s </span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;"><i>Blue</i></span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;"> at 50: A Celebration of Her Life and Music</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Friday April 9, 2021</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">9 am – 4 pm</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">*****</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Call for papers</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">We welcome proposals for presentations focused either on </span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;"><i>Blue</i></span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;"> or any other aspect(s) of her vast musical output, including but not limited to analyses of individual songs and/or albums, performance issues, influence, and corpus studies.</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Proposals of work not already published, for 20-minute deliveries, should be no longer than 500 words plus a maximum of three pages of diagrams or illustrative examples. Please send as a PDF or Word document with no proposer-identifying features in order to preserve anonymity. Please include a short bio not exceeding 150 words in the body of the Email. Send proposals and all correspondence to joniblueconference -at- </span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;"><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl py34i1dx gpro0wi8" href="https://l.facebook.com/l.php?u=https%3A%2F%2Furldefense.proofpoint.com%2Fv2%2Furl%3Fu%3Dhttp-3A__gmail.com%26d%3DDwMFaQ%26c%3DCu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo%26r%3DPHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I%26m%3D9Rlch-aoGZ9yc3D7KLqwT3teQqa8dsKX0YtGsuI78eI%26s%3DD9hFK9_OOF4cGDI7zOgTa_THTguO6g4jzpl_DrDOQOk%26e%26fbclid%3DIwAR1-NJzflw7CiwPGLfSSnCLbmDUu54wIbctrFxoly8EBw1q1zPaY3E-NNgA&h=AT1cnfTH0wS-TIw6IEazy_5TeG--Mv_U6voJqJ5sdR0dCFBnOW6WP9yhbK3svNihMb83x8mXHGLODbDvoT3MTDmJyicgQZdlQoEhgVbEjiDxMUgqueOh8uulcgTSm6_r6xNg5QE&__tn__=-UK-R&c[0]=AT1A3EZdoRevcwuN0w3MAjsuyDq_0O3BubUjobw6NKpMXQOOp2XtS7cokGRiSKjf1atWuUjoF46kYtL1Lu81RRKB8CiJ5FBOkMWMI5XK3eBWyYTa35NALiFfPxuJwXRHFBtUU4pg_OuLL5ROF7NObxFyg0EZGT4wx2Q" rel="nofollow noopener" role="link" style="-webkit-tap-highlight-color: transparent; background-color: transparent; border-color: initial; border-style: initial; border-width: 0px; box-sizing: border-box; cursor: pointer; display: inline; font-family: inherit; list-style: none; margin: 0px; outline: none; padding: 0px; text-align: inherit; text-decoration-line: none; touch-action: manipulation;" tabindex="0" target="_blank">gmail.com</a></span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;"> with the subject heading “UConn Joni Mitchell conference.” <b>Proposals must be received by Friday February 5, 2021</b>; proposers will be notified regarding acceptance by February 22.</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">For accepted proposals, video presentations will be submitted prior to the conference by March 22 to joniblueconference -at- </span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;"><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl py34i1dx gpro0wi8" href="https://l.facebook.com/l.php?u=https%3A%2F%2Furldefense.proofpoint.com%2Fv2%2Furl%3Fu%3Dhttp-3A__gmail.com%26d%3DDwMFaQ%26c%3DCu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo%26r%3DPHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I%26m%3D9Rlch-aoGZ9yc3D7KLqwT3teQqa8dsKX0YtGsuI78eI%26s%3DD9hFK9_OOF4cGDI7zOgTa_THTguO6g4jzpl_DrDOQOk%26e%26fbclid%3DIwAR3FbvmluXI5agEFkb7x2DrLh-7jAHruXCKVEvNrxY2TAwD3lxR71xrhMSs&h=AT1cnfTH0wS-TIw6IEazy_5TeG--Mv_U6voJqJ5sdR0dCFBnOW6WP9yhbK3svNihMb83x8mXHGLODbDvoT3MTDmJyicgQZdlQoEhgVbEjiDxMUgqueOh8uulcgTSm6_r6xNg5QE&__tn__=-UK-R&c[0]=AT1A3EZdoRevcwuN0w3MAjsuyDq_0O3BubUjobw6NKpMXQOOp2XtS7cokGRiSKjf1atWuUjoF46kYtL1Lu81RRKB8CiJ5FBOkMWMI5XK3eBWyYTa35NALiFfPxuJwXRHFBtUU4pg_OuLL5ROF7NObxFyg0EZGT4wx2Q" rel="nofollow noopener" role="link" style="-webkit-tap-highlight-color: transparent; background-color: transparent; border-color: initial; border-style: initial; border-width: 0px; box-sizing: border-box; cursor: pointer; display: inline; font-family: inherit; list-style: none; margin: 0px; outline: none; padding: 0px; text-align: inherit; text-decoration-line: none; touch-action: manipulation;" tabindex="0" target="_blank">gmail.com</a></span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">. Conference attendees will have the opportunity to study presentations beforehand, and presenters will have a scheduled time at the conference for live Q&A.</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Invited speakers</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Our roster of distinguished invited speakers includes renowned authors, scholars, and music critics:</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Nicole Biamonte (McGill University)</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Lloyd Whitesell (McGill University)</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Malka Marom (musician and writer) and Daniel Levitin (Minerva Schools and McGill University)</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Ann Powers (NPR music)</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Peter Kaminsky and Megan Lyons (University of Connecticut)</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">Conference details and registration</span><br style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;" /><p><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;">The website is now live for conference information and registration. The conference is free to all students, speakers and presenters, $10.00 for all others. For more information, see </span><span style="background-color: white; color: #050505; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 15px;"><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl py34i1dx gpro0wi8" href="https://urldefense.proofpoint.com/v2/url?u=https-3A__joniblueconference.wixsite.com_mysite&d=DwMFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=9Rlch-aoGZ9yc3D7KLqwT3teQqa8dsKX0YtGsuI78eI&s=tpUtGDR1xCh_sc_YejWCTo5eVFg730O6Nj4-xDYwyb8&e&fbclid=IwAR0Gwf-K4YIS3pCFxzbv-QGN-rdIP-ECjuWX9GCkFltilX9g5PkAO3VeDpk" rel="nofollow noopener" role="link" style="-webkit-tap-highlight-color: transparent; background-color: transparent; border-color: initial; border-style: initial; border-width: 0px; box-sizing: border-box; cursor: pointer; display: inline; font-family: inherit; list-style: none; margin: 0px; outline: none; padding: 0px; text-align: inherit; text-decoration-line: none; touch-action: manipulation;" tabindex="0" target="_blank">https://joniblueconference.wixsite.com/mysite</a></span> </p><p>(via AMS-Announce)</p>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-54484285205642988542020-12-05T13:48:00.000-08:002020-12-05T13:48:13.832-08:00CFP: Winter 2021 Chapter Meeting -- Saturday, February 13 (Virtual -- Tufts University)<p><span style="background-color: white; color: #222222;"><span style="font-family: georgia;">The Winter 2020-2021 meeting of the New England Chapter of the American Musicological Society will be held on <b>Saturday, February 13, 2021. </b>It will be hosted virtually by the Music Department at Tufts University; details and Zoom link will follow with the program announcement in mid-January.</span></span></p><div class="gs" style="background-color: white; color: #222222; margin: 0px; padding: 0px 0px 20px; width: 533.6px;"><div class=""><div class="ii gt" id=":127" style="direction: ltr; margin: 8px 0px 0px; padding: 0px; position: relative;"><div class="a3s aiL " id=":128" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 1.5; overflow: hidden;"><div dir="ltr"><div class="gmail_default"><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">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 blind review, and submissions from faculty, independent scholars, and students are all encouraged and welcome. Abstracts should be submitted by <b>Thursday, December 31, 2020</b>, to Mark DeVoto: mdevoto -at- granite dot tufts dot edu.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Please refer to the AMS 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 the submission is 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.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">The Bylaws of the AMS stipulate that 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).</span></div><div style="font-size: small;"><br /></div></div></div><div class="yj6qo" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"></div><div class="adL" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"></div></div></div><div class="hi" style="background: rgb(242, 242, 242); border-bottom-left-radius: 1px; border-bottom-right-radius: 1px; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif; margin: 0px; padding: 0px; width: auto;"></div></div></div>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-87368553233040441192020-12-05T13:42:00.000-08:002020-12-05T13:42:01.710-08:00NEW OFFICERS for AMS-NE!<p><span style="font-family: georgia;">Newly elected officers of the AMS New England Chapter are as follows </span></p><p><span style="font-family: georgia;"><b style="color: #222222;">Evan MacCarthy</b><span style="background-color: white; color: #222222;">, President (2020-22)</span></span></p><p><span style="font-family: georgia;"><b style="color: #222222;">Mark DeVoto</b><span style="background-color: white; color: #222222;">, Program Chair (2020-22)</span></span></p><div style="background-color: white; color: #222222;"><span style="font-family: georgia;"><b>Richard Mueller</b>, Representative to AMS Council (2020-23)</span></div><div style="background-color: white; color: #222222;"><span style="font-family: georgia;"><br /></span></div><div style="background-color: white; color: #222222;"><span style="font-family: georgia;"><b>Ginger Dellenbaugh</b>, Student Representative to AMS Council (2020-22).</span></div><div style="background-color: white; color: #222222;"><span style="font-family: georgia;"><br /></span></div><div style="background-color: white; color: #222222;"><span style="font-family: georgia;">Additionally, the 2020 recipient of the Chapter's Schafer Award is <b>Samuel Chan</b> (New York University), who presented the paper "Sinophonic Discords: Musical Hatred and the Negotiation of Sonic Difference" at our Fall 2019 meeting.</span></div><div style="background-color: white; color: #222222;"><span style="font-family: georgia;"><br /></span></div><div style="background-color: white; color: #222222;"><span style="font-family: georgia;"><br /></span></div><div style="background-color: white; color: #222222;"><span style="font-family: georgia;">And we are indebted and grateful to <b>Jacquelyn Sholes</b> for her four years of service as President of the chapter.</span></div>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-33252066773538174062020-08-19T12:47:00.000-07:002020-08-19T12:47:30.829-07:00Chapter Updates: August 2020<p>From AMS-NE President Jacquelyn Sholes:</p><p><span style="font-family: georgia;"> <span style="background-color: white; color: #050505; font-size: 15px;">I hope that all of you are staying safe and healthy. There are a handful of updates to report in response to the unusual current circumstances. Unfortunately, we have had to cancel our Fall 2020 meeting. We are currently planning to hold our winter and spring 2021 meetings virtually; further information to follow as it becomes available. Further information to follow also on the 2020 Schafer Award. </span></span></p><p><span style="background-color: white; color: #050505; font-size: 15px;"><b><span style="font-family: georgia;">ELECTIONS</span></b></span></p><p><span style="font-family: georgia;"><span style="background-color: white; color: #050505; font-size: 15px;">Since we were not able to hold elections in person this past spring, we will be conducting elections electronically for the following offices: (<b>1) President, (2) Program Chair, (3) Student Representative, and (4) AMS Council Representative.</b> Terms and responsibilities of each position are outlined in the Chapter bylaws: </span><span style="background-color: white; color: #050505; font-size: 15px;"><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl py34i1dx gpro0wi8" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fams-ne.blogspot.com%2Fp%2Fblog-page.html%3Ffbclid%3DIwAR1T0S6cZaSsXFJHFM5YFIPr_ZTlxrdMVnhta84e2ILKbw_bdlCClg1L9LA&h=AT0u3Y9_NNJequS_g4uqOCrU1Bn8m7_fajEiHqDSHPq5K-3b99j4c4BrS4VrV6aiAyaoHirzFSJ8lEnj9YlJl_TWa2HjLxFG4bped74A5KLVMhgUo85iU7_tPmYZ6Oy9FCgSKF0&__tn__=-UK-R&c[0]=AT1WkGZepsDnDHqhPo1ocwtq5EuEXbbwSt9obgBEgA31b9WCJr9a1M0Zg7DUJ6NltF2izUWFScKe6_LVVfMv-zydisBwWrGyiI3mgIJBBD7JodRS9h1zQ4PJ0pQc99t4BLKX4WSoUs2g-ZSzx8KJ3TyG1IFkulWImnQj4kQHV4oQUSmIO1KBxym_TVTKlpe3dRNkv-yxyyTK7QBO" rel="nofollow noopener" role="link" style="-webkit-tap-highlight-color: transparent; background-color: transparent; border-color: initial; border-style: initial; border-width: 0px; box-sizing: border-box; cursor: pointer; display: inline; list-style: none; margin: 0px; outline: none; padding: 0px; text-align: inherit; text-decoration-line: none; touch-action: manipulation;" tabindex="0" target="_blank">http://ams-ne.blogspot.com/p/blog-page.html</a></span><span style="background-color: white; color: #050505; font-size: 15px;">. Please send nominations and self-nominations for any of these offices to me at jsholes@ur.rochester.edu by 31 August 2020. Thank you, everyone, and please stay healthy.</span></span></p>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-9604258743002092032020-03-11T10:31:00.000-07:002020-03-11T10:31:12.801-07:00Spring Meeting Cancelled Due to COVID-19 Outbreak<div class="_2cuy _3dgx _2vxa" style="background-color: white; color: #1d2129; direction: ltr; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; margin: 0px; padding: 0px; white-space: pre-wrap;">
<span class="_4yxo" style="font-family: inherit; font-weight: 600;">Spring Meeting CANCELLED Due to COVID-19 Outbreak</span></div>
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Due to the outbreak of COVID-19, Harvard University will be holding classes online for the remainder of the semester and is limiting on-campus events to twenty-five or fewer participants. For this reason, unfortunately, we are going to have to cancel the Spring 2020 AMS-NE meeting that was to be held at Harvard on 18 April. </div>
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We hope to see you at our fall meeting at Clark University on 26 September and at our meeting on 13 Febru<span class="text_exposed_show" style="display: inline; font-family: inherit;">ary 2021 at Tufts University. If you have already submitted an abstract for consideration for the spring meeting, it will automatically be considered for the fall meeting unless you contact our program chair, Karen Cook (KACOOK@hartford.edu) to retract your submission.</span></div>
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Elections for several Chapter offices were scheduled to take place at the spring meeting. We are exploring optons for conducting elections online. Please stay tuned.</div>
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AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-75859085056726345292020-02-19T07:46:00.001-08:002020-02-19T07:46:22.772-08:00Map and Parking Info for Pierce Hall at NEC (Winter Meeting - 2/22)<div class="separator" style="clear: both; text-align: center;">
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AMS-NE@ New England Conservatory:
<a href="https://necmusic.edu/directions">https://necmusic.edu/directions</a><br />
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The meeting will take place in NEC’s Pierce Hall
(241 St. Botolph St., first floor).<br />
<br />
<br />
Please note: Parking nearby is not easy. There
are hard-to-find on-street meters There are also
nearby garages: Gainsborough Garage and the
Westland Ave. Garage. Please refer to the
website above for details. Garage parking will
run about $33/day. There are two nearby T stations: Green Line (Symphony) and Orange
Line (Mass Ave.). Both are quite convenient to
the meeting site.
Entrance to the St. Botolph St. building is now
through the new Student Life and Performance
Center (SLPC). The SLPC is also on St. Botolph
St., but is closer to Gainsborough than Mass.
Ave. (see map).<br />
<br />
You will need an ID to sign in at the security desk.<br />
Finding Pierce Hall: Once signed in at security in the SLPC, take the staircase by the entrance up one flight.
Cross the landing diagonally to the right and take the white hallway past Burnes Hall (there will
be a photo exhibit on the walls). After the white-walled hallway ends, look for a set of grey,
metal doors that lead to a staircase (on the left).
Go down those stairs one level, exit the stairwell. Pierce Hall will be in front of you and to the
left.<br />
<br />
For those requiring an elevator:
Once signed in at the SLPC, use the the elevators near the security desk to go up one level.
Exit the elevators toward the hallway (not the restrooms).
On the left you will see a white hallway that runs past Burnes Hall (there will be a photo exhibit
on the walls).
There will be another elevator (an old one) near the staircase on the left after the white hallway
ends.
Take that elevator down one level.
Pierce Hall will be in front of you as you exit.
(First floor, St. Botolph building.)AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-48854427190142359042020-02-14T07:19:00.001-08:002020-02-22T15:21:05.305-08:00Winter 2020 Chapter Meeting (Saturday, Feb. 22, New England Conservatory, Boston)<div class="_2cuy _3dgx _2vxa" style="direction: ltr; margin: 0px; padding: 6px 0px 0px;">
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<span style="background-color: white; color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">AMS-NE Fall Chapter Meeting
February 22, 2020
New England Conservatory -- Pierce Hall (<a href="https://ams-ne.blogspot.com/2020/02/map-and-parking-info-for-pierce-hall-at.html" target="_blank">Directions and Parking</a>)
<b>9:45-10:15 Refreshments and Registration</b>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="background-color: cyan; white-space: pre-wrap;">Morning Session</span></span></h3>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">10:15 Welcome</span></span></h4>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">10:20 Josquin’s <i>Nymphes des bois</i> and Lament Literature – Jeannette Di Bernardo Jones (College of the Holy Cross)</span></span></h4>
<span style="background-color: white; color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">Josquin’s <i>Nymphes des bois</i> is among the earliest polyphonic laments for musicians and joins poetic laments written honoring Jean de Okeghem after his death in February 1497. Musicologists have debated three problems surrounding this piece: its dating, its polytextuality, and its appearance in all-black notation in its sources. I address these issues by placing Josquin’s lament in a conversation with the existing poetic laments for Okeghem, namely Guillaume Crétin’s <i>Déploration</i> and Jean Molinet’s pair of poems, one of which is the French text <i>Nymphes des bois</i> in Josquin’s setting. I argue that <i>Nymphes des bois</i>, both Molinet’s poem and Josquin’s lament, is part of a larger exchange primarily between Crétin and Molinet and that Josquin may have participated in because of his presence at the French royal court at the turn of the sixteenth century, which sheds light on the dating of Josquin’s <i>Nymphes des bois</i>. The coexisting French and Latin texts of Josquin’s setting and the all-black notation in the some of its sources evince connection with an already well-established structure of lament in poetic literature, in which the poets paint multi-sensory scenes of mourning through sung Requiem texts and black mourning clothes. Finally, I address the significance of nymphs in the lament scene as key acolytes in the sustaining glory of the work of the artist.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggUUdMRSa24d3RuwOyV31dsx__0jNfLMsrEXNdKG7h6aphNKw5I_UkxWY_yWAFOn5jPEW7x5cPoy6Jqhq3Xdh44J-q0RKX1grqLGytACWoeWCBO01GnOvLyhizIuWi8AmGYAlmTWpkZd6x/s1600/42B0A5ED-4F66-4850-9871-AD7DA9DB0057+%25281%2529.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1280" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggUUdMRSa24d3RuwOyV31dsx__0jNfLMsrEXNdKG7h6aphNKw5I_UkxWY_yWAFOn5jPEW7x5cPoy6Jqhq3Xdh44J-q0RKX1grqLGytACWoeWCBO01GnOvLyhizIuWi8AmGYAlmTWpkZd6x/s200/42B0A5ED-4F66-4850-9871-AD7DA9DB0057+%25281%2529.JPG" width="160" /></a><span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;"><b>Jeannette Di Bernardo Jones</b> is currently a Visiting Assistant Professor in the department of music at the College of the Holy Cross in Worcester, MA. Her research focuses on intersections between poets and musicians in France, both in their works and in their environments in the orbit of the French royal of the last quarter of the fifteenth century. Her chapter on Gaspar van Weerbeke in France recently appeared in the new volume: <i>Gaspar van Weerbeke: New Interpretations</i>. She also has published and taught on Music and Disability Studies and is currently serving as co-chair for the Study Group on Music and Disability for the AMS.</span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">10:50 Ravel’s Social Network: The Apaches and the Godebskis – Holly Chung (Yale University)</span></span></h4>
<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">A more comprehensive portrait of Ravel’s participation in the Apaches, a collective of composers, artists, and writers, has emerged thanks to the work of Jann Pasler and Arbie Orenstein, yet recent studies of the composer have only just begun to address his role in an equally influential group: the salon of Cipa and Ida Godebski. At their Paris apartment and summer home in Valvins, the Godebskis hosted intimate soirées that often included many members of the Apaches, suggesting a symbiotic relationship between the two organizations. A key aspect of the early history of the Apaches was its steadfast patronage of Debussy’s opera <i>Pelléas et Mélisande</i>, yet the question of how the aims of the group evolved over time remains less clear. Drawing on unpublished correspondence from Ravel to the Godebskis, I suggest that investigating his relationship with the couple can help us chart how Ravel’s view of <i>Pelléas</i> shifted, in tandem with the goals of the Apaches.</span></span><br />
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From late 1904 onward, as core members of the Apaches began to spend their Sunday evenings at the Godebskis’, I argue that the Godebski salon began to function as an extension of the Apaches, serving as a convivial space absent of the pressures of grander venues. I also show that the priorities of the Apaches began to shift around this time, as the group began to deemphasize its original mission of unwavering advocacy of Debussy and concentrate primarily on rallying around Ravel and other composers in his immediate circle. This latter function of the Apaches not only became more crucial following the 1905 Prix de Rome scandal, but also mirrored Ravel’s private transition from an ardent admirer of Debussy’s to a more critical listener who would ultimately attempt to downplay any stylistic ties to Debussy. </span></span></div>
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By examining Ravel’s relationship with the Godebski family, we can better understand the social interactions that laid the foundation for the most productive period of the composer’s career.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdITkP3r93hkC8srWHtplxBRpRQWBlqE1PLOmpiGWsRiBuzWtnPWjark6OvKJawYAnLYPtUOz9ZuZuMc35JK6RoloKqVLnQTgJb0tZgbDpuF5Umz0VghtrM4Hjr-NtRQABr30I_xcOX0Ku/s1600/Headshot+Cropped.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1408" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdITkP3r93hkC8srWHtplxBRpRQWBlqE1PLOmpiGWsRiBuzWtnPWjark6OvKJawYAnLYPtUOz9ZuZuMc35JK6RoloKqVLnQTgJb0tZgbDpuF5Umz0VghtrM4Hjr-NtRQABr30I_xcOX0Ku/s200/Headshot+Cropped.jpeg" width="175" /></a><span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;"><b>Holly Chung</b> is a Ph.D. candidate in music history at Yale. She holds an M.A. and M.Phil. from Yale, and a B.A. from Columbia. Her research interests center on French music of the nineteenth and twentieth centuries, particularly the music of Ravel and Debussy. Her dissertation examines Ravel’s first opera, <i>L’Heure espagnole</i>, with a particular focus on time and meter, exploring Ravel’s relationship to philosophical debates surrounding time in early twentieth-century France. Apart from her dissertation work, she is interested in questions of musical shape and form, projections of the “exotic” and “oriental,” and the work of women composers and teachers in this period. She also has secondary interests in the architecture of performance spaces and the use of “Impressionist” harmonies in 1960s jazz. </span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">She was a 2014 recipient of the Mellon Concentration Fellowship, which provided for interdisciplinary study on the theme “Circa 1900.” In Spring 2018, she received a research grant from the Beinecke Rare Books Library to examine Ravel’s correspondence and study his participation in collaborative artistic networks.
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<h4>
<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">11:20 A Historical Perspective on the Use of Chromaticism in Jazz Improvisation: Art Tatum, Charlie Parker, and Lennie Tristano – Eunmi Shim (Berklee College of Music)</span></span></h4>
<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">This paper will discuss the evolution of chromaticism in jazz improvisation, focusing on one particular type of chromaticism called side-slipping or side-stepping. An advanced concept of jazz improvisation, it produces temporary bitonality by superimposing chromatic harmony over standard harmonic progressions. To demonstrate this concept, examples by three jazz musicians will be analyzed: Art Tatum (1909-56), Charlie Parker (1920-55), and Lennie Tristano (1919-78).
Jazz theorists and educators, including David Baker (1969), Dave Liebman (1991), and Mark Boling (1994), have explained side-slipping as a tonal shift or outside playing by means of slipping in and out of tonality. As a powerful tool in expanding the harmonic vocabulary of jazz improvisation, side-slipping creates tension by superimposing chromatic harmony usually a half step away from the original chord. The resultant harmonic displacements involving sudden departures and resolutions can bring forth stark contrasts to the harmonic structure. An important factor of successful side-slipping is maintaining continuity and coherence in the melody through motivic development, while introducing tension and disjuncture in the harmony.
The virtuoso pianist Art Tatum was the first major jazz musician to extensively utilize this device in his improvisations. During the bebop era, jazz musicians used side-slipping in a limited context, typically to embellish the cadential formula of ii V by inserting a chromatic sequence segment a half step above the underlying harmony, as exemplified by the improvisations of Charlie Parker. The pianist Lennie Tristano took outside playing much further by combining side-slipping with other parameters of music to enhance intensity. In his improvisations, for example, the unexpected changes in harmony often coincide with irregular rhythmic configurations and sudden directional changes in the melody, resulting in concurrence of harmonic rhythm, surface rhythm, and contour rhythm.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtcusBfiJ8-Yyyy4NK7EqDedY1FtCDqzBnaahPA_bBIsfhE0DVPWjswWQBg5eHakf5xcUuE5D3YnYrsWJVC48bqcrgwfGu1OHTWulCS5sIIsI647MkasimityNSPMdfqXbtrppOffT52Xf/s1600/Shim_photo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtcusBfiJ8-Yyyy4NK7EqDedY1FtCDqzBnaahPA_bBIsfhE0DVPWjswWQBg5eHakf5xcUuE5D3YnYrsWJVC48bqcrgwfGu1OHTWulCS5sIIsI647MkasimityNSPMdfqXbtrppOffT52Xf/s200/Shim_photo.jpg" width="150" /></a><span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;"><b>Eunmi Shim</b> is an award-winning author of the book, <i>Lennie Tristano: His Life in Music</i> (University of Michigan Press), which received the Association for Recorded Sound Collections Award for Excellence in Historical Recorded Sound and the Bronze Prize for the Independent Publisher Book Award in Performing Arts. Shim is also a contributor to The <i>Grove Dictionary of American Music</i> and is currently Professor at Berklee College of Music.</span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">2:30 Keynote Lecture: "</span></span>WE INSIST!: An Exploration of Love and Revolution in the Album by Max Roach and Abbey Lincoln" – Stephanie Shonekan (UMass–Amherst)</h3>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;"><span style="color: #1d2129;">3:30 </span><span style="color: red;"> (POSTPONED)</span><span style="color: #1d2129;"> Kaija Saariaho: Symbolist Opera for the 21st Century – Madison Spahn (Boston Conservatory at Berklee)</span></span></span></h4>
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Kaija Saariaho made history in 2016 when her opera, <i>L’amour de loin</i>, became only the second opera written by a female composer to be performed at the Metropolitan Opera, more than a hundred years after its predecessor, Ethel Smyth’s <i>Der Wald</i>, in 1903. The opera, first produced in 2000 in Salzburg, placed Saariaho on a path to international recognition. Saariaho’s interest in use of sound to express inner emotional states in lieu of external reality is directly related to the French Symbolist movement of the late 19th and early 20th centuries, in opera exemplified by Claude Debussy and Maurice Maeterlinck’s Pélleas et Mélisande. Symbolist aesthetics, musically manifested in an overarching concern with timbre, texture, non-functional harmony, and manifestation of musical time, can be traced through the work of most significant French composers of the 20th century, from Olivier Messiaen to Pierre Boulez, through the spectralists Gérard Grisey and Tristan Murail, all the way to Saariaho.<br />
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Saariaho is often described as a “post-spectral” composer, and her operas incorporate both serial and spectral compositional techniques, in addition to electronic production and processing. Her unique combination of modern compositional techniques with historical approaches to expression expands the capacity of dramatic music to transcend immediate reality and temporal-spatial constructions, an objective that Symbolist opera sought to achieve. In this paper, I argue that L’amour de loin represents a modernist extension of fin-de-siècle Symbolist ideology in both narrative concept and musical realization.<br />
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqMBUYw1F5GabYs2nGUBAbNM7Zii3sLTbJ2KkXtEDoXJR68N7mnyf7ZE3cx-yQ8raXRihf686e_u7296LjiBiRsq6dMAGsDOwqYSOqgXu-PzMeLRHOvjjZtTfRL03Mdts9t1Yz0vID7u1o/s1600/Madison+Spahn+2017_+-31-4+%25281%2529.jpg" imageanchor="1" style="clear: left; float: left; font-family: Times; margin-bottom: 1em; margin-right: 1em; text-align: center; white-space: normal;"><img border="0" data-original-height="1310" data-original-width="1600" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqMBUYw1F5GabYs2nGUBAbNM7Zii3sLTbJ2KkXtEDoXJR68N7mnyf7ZE3cx-yQ8raXRihf686e_u7296LjiBiRsq6dMAGsDOwqYSOqgXu-PzMeLRHOvjjZtTfRL03Mdts9t1Yz0vID7u1o/s200/Madison+Spahn+2017_+-31-4+%25281%2529.jpg" width="200" /></a></span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;"><b>Madison Spahn</b> is currently completing her Master of Music degree in Voice Performance at Boston Conservatory at Berklee under the tutelage of Kendra Colton. Her scholarly interests include nineteenth- and twentieth-century vocal music, gender and sexuality studies, <i>fin-de-siècle</i> French music, and female composers. Her most recent work explored how Lili Boulanger utilized her <i>femme fragile</i> image to achieve success as a composer. She received her B.A. in music from Duke University, where she completed a thesis entitled “The Evolution of a Woman’s Life and Love: A Performer’s Guide to <i>Frauenliebe und Leben</i>” under the direction of Larry Todd. She is a freelance writer and frequently writes feature articles for the marketing department at Boston Conservatory.</span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">Spahn is an active performer, having recently appeared as concert soloist in Tarik O’Regan’s <i>Triptych</i> and Kodaly’s <i>Missa Brevis </i>with the Boston Cecilia and Martín Palmeri’s <i>Misatango </i>and “American Roots: Grassical” with the Key Chorale in Sarasota, Florida. She is the additionally the soprano section leader and youth choir assistant director at Christ Church Cambridge.</span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">4:00 Beethoven Returns to Bonn: Self-Parody and Performance in Mauricio Kagel’s <i>Ludwig van</i> (1969) – Elaine Fitz Gibbon (Harvard University)</span></span></h4>
<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;">In 1969 West Germany, the country was abuzz with anticipation of the approaching Beethoven bicentennial. That year the composer and experimental filmmaker Mauricio Raúl Kagel, born in Argentina to Russian- and German-Jewish parents in 1931 and living in Cologne since 1957, was commissioned by the State to commemorate the momentous occasion. What resulted was a film that surely no West German official had anticipated. Entitled <i>Ludwig van: ein Bericht</i> [Ludwig van: A Report], Kagel’s film uses an absurdist aesthetic, amplified by a partnership with Fluxus artist Joseph Beuys, to critique the fetish object that Beethoven himself and his music had become in twentieth-century West Germany, music which was being used to assert a specifically curated German identity and cultural patrimony only twenty four years after WWII. At the center of the film stands the longest spoken-language passage, in which Kagel uses his migratory background to demonstrate the absurdity of Western European Beethoven fanaticism. In a farce of the West German television news show, <i>Der internationale Frühschoppen </i>[International Morning Drinks Show], the moderator Werner Höfer, playing himself, invites his guests to discuss the question, “Is Beethoven misused in the world?” This “international” setting affords Kagel, portraying himself, the opportunity to use this central scene to stage a performance of his own immigrant identity and a searing critique of his essentialization by his adopted countrymen.
While Ludwig van has been recognized for its sendup of bourgeois music culture, it has yet to be analyzed from the perspective of diasporic experience. Simultaneously a love letter to and deconstruction of Beethoven’s cultural legacy, <i>Ludwig van</i> asks its audience to consider the complex diasporic experiences of avant-garde artists in the wake of WWII. Drawing on recent work by Brigid Cohen and Seth Brodsky, I argue for the centrality of the theme of migration and displacement in <i>Ludwig van</i>, demonstrating its significance for the analysis of avant-garde artistic production in the postwar era, while also noting how <i>Ludwig van</i> might pose a productive way to engage with the legacies of the classical canon in anniversary years such as 1970, or more pressingly, 2020.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEDoLXUKcmljD632anKz4pFgZEbouOH9ofdq7Rp4GHZA3uG9M0trKi_XX0g-tfwDG8ER-5WJxEkURAQ0pJcPFfugZC3dCV5FPZBF2Ec1kfOpnoTExnuWwakYvKH7Z9EZdH49xzWl6U_9Q5/s1600/IMG_4264.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEDoLXUKcmljD632anKz4pFgZEbouOH9ofdq7Rp4GHZA3uG9M0trKi_XX0g-tfwDG8ER-5WJxEkURAQ0pJcPFfugZC3dCV5FPZBF2Ec1kfOpnoTExnuWwakYvKH7Z9EZdH49xzWl6U_9Q5/s200/IMG_4264.jpeg" width="150" /></a><span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="white-space: pre-wrap;"><b>Elaine Fitz Gibbon</b> is a doctoral candidate in Historical Musicology, with a secondary field in American Studies, at Harvard University. She received her MA in German Studies from Princeton University, and her BA in Musicology and German Studies from the University of Pennsylvania. She also holds a Diploma of Advanced Studies in music journalism from the Musik Akademie Basel and has been active as a journalist in the field of new music in the German-speaking realm. Her dissertation explores trends and relations of opera, music theater and electro-acoustic music of the avant-garde from 1945 to today from the perspective of circum-Atlantic migration and mobility.
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AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-68537156779334946792019-12-18T07:45:00.000-08:002019-12-18T07:45:24.044-08:00CFP: AMS-NE Winter Chapter Meeting (February 22, New England Conservatory)
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<span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The Winter 2020 meeting
of the New England Chapter of the American Musicological Society will be held
on <b>Saturday, February 22, 2020</b> at <b>New England Conservatory in Boston, MA.<o:p></o:p></b></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">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 blind review, and submissions from faculty,
independent scholars, and graduate students are all encouraged and welcome.
Abstracts should be submitted by <b>Wednesday, January 15, 2020</b> via
email to kacook -at- </span><a href="http://hartford.edu/" target="_blank"><span style="color: #1155cc; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">hartford.edu</span></a><span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">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.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="background: white;">
<span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">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).<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="background: white;">
<b><span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Program Committee
Members:</span></b><span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white;">
<span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Karen M. Cook,
University of Hartford, chair<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Kate Galloway, Rensselaer
Polytechnic Institute <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Timothy Mangin, Boston
College<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Emiliano Ricciardi,
University of Massachusetts, Amherst<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Gail Woldu, Trinity
College<o:p></o:p></span></div>
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<br /></div>
<!--EndFragment--><br />AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-88555925086305651122019-09-15T15:09:00.000-07:002019-09-27T06:12:52.379-07:00Fall 2019 Chapter Meeting (Saturday, September 28th - Amherst College)<span style="font-family: "georgia" , "times new roman" , serif;">LOCATION at Amherst College</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<br />
<div class="m_-1153336829653657759m_5235267013633433963yiv8336682617" style="background-color: white; font-size: 13.3333px;">
<span style="font-family: "georgia" , "times new roman" , serif;">Center for Humanistic Inquiry (CHI)</span></div>
<div class="m_-1153336829653657759m_5235267013633433963yiv8336682617" style="background-color: white; font-size: 13.3333px;">
<span class="m_-1153336829653657759m_5235267013633433963yiv8336682617pin m_-1153336829653657759m_5235267013633433963yiv8336682617contact_callout_icon"><span style="font-family: "georgia" , "times new roman" , serif;">Robert Frost Library, <b class="m_-1153336829653657759m_5235267013633433963yiv8336682617">2nd floor</b><br class="m_-1153336829653657759m_5235267013633433963yiv8336682617" clear="none" />61 Quadrangle<br class="m_-1153336829653657759m_5235267013633433963yiv8336682617" clear="none" />Amherst, MA 01002 </span></span></div>
<div class="m_-1153336829653657759m_5235267013633433963yiv8336682617" style="background-color: white; font-size: 13.3333px;">
<span class="m_-1153336829653657759m_5235267013633433963yiv8336682617pin m_-1153336829653657759m_5235267013633433963yiv8336682617contact_callout_icon"><span style="font-family: "georgia" , "times new roman" , serif;"><br class="m_-1153336829653657759m_5235267013633433963yiv8336682617" clear="none" /></span></span></div>
<div class="m_-1153336829653657759m_5235267013633433963yiv8336682617" style="background-color: white; font-size: 13.3333px;">
<span class="m_-1153336829653657759m_5235267013633433963yiv8336682617pin m_-1153336829653657759m_5235267013633433963yiv8336682617contact_callout_icon"><span style="font-family: "georgia" , "times new roman" , serif;">The entrance to the Library is from Quadrangle Drive (south end of the building). </span></span><br />
<span class="m_-1153336829653657759m_5235267013633433963yiv8336682617pin m_-1153336829653657759m_5235267013633433963yiv8336682617contact_callout_icon"><span style="font-family: "georgia" , "times new roman" , serif;">More info regarding parking <a href="https://ams-ne.blogspot.com/p/upcoming-meetings.html" target="_blank">HERE</a></span></span></div>
<div>
<span class="m_-1153336829653657759m_5235267013633433963yiv8336682617pin m_-1153336829653657759m_5235267013633433963yiv8336682617contact_callout_icon"><br /></span></div>
<br />
<br />
Details as to specifics (hall/rooms, parking) will be posted as they become available.<br />
Bios, photos, and abstracts are posted as available.<br />
<br />
--------------------<br />
<br />
<b>9:45-10:15 Refreshments and Registration</b><br />
<h3>
<b>Morning Session</b></h3>
<b>10:15 Welcome</b><br />
<b><br /></b>
<b>10:20 From Poem to Dance via Music: Departures and Convergences in Jonathan Taylor’s</b><br />
<b><i>Transfigured Night</i></b><br />
Nona Monahin (Mount Holyoke College)<br />
<br />
Richard Dehmel’s 1896 “Verklärte Nacht” (Transfigured Night), a poem centered on a crisis of<br />
confidence in a couple’s relationship, inspired composer Arnold Schoenberg’s string sextet of<br />
the same title (1899; arranged for string orchestra in 1917 and revised in 1943), which in turn<br />
inspired numerous choreographic versions. In this paper I focus on an unjustly neglected<br />
masterpiece: the neo-classical ballet, <i>Transfigured Night</i>, choreographed by the late Jonathan<br />
Taylor (1941 – 2019) and first performed by the Australian Dance Theatre in 1980. Drawing on<br />
music theorist Kofi Agawu’s concept of the “structural highpoint,” my paper shows how the<br />
concept can be fruitfully applied to an intermedial analysis to underscore the shared structural<br />
qualities and divergent tensions inherent in the five stanzas of Dehmel’s poem, Schoenberg’s<br />
thirty-minute composition, and Taylor’s ballet for twelve dancers. I examine ways in which the<br />
hierarchical qualities of a work’s multiple “highpoints” play themselves out in the different<br />
media. Whereas Dehmel’s short poem features only two characters and moves fairly<br />
straightforwardly from conflict to resolution, Taylor utilizes the breadth and harmonic richness<br />
of Schoenberg’s score to create a longer trajectory that involves the collaboration of all twelve<br />
dancers — the couple at the center of the conflict, and ten dancers in ostensibly abstract but<br />
implicitly supportive roles. The turning point in Taylor’s ballet occurs earlier than in Dehmel’s<br />
poem, and later than in Schoenberg’s composition, and coincides with the musical portrayal of<br />
the actual “transfiguration” of the night, as suggested by all three works’ common title.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg52m2waOmoclOLj5UlIrLGrRpcBcl9VkOFO16aHx6HsfD065ErvF8zMg_iMb6G-AxQw8zDSIP1vWrdtYgAxTTz5-cxZsm280_5-F2tOthorWEVd7HlvZgFVOOcnPcq9uD22rVbP1jUolz_/s1600/Nona+Monahin+JPG.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="286" data-original-width="244" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg52m2waOmoclOLj5UlIrLGrRpcBcl9VkOFO16aHx6HsfD065ErvF8zMg_iMb6G-AxQw8zDSIP1vWrdtYgAxTTz5-cxZsm280_5-F2tOthorWEVd7HlvZgFVOOcnPcq9uD22rVbP1jUolz_/s200/Nona+Monahin+JPG.jpg" width="170" /></a></div>
<b>Nona Monahin</b> teaches Renaissance and Baroque dance in the Five College Early Music Program at Mount Holyoke College. A scholar-practitioner, she has presented workshops on music and dance in Australia, Europe, and North America, choreographed for many Shakespeare and other theater productions, and has a chapter in the recently published <i>Oxford Handbook of Shakespeare and Dance </i>(2019). Nona holds a PhD in Musicology from Monash University,<br />
Melbourne, Australia. Her current research focuses on the relationship of music and dance in contemporary choreography.<br />
<br />
<br />
<br />
<b>10:50 Africa, Guitar Dance-Songs, and the (Early) Modernization of European Music</b><br />
Brian Barone (Boston University)<br />
<br />
Scholarly attention in several areas of historical and cultural research has increasingly alighted on the African presence in early modern Europe. From the time of the Portuguese opening of the Atlantic slave trade in the 1440s, increasing numbers of Africans—typically enslaved people—became resident in Europe, especially in urban centers. By the mid-sixteenth century, one observer of Seville described the city through the metaphor of a chess board: peopled equally in white and black. In truth, the Afro-Sevillian population was probably only ten or eleven percent of the whole, but the over-estimate may testify to the size of the social role played by this group in the life of the city.<br />
<span style="white-space: pre;"> </span>One domain in which early modern Afro-Europeans appear to have been particularly prominent was music. This paper engages a hitherto underutilized set of sources for studying this historical moment: sixteenth- and early-seventeenth century guitar tablatures (mostly Italian) that notate Iberian dance-song genres making topical reference to Africa or an emerging Afro-America. A few such genres, particularly <i>chacona</i> and <i>zarabanda</i>, have been previously recognized for their role in the emergence of tonality. This study re-opens such lines of inquiry, but analyzes a larger network of “African” genres—<i>guineos</i>, <i>canarios</i>, <i>zarambeques</i>, <i>moriscos</i>, and so on—as well as the ideological freight they carried. I argue that African musics and European ideas about them were key to precipitating European musical “modernization” around 1600, not only along technical axes such as tonality, but in conceptual terms as well. In this way I add a musical dimension to the critical consensus—long emerging but still insufficiently absorbed at large—that exploitation of Africa and Africans has been at the heart of the construction and maintenance of global modernity.<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOnaFtRFl6fVwjWqR4dPHpe4maeH2LTFJQl44N5e3flSCODmOo6_ewCIweOIWPwT-yodqLOE9yORPlwgS4TshHiuRq-3zFS7vzL7XPb892L-C0_JIqClqdFmnZqIJ7bTa2u_sJ8xftU4PJ/s1600/bb+square+library.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="640" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOnaFtRFl6fVwjWqR4dPHpe4maeH2LTFJQl44N5e3flSCODmOo6_ewCIweOIWPwT-yodqLOE9yORPlwgS4TshHiuRq-3zFS7vzL7XPb892L-C0_JIqClqdFmnZqIJ7bTa2u_sJ8xftU4PJ/s200/bb+square+library.jpg" width="200" /></a></div>
<b>Brian Barone</b> is a PhD candidate in musicology and ethnomusicology at Boston University. His dissertation project historicizes and theorizes the role of African and Afro-diasporic musics in the making of a long and continuing musical modernity around the Atlantic basin. Brian holds bachelor’s and master’s degrees in guitar from the Peabody Institute of the Johns Hopkins University and remains active as a performer on plucked string instruments in a range of historical and contemporary styles.<br />
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<b>11:20 Theinred of Dover as a Key to Understanding the State of Music Theory in the [?]</b><br />
<b>Century</b><br />
Solomon Guhl-Miller (Rutgers University) and Elina Hamilton (Boston Conservatory at Berklee)<br />
<br />
The dating of Theinred of Dover's treatise<i> De legitimis</i> has been debated for over a century because its teachings do not seem to be consistent with a single period: on the one hand his arguments on how to notate non-diatonic notes seem to stem from a time before the staff, on the other, his teachings regarding the acceptance of thirds and sixths in polyphony seem to be more consistent with treatises written around 1300. In this session, Elina Hamilton and Solomon Guhl-Miller will examine the main arguments presented by Reaney, Katayama, and Snyder by contextualizing <i>De legitimis</i> with both treatises from the eleventh century and those from the late thirteenth and early fourteenth centuries.<br />
<br />
This session will be in three parts. First, building on Snyder’s work, a case for an early date will be made by connecting <i>De legitimis</i> to a group of Germanic chant treatises from the eleventh century, particularly those by Aribo and William of Hirsau. The authors of these treatises present similar ways of labeling non-diatonic tones, through their discussions of monochord tunings and species of hexachords, that were rarely used after the twelfth century. Second, the case will be made for dating Theinred to the turn of the fourteenth century, examining the discourse of thirds and sixths by Walter of Evesham Abbey and Anonymous IV, while assessing the placement of the Euclidean algorithm and the applied use of Aristotelian logic within <i>De legitimis</i> to reveal late medieval aspects yet to be examined. These will ultimately show that <i>De legitimis</i> is more consistent with a date closer to the fourteenth century than with earlier teachings. Finally, the speakers will enter into a <i>jeu parti</i> in which they will offer a point-counterpoint exchange on each of their arguments in an attempt to settle the date of the treatise.<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpKa2kFF410WwaDc2z2VOLuNa35s3z-AWB-Fe8ljDHYNSAI9rcW1XhpnJySTErik8SKDruM_z9Miok5BWXRHjPy2r5GbE7EFty1J7jVTn06gIUHiIaU31-lRxn3jZSvb-TFzbftDaLXm82/s1600/GuhlMillerBild.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpKa2kFF410WwaDc2z2VOLuNa35s3z-AWB-Fe8ljDHYNSAI9rcW1XhpnJySTErik8SKDruM_z9Miok5BWXRHjPy2r5GbE7EFty1J7jVTn06gIUHiIaU31-lRxn3jZSvb-TFzbftDaLXm82/s200/GuhlMillerBild.JPG" width="150" /></a></div>
<b>Solomon Guhl-Miller</b> teaches Music History and Theory at Rutgers University, Temple University, and Westminster Choir College. He has presented and published on an array of topics ranging from the music and writings of Richard Wagner and Ars Antiqua polyphony in journals including <i>Theoria</i>, <i>Musica Disciplina</i>, <i>Forum for Modern Language Studies</i>, and <i>Context.</i> He is currently co-editing a collection of essays for Brepols gathered from selected papers presented at the third Ars Antiqua conference in Lucca.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEija3nFS8VuqIPbzEWesymN7sP3EcyJFnX5RQZJo1q2_jKAbtdLjhfSz8DxgMKWqmoA9IVNnJ9sD4rc_7-BEFAoxONlvZL9bdJWmqIXLZIFMsxy2XiboMtSXaAdcqkzDhzFnnP7mcYr4-vI/s1600/Elina.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1311" data-original-width="1600" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEija3nFS8VuqIPbzEWesymN7sP3EcyJFnX5RQZJo1q2_jKAbtdLjhfSz8DxgMKWqmoA9IVNnJ9sD4rc_7-BEFAoxONlvZL9bdJWmqIXLZIFMsxy2XiboMtSXaAdcqkzDhzFnnP7mcYr4-vI/s200/Elina.jpg" width="200" /></a></div>
<b>Elina G. Hamilton</b> is an Assistant Professor at Boston Conservatory at Berklee where she has been a Music History faculty member since 2014. She received her doctorate from Bangor University in North Wales and specializes in the history of English music theory in transition between the Ars antiqua and Ars nova periods. Additional research interests include women's work in music and Western music in Japan. Her research has been published in <i>Studi Musicali</i>, <i>Musica Disciplina</i>, <i>Notes</i>, and in the edited volume <i>Music, Myth, and Story</i>.<br />
<b><br /></b>
<b>12:15-2:15 Lunch Break</b><br />
<b>2:15-2:40 Business Meeting</b><br />
<br />
<h3>
<b>Afternoon Session</b></h3>
<b>2:40 “The Landscape Is Empty”: The Lateness of Pastoral Conventions in the Music of</b><br />
<b>Frank Bridge and Ralph Vaughan Williams</b><br />
Philip Bixby (Yale University)<br />
<br />
English pastoral music of the early twentieth century tends to conjure sentiments that appear antithetical to modernism. Indeed, pastoralism’s associations with tranquility, the countryside, and uncritical nostalgia make it an unlikely locus for an investigation into modernist aesthetics, aesthetics that tend to favor a critical response to inherited traditions. Dismissals of pastoral music often fixate upon the musical surface – its harmonic consonance and dynamic quietude. However, if one ventures further into the relationship between pastoral conventions and musico-formal expectations in early twentieth-century English music, a different picture begins to emerge. After the First World War, composers such as Frank Bridge and Ralph Vaughan Williams began to reformulate their approaches to pastoralism in many of their works. Rather than incorporating pastoral signifiers into goal-oriented formal designs, these composers subvert formal expectations by fragmenting and isolating pastoral conventions.<br />
Building upon the ideas of Theodor Adorno and J. P. E. Harper-Scott, I argue that Adorno’s concept of lateness and Harper-Scott’s “reactive modernism” provide a fruitful interpretive framework for understanding the kind of critical function that pastoralism exercises upon and within musical forms in these compositions by Bridge and Vaughan Williams. These composers fracture the conventions of the pastoral topic, divorcing them from their traditional relationships with teleological formal structures. This post-war pastoralism, rather than resting comfortably in the well-established associations of the pastoral, instead expresses the fragmentation and alienation of the subject in modernity. This reveals a surprisingly modernist sensibility where one might not have been originally suspected. After briefly delineating musical pastoralism and the lateness discourse, I analyze a handful of pieces by these two composers. I conclude that the subtle subversion of formal processes via pastoral conventions is an intelligible signifier of the modernist attitudes embodied in these works, attitudes that disclose a distrust towards the pastoral’s previous meanings.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtIZsWlNwo_ghlXYMiLYrbVaZKT1DBXTqyAmdy_tg6JK0saIimEMuvpvADTBUCtZO3-8Ji5oA_NFM9VrRFriwBgGRasiEoJgf88R3cn5PExKUzsxxz6NONQkav9WMwy6dj27j9FDz8fw5o/s1600/Bixby.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="283" data-original-width="274" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtIZsWlNwo_ghlXYMiLYrbVaZKT1DBXTqyAmdy_tg6JK0saIimEMuvpvADTBUCtZO3-8Ji5oA_NFM9VrRFriwBgGRasiEoJgf88R3cn5PExKUzsxxz6NONQkav9WMwy6dj27j9FDz8fw5o/s200/Bixby.png" width="193" /></a></div>
<b>Philip Bixby </b>is a first-year PhD student in musicology at Yale University, previously attending the University of Texas at Austin and the University of California, Irvine. His research is broadly focused on interdisciplinary investigations of musical modernism. Specific interests include the Surrealist movement, György Ligeti, twentieth-century musical form, and the imperfect analogizing between music and the visual arts.<br />
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<b>3:10 Sinophonic Discords: Musical Hatred and the Negotiation of Sonic Difference</b><br />
Samuel Chan (New York University)<br />
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Adopting Shih Shu-mei’s (2011) concept of the “Sinophone” for music studies, Tan Sooi Beng and Nancy Rao (2016) proposed “Sino-soundscape” for rethinking musical circulations across Sinitic spheres. While their unsettling of the homologies between nationality, ethnicity, language, and culture has inspired productive theorizations of trans-local sonic hybridities and heterogeneities, one can also observe the sustained prominence of sonic and musical <i>discords</i> within the Sinophone, where listening is increasingly mobilized to reinforce existing aesthetic, social, and political antagonisms.<br />
In this paper, I foreground Sino-soundscape as a contested space for negotiating sonic difference by examining musical hatred in contemporary Hong Kong. Specifically, I focus on damas, middle-aged female Chinese immigrants who, since the 2000s, have been singing and dancing every night on the streets of urban Hong Kong. Their joyful performances not only led to numerous noise complaints from local residents, but spiraled into violent conflicts between anti-China and pro-China protesters, the former of which saw the phenomenon as a sonic manifestation of the aggravating trans-border cultural and political infiltrations by the Chinese government since Hong Kong’s handover in 1997.<br />
By analyzing governmental policies, documentaries, and news reports on this incident, I ask: Why is it that these performances, perceived by these different listeners as sound, music, and/or noise, lend themselves particularly well to the polarization of the listening public? How do the persistent aversion, ridicule, and criticism of these gendered and aged bodies intersect with the political labor of negotiating sonic territorialization, cultural incompatibility, and economic exclusion? How do the interactions between the ephemerality of sound and the enduring existence of urban spaces produce meanings, limitations, solidarities, and traumas within the Sinophone? I argue that, to address the polyphonic richness of Sino-soundscapes, we need to listen not only to their concordant harmonies, but, equally importantly, to their discordant cacophonies.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaz_zj2cptwuS7fniKq1Mg5vCpZp_S2izJzwC17Xg2EewsQpbd8JCSX78HXfuhYo1h_cIwejbiPaxNcQ2G4fX_PG547IT7j9yfnjZlmvQqwB7mqUhQab9EyirTGLdaDC7qbh-i9KcP3I1K/s1600/photo.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaz_zj2cptwuS7fniKq1Mg5vCpZp_S2izJzwC17Xg2EewsQpbd8JCSX78HXfuhYo1h_cIwejbiPaxNcQ2G4fX_PG547IT7j9yfnjZlmvQqwB7mqUhQab9EyirTGLdaDC7qbh-i9KcP3I1K/s200/photo.JPG" width="150" /></a><b>Samuel Chan</b> is a PhD student and Henry MacCracken Fellow in Music at New York University. He received his MA in Music/Integrative Studies at UC San Diego, and his BA in Music with First Class Honors at the Chinese University of Hong Kong. He has presented his work on musical aversion, vocal failures, and digital circulation in conferences in Finland, Hong Kong, and the US. His current research focuses on musical cosmopolitanism, Sinophone studies, and media anthropology.<br />
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<b>3:40 Resonating Intimacy: Small Sounds Amplification in Contemporary Music and</b><br />
<b>ASMR</b><br />
Giulia Accornero (Harvard University)<br />
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Take your hand to your ear, and gently brush a finger from the earlobe up to the ear cartilage,<br />
spiraling down towards the canal. What do you hear? Michel Chion (2015) would call these<br />
examples of “small sounds”: besides an extreme sense of closeness and relative loudness, the<br />
sounds you experience conjure up small sources. To even complicate Chion’s definition, small<br />
sounds can be taken as an index of what E.T. Hall defined in his theory of proxemics, the study<br />
of how humans use space as a non-verbal elaboration of culture, as the “intimate zone”. But how<br />
could intimacy resonate with us outside of a contained, private sphere—in a concert hall, for<br />
example? Or what is intimacy when sounded out for millions of people? Taking two recent works<br />
of contemporary music—<i>Intent on Resurrection</i> (2014) by Clara Iannotta, and <i>Hearth Chamber</i><br />
(2019) by Chaya Czernowin—and the recent YouTube phenomenon of ASMR (Autonomous<br />
Sensory Meridian Response) as case studies, I explore how different assemblages of mediators<br />
could bring small sounds to public settings and thus rearticulate intimacy. If small sounds are to<br />
be understood at the intersection of <i>verberation</i> and <i>auditum</i> (Chion, 2015), i.e. materiality and<br />
immateriality, I argue that a distributive understanding of agency is necessary. By positing small<br />
sounds as an actor network, it will be possible not only to understand them as relational entities<br />
but also to offer an alternative to the mind-body dualism that often underlies our theorizations of<br />
the listening experience. Finally, given these methodological premises, small sounds will provide<br />
us with an acoustemology of contemporary intimacy.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjOtMQS00dy9y3aknMjCAMTkdxAuMFKnradtAPFgzhaxayQlXWvinUyiASowqWs0isjboE1IeBMMofV-m25Ek7u149mp-dp1jgvo4xyajo4D_PP6bH-XaQQcs4Ix8LCK7Tqsb9J97txVWw/s1600/IMG_9281+%25281%2529+%25281%2529.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="808" data-original-width="696" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjOtMQS00dy9y3aknMjCAMTkdxAuMFKnradtAPFgzhaxayQlXWvinUyiASowqWs0isjboE1IeBMMofV-m25Ek7u149mp-dp1jgvo4xyajo4D_PP6bH-XaQQcs4Ix8LCK7Tqsb9J97txVWw/s200/IMG_9281+%25281%2529+%25281%2529.jpeg" width="171" /></a></div>
<b>Giulia Accornero </b>is a fourth year PhD student in Music Theory at Harvard University. Her dissertation looks from a media-theoretical perspective at the emergence of 13th and 14th centuries measured notations in France, Italy, and the Iberian peninsula, asking which role<br />
Islamicate mathematical sources might have played. Her secondary research area focuses on the technology and aesthetics of sound amplification in ASMR and recent musical objects. In Spring<br />
2020 she will be a Graduate Fellow at I Tatti, the Harvard University Center for Italian Renaissance Studies. Before coming to Harvard, she graduated in Economics (BA), and Musicology (BA, MA).<br />
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<b>4:10 Virtuous Virtuosity: The Concerto and the Topic of Quiet Transcendence</b><br />
David Schneider (Amherst College)<br />
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What happens when the first or last movement of a concerto ends softly? The present paper<br />
attempts to answer this question by examining the endings to the first and/or last movements<br />
of four works relevant to the topic: Berg’s Violin Concerto, Dohnányi’s Piano Concerto No. 1 in E<br />
minor, Busoni’s Piano Concerto, and Prokofiev’s Violin Concerto No. 1.<br />
At issue in these concerti is a tension between virtuosity—at once a <i>sine qua non</i> of the<br />
concerto genre and a quality that has left it open to criticism as empty—and a desire to evoke<br />
meaning through gestures of transcendence, which would seem the perfect antidote to such<br />
criticism. Such endings replace the dazzle of technical display with depth of feeling. Yet denying<br />
a soloist of finger-busting fireworks at these points in the form has been a step few composers<br />
were willing to take in the “golden age” of the concerto (ca. 1800–1945). Exploring such<br />
transcendent moments in a handful of exceptional works provides a useful perspective for<br />
engaging critically with fundamental aspects of the dramaturgy of the concerto—the nature of<br />
virtuosity, the relationship of soloist and orchestra, and the expressive capabilities of the solo<br />
instrument.<br />
In the spirit of Joseph Kerman’s concept of <i>virtú</i>, I read select passages of the works in question<br />
as moments that allow us to unpack the original meaning of the word virtuoso as virtuous (from<br />
the late Latin: <i>virtuosus</i>). In these high, soft concluding passages, I hear a reflection of this<br />
etymology: virtuous virtuosity, a subjective aesthetic category that for me constitutes one of<br />
the concerto’s highest aspirations.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi45YQV6nuuyNrU7LAXDAmQvxHPfQ6iTo8Zpjp1iAs4kAhQtElQtnGmdPOrG8gEaIMWZxRSly8wOZ32KsiJKAt7sxw2tdtxWHLLTn7mjUqV5blto5ni_1FuHmD_y2uqDkeICzGT_jERx7hS/s1600/David-side2+%25281%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi45YQV6nuuyNrU7LAXDAmQvxHPfQ6iTo8Zpjp1iAs4kAhQtElQtnGmdPOrG8gEaIMWZxRSly8wOZ32KsiJKAt7sxw2tdtxWHLLTn7mjUqV5blto5ni_1FuHmD_y2uqDkeICzGT_jERx7hS/s200/David-side2+%25281%2529.jpg" width="133" /></a></div>
<b>David Schneider</b> is professor of music at Amherst College. A recipient of an AMS 50 Fellowship from the AMS, his work focuses on the relationship of nationalism and musical modernism in the work of the Hungarian composer Béla Bartók, nineteenth-century Hungarian opera, and critical approaches to concertos. His work has been published in the <i>Journal of the American Musicological Society</i>, <i>Studia musicologica</i>, <i>Bartók and his World,</i> and the <i>Cambridge Companion to the Concerto </i>among others. With Klára Móricz he has co-edited volumes two and three of the anthologies to accompany <i>The Oxford History of Western Music</i>. His book <i>Bartók, Hungary, and the Renewal of Tradition </i>was published by the University of California Press in 2006.<br />
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<b>4:40 Refreshments</b>AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-21486241659437260922019-08-12T06:52:00.000-07:002019-08-12T06:52:58.085-07:00CFP: AMS-NE Fall Chapter Meeting (Amherst College, September 28)<div style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; margin-bottom: 6px;">
Call for Papers</div>
<div style="background-color: white; color: #1d2129; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; margin-bottom: 6px; margin-top: 6px;">
AMS-NE Fall 2019</div>
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The Fall 2019 meeting of the New England Chapter of the American Musicological Society will be held on Saturday, September 28, 2019 at Amherst College in Amherst, MA.</div>
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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 blind review, and submissions from faculty, independent scholars, and graduate students are all encouraged and welcome. Abstracts should be submitted by Sunday, September 1, 2019 via email to kacook -at- <a data-ft="{"tn":"-U"}" data-lynx-mode="asynclazy" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fhartford.edu%2F%3Ffbclid%3DIwAR1XA543uWrvPLKfOzmJkPZJWBrPDW4PmmRyqScpODndvCvg2USj7QZYH64&h=AT3RSiRqrBZxEJTR_BRYt-w8kDYSpML0A290ZUiKL7ipP0z7E4MfMT8JfLbyNcVfxn7eGw9xYR5NA2HfoHckgZSdtOSFVEZ6--ctcsD8tLnRafi4EkDNERZUFFI9Ivl3uZyVbPtZ9WOBUVE6v0MllKz7EKvlz99AUXbM7jmXARqVn74SYw" href="http://hartford.edu/?fbclid=IwAR1XA543uWrvPLKfOzmJkPZJWBrPDW4PmmRyqScpODndvCvg2USj7QZYH64" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration-line: none;" target="_blank">hartford</a> dot edu.</div>
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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.</div>
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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).</div>
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Program Committee Members:</div>
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Karen M. Cook, University of Hartford, chair</div>
<div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Kate Galloway, Rensselaer Polytechnic Institute</div>
<div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Timothy Mangin, Boston College</div>
<div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Emiliano Ricciardi, University of Massachusetts, Amherst</div>
<div style="font-family: inherit; margin-bottom: 6px; margin-top: 6px;">
Gail Woldu, Trinity College</div>
</div>
AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-74417625740480097702019-04-15T06:37:00.001-07:002019-04-21T18:56:25.131-07:00Spring 2019 Chapter Meeting (Saturday, April 27 College of the Holy Cross)<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="0" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
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<span style="color: #2a2a2a;">Bios and abstracts are posted as they become available and will be edited for length. Exact location and parking information will be posted soon.</span><br />
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<span style="color: #2a2a2a;"><b>Location</b>: Brooks Music Center Concert Hall, second floor (No. 2 opposite St. Joseph Memorial Chapel on this <a href="https://drive.google.com/file/d/0By0T9k60f3SBRGtHbEZEeFpnRnZWYVN2Rm9KbzlLZGhWcHRR/view?usp=sharing" target="_blank">map</a>).</span></div>
<b>Parking:</b> Visitors may park in the Loyola Lot (closest) or above the Hogan Center (Gate 7)<br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: red;"><b>NOTE! </b></span>At the meeting we will be </span><span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;">holding <b>elections for Secretary/Treasurer and for one of our two student representative positions</b>. Please send nominations to Jacqueline Sholes at jsholes at ccsu.edu not later than 5 PM on Thursday, 4/25. Self-nominations welcome. Thank you!</span></div>
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<span style="color: #2a2a2a;">9:45-10:15 Refreshments and Registration in Brooks 133 (first floor)</span></div>
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<span style="color: #2a2a2a;">10:15 Welcome</span></div>
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<span style="color: #2a2a2a;"><b>10:20 Antonio Cesti and Musical Convention: The Uses and Limits of Voice-Leading</b></span></div>
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<span style="color: #2a2a2a;"><b>Schemas in His Operas</b> – Kyle Masson (Princeton University)</span><br />
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<span style="color: #2a2a2a;"><b>10:50 Cantopop and Speech-Melody Complex – </b>Edwin K. C. Li (Harvard University)</span><br />
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<span style="color: #2a2a2a;">It is generally accepted that speech and melody are distinctive perceptual categories (Deutsch 2003), and that we are able to overcome perceptual ambiguity to categorize acoustic stimuli as either of the two. This paper investigates the experiential hybridity of speech and melody through the lens of a relatively uncharted territory in musicological studies, Cantonese popular songs (henceforth Cantopop songs). It proposes a speech-complex that embraces (complex, from the Latin <i>complectere</i>: to embrace) the different melody perceptions (or listening practices) of Cantopop songs by native Cantonese speakers. Speech-melody complex, I argue, does not stably contain the categories of speech or melody in their full-blown, asserted form, but describes their potentialities before they come into being (what they <i>are</i>). The foregrounding of category depends on how much contextual information listeners take into account (or value) in shaping and parsing out the complex, and making a categorial assertion implies breaking through the complex. I then complicate speech-melody complex with the concept of “anamorphosis” borrowed from the visual arts, a concept that calls into question the signification of the perceived object by perspectival distortion. When reconfigured in the sonic dimension, anamorphosis is less about at which point one listens to the distorted sonic object but more about the processual experience of distortion and recalibration within a speech-melody complex. That is, listeners experience a shifting illusion of speech and melody when listening to a distorted sound object that is neither speech-like nor melody-like, at the same time speech-like and melody-like. They engage, then, in the process of molding and remolding the two enigmatic categories, creating new sonic objects along the way. Through my analysis of Don Li’s ‘Silly Woman’ (2015) and ethnographic interviews with native Cantonese speakers, I suggest that Cantopop songs may invite an anamorphic listening, and, in the other way around, some listen to Cantopop songs anamorphically. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg8feOnd2dE6jcL5d5GlYOJfYfOAet48dd0Ux-k703-74E46_2Z4U765C0Z5EMNcWZkJsFXA_KPnAJ4zwUT2_vP8ersMHtpuqU10hGs_NBSRmUSuSsAVLjFvzieaJEAmNpFxnPn-48zcb2/s1600/Edwin+Li.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1482" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg8feOnd2dE6jcL5d5GlYOJfYfOAet48dd0Ux-k703-74E46_2Z4U765C0Z5EMNcWZkJsFXA_KPnAJ4zwUT2_vP8ersMHtpuqU10hGs_NBSRmUSuSsAVLjFvzieaJEAmNpFxnPn-48zcb2/s200/Edwin+Li.jpg" width="185" /></a></div>
<span style="color: #2a2a2a;"><b>Edwin Li</b> is a Ph.D. student in music theory at Harvard University. He received his B.A. from the University of Hong Kong as Jockey Club Scholar, and was a visiting Pembroke-King’s Scholar at the University of Cambridge in 2016. His research interests include Chinese-Western comparative music theory and philosophy, concepts of nature, topic theory and its relation to affect, and the music of Gustav Mahler.</span></div>
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<span style="color: #2a2a2a;"><b>11:20 Multileveled Conflict in Mahler’s First Symphony: A New Formal-Hermeneutical Analysis </b>– Eric Elder (Brandeis University)</span><br />
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<span style="color: #2a2a2a;">One reading of the opening movement of Gustav Mahler’s Symphony No. 1 in D major, the “Titan,” has remained virtually unchanged from Henry-Louis de la Grange (1979) to Seth Monahan (2015). This reading places the movement in dialog with earlier conventions of sonata form by invoking an expansive, recurring slow introduction and a continuous, monothematic exposition that fails even to establish tonic. This interpretation serves Theodor Adorno well when he claims that Mahler’s music cannot be understood in terms of schematic forms or external programs. Instead, Adorno tells us, the fusion of form and program is Mahler’s response to the demands of art. Thus, the symphony becomes autobiography: “Animated by dissatisfaction with the world, [Mahler’s] art omits to satisfy its norms” (Adorno 1992, 3–5). By virtue of the distance between the consensus reading and the conventions that would govern the movement, we come to view the twenty-eight-year-old Mahler as a troubled revolutionary driven to shatter accepted norms in his first symphonic outing. While this may suit Adorno, it is not entirely consonant with the position of a struggling young professional desperate to make good in a competitive field.</span><br />
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<span style="color: #2a2a2a;">In this paper, I propose an alternative formal reading of the movement. Eschewing the slow introduction, I present the ethereal opening as an evolving primary-theme zone rife with internal conflict. Opposed to this, the “Ging heut‘ Morgen” theme—traditionally viewed as the symphony’s exposition—becomes a decidedly normative secondary-theme zone. Suddenly, we find the movement aligning with the characteristic balance of nineteenth-century theories of sonata form. Additionally, I identify the so-called <i>Durchbruch</i>, which Adorno saw as necessarily originating “beyond the music’s intrinsic movements” (5), as the teleological resolution of the primary-theme zone’s internal conflict and a relatively traditional moment of recapitulation. Throughout, I demonstrate how this analysis supports a programmatic narrative sympathetic to the mythopoetic reading of Almén (2006). Thus, if we continue to take symphony as autobiography, we then develop a view of the young Mahler as more eager for synthesis of influence than for open rebellion.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcfrsUJSpbAsr5OmzYR9Q_2v8WaT_3O_SPQB292Y5vH4MQj_34TGYsVlsiHKbUIcZSFoCHa6nntdvKsjEmX0MkS6ukbuBtkQWuCmWigXO8AjDvFAnOsHSM6S7gPsn1i_RSJAA0RSx9d8FH/s1600/ELDER_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1105" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcfrsUJSpbAsr5OmzYR9Q_2v8WaT_3O_SPQB292Y5vH4MQj_34TGYsVlsiHKbUIcZSFoCHa6nntdvKsjEmX0MkS6ukbuBtkQWuCmWigXO8AjDvFAnOsHSM6S7gPsn1i_RSJAA0RSx9d8FH/s200/ELDER_1.jpg" width="138" /></a></div>
<span style="color: #2a2a2a;"><b>Eric Elder</b> is currently in his third year of the PhD program in Musicology at Brandeis University, where he works under the guidance of Allan Keiler. Eric is primarily active in music theory, analysis, and the history of theory, and he has taught courses in music theory, analysis, music appreciation, and klezmer, and delivered invited lectures on the Creole roots of jazz and the music of the Harlem Renaissance at Rutgers, the Manhattan School of Music, and Brandeis. Outside of teaching and scholarly pursuits, Eric serves as webmaster and Executive Committee member of the New England Conference of Music Theorists.</span><br />
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<span style="color: #2a2a2a;">Eric was awarded the 2016–2017 Hollace Anne Schafer Award for his work linking Rudolph Reti’s thematic process with Alfred North Whitehead’s process philosophy, work which he presented in a more developed form at last year’s joint AMS-SMT meeting in San Antonio.</span><br />
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<b><span style="color: #2a2a2a;"> </span><span style="color: #2a2a2a; font-size: 12pt;">11:50 ‘Die Feder ist zur Hand’: The ‘Scriptorial’ Unfinishedness of Mahler’s Tenth</span></b></div>
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<span style="color: #2a2a2a;"><b>Symphony</b> – Angelo Pinto (The Open University)</span></div>
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<span style="color: #2a2a2a;">In the literature on Gustav Mahler it is a commonplace to discuss his music in narratological terms. However, the writings in this field, given are focused only on the work’s final version, do not give attention to the authorial dimension of how the composer constructs his musical ‘novel’ through the compositional process. Instead, in literary theory there is an established trend of studies that combine narratology with manuscript analysis to explain the hermeneutic enigmas of modernist literary works whose fragmentation suggest their nature of ‘works in progress.’ This kind of approach seems particularly suitable for Mahler’s Tenth Symphony whose manuscript includes perhaps the highest number of sketches and drafts existing for any of Mahler’s works. In this way, we can reconstruct possible relationships between structure, narrative, and the hermeneutic in the compositional process, from the initial sketchy musical ideas to the draft of the last compositional stage. Indeed, this perspective seems to be fruitful given that the same Mahlerian literature suggests that Mahler’s symphonies often seem, given their constant reworkings, just ‘works in progress’. </span><br />
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<span style="color: #2a2a2a;">Given this context, my research question is how Mahler’s Tenth, in its compositional process, can be regarded as a novel, both from structural and hermeneutic points of view. To answer this question, first I will define the key-concepts of ‘music narrativity’ and ‘music narrativisation’ theoretically. Then I will apply to some key passages of the symphony my three staged ‘genetic’ approach of sketches and drafts to detect in them textual supports for these concepts. As a result, this analysis, also by the help of composer’s letters, will reveal original the pieces of evidence of his intention to represent in the symphony, in a meta-referential play, the ‘work in progress’ of its compositional process.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjltIsCr7f7E5TRpoG-vDS_A1NOvztfDALstOUvzug26jbpsMid-7Hsu35NLP0sE4xZwYu1RAfhQV8s7hAQulydVB1CiTAaejKBtVsGeK87vkC9oI2kcBH96PUHnC5z96KdB85PC1_C06_a/s1600/Angelo+Pinto+photo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjltIsCr7f7E5TRpoG-vDS_A1NOvztfDALstOUvzug26jbpsMid-7Hsu35NLP0sE4xZwYu1RAfhQV8s7hAQulydVB1CiTAaejKBtVsGeK87vkC9oI2kcBH96PUHnC5z96KdB85PC1_C06_a/s200/Angelo+Pinto+photo.jpg" width="200" /></a></div>
<span style="color: #2a2a2a;"><b>Angelo Pinto</b> graduated from the Alma Mater Studiorum at the University of Bologna and is at present a Ph.D. candidate in Music at The Open University, Milton Keynes (UK). His dissertation is titled 'The Symphony as a Novel: Mahler's Tenth'. He has been a DAAD fellow at the University of Tübingen, has published articles in academic journals and has taught at the University of Bologna. His research interests include: the music of Gustav Mahler; modernism in music; music and literature; and music of the late twentieth-century, investigating all of these fields through the perspectives of the creative process, authorialism and musical analysis.</span></div>
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<span style="color: #2a2a2a;">12:20p-2:10p Lunch Break</span></div>
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<span style="color: #2a2a2a;">2:10p-2:40p Business Meeting (ELECTIONS)</span></div>
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<span style="color: #2a2a2a;"><b>2:45p Dueling Concerts at Richard Nixon’s Second Inauguration </b>– Andrea Olmstead</span></div>
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<span style="color: #2a2a2a;">Eugene Ormandy, Charlton Heston, Robert Wagner, Vincent Persichetti, and Leonard Bernstein were all involved in two performances the evening before Richard Nixon’s second inauguration in January 1973. The official concert program was chosen by a White House committee to be performed at the Kennedy Center by the Philadelphia Orchestra, while a rival, unofficial concert was hastily set up by Leonard Bernstein with a pick-up orchestra. By consulting archival material as well as contemporary newspapers and musical journals, the author shows how politics surrounding the war in Vietnam came to overwhelm what was to have been a single celebratory concert. Outlining these events, this paper concentrates on Persichetti’s narrator and orchestra piece requested for the official concert, <i>A Lincoln Address</i>, set to Abraham Lincoln’s Second Inaugural Address and to have been narrated by Charlton Heston. </span></div>
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<span style="color: #2a2a2a;">The Persichetti piece fell victim to the immediate events of the Vietnam War because the Nixon White House had tied the Lincoln text to promoting the president and his policies. Soon after the commission, the White House considered Lincoln’s famous words no longer appropriate. Their clumsy handling of this decision, revealed in national newspapers and on television, outraged both protesters of the war and Classical musicians. These passions ultimately resulted in the spectacle of competing concerts performed on the same evening, one at the Kennedy Center by the Philadelphia Orchestra with Ormandy (minus the Persichetti piece), the other at the Washington Cathedral conducted by Leonard Bernstein performing Haydn’s <i>Mass in the Time of War</i>.</span></div>
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<span style="color: #2a2a2a;"><b>Andrea Olmstead </b>taught Music History at The Juilliard School (1972–1980), was Chair of the Music History Department of The Boston Conservatory (1980–2004), and taught graduate seminars at the University of Massachusetts–Amherst. From 2006–2018, she was on the Preparatory Music History faculty of the New England Conservatory. She currently works as a book editor and as a writing advisor for Boston University’s doctoral program in Music Education.</span></div>
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<span style="color: #2a2a2a;">She was awarded the Christopher Hogwood Research Fellowship from the Handel & Haydn Society from 2005 until 2007. Olmstead has also held three fellowships from the National Endowment for the Humanities, five writing fellowships from the Virginia Center for the Creative Arts, and ten visiting scholar residencies at the American Academy in Rome. </span></div>
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<span style="color: #2a2a2a;">Olmstead has published several book chapters and seven books: <span style="white-space: pre;"> </span><i>Vincent Persichetti: Grazioso, Grit, and Gold </i>(Rowman & Littlefield, 2018); <i>Who Was F. Scott Fitzgerald’s Daisy?</i> (eBook: Amazon.com, 2012); <i>Roger Sessions: A Biography</i> (Routledge, 2008); <i>Juilliard: A History </i>(University of Illinois Press, 1999); <i>The Correspondence of Roger Sessions</i> (Northeastern University Press, 1992), <i>Conversations with Roger Sessions</i> (Northeastern, 1987); and <i>Roger Sessions and His Music</i> (UMI Research Press, 1985). </span></div>
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<span style="color: #2a2a2a;">Olmstead's has contributed articles in <i>The Musical Quarterly,</i> <i>The Journal of Musicology,</i> <i>The Juilliard Journal</i>, <i>American Music</i>, <i>MLA Notes</i>, <i>The Journal of the Arnold Schoenberg Institute,</i> and <i>Tempo,</i> as well as numerous program notes and liner notes. She has delivered pre-concert lectures for the Orpheus Chamber Orchestra, Handel & Haydn Society, and the Boston Symphony in Jordan Hall, Symphony Hall, and Carnegie Hall.</span></div>
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<span style="color: #2a2a2a;"><b>3:15p Vibrational Musicology, Sonic Subhumanisms, and the Promise of Solidarity in the Anthropocene</b> – Andrew Chung (Yale University)</span></div>
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<span style="color: #2a2a2a;">This paper examines some political, ethical stances of recent music towards planetary solidarity in the Anthropocene. Ashley Fure’s ecological installation-opera, <i>The Force of Things</i> (2016/18), with its animate assemblages of vibrating materials, aims to stimulate listeners to recognize the vital animacy of the vibrational events of global warming. Fure emphasizes fundamental commonalities between humans and ecological entities, citing philosopher Jane Bennett’s <i>Vibrant Matter </i>to advance the radically flat ontology that grounds her opera’s rhetoric. In this framework, also explored by musicologist Nina Eidsheim, material vibration and its animacy stand as properties that ontologically unite all peoples, lifeforms, and matter.</span></div>
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<span style="color: #2a2a2a;">Critical race theorists like Zakkiyah Jackson and Fred Moten, however, have pointed out that such radically universal ontologies occlude the human sphere’s internal rivenness. This results in race-blind, difference-blind political imaginaries, silencing injustices affecting differentially marginalized populations. Putting Jackson and Moten in conversation with philosopher Emmanuel Levinas, I argue (contra Fure and Eidsheim) that sonic vibration is better understood not as an ontological unifier, but as a figure for human and non-human entities’ recognitions of each’s singularity, alterity, and vulnerability to each other, which buttress foundational ethical injunctions to avoid harming those others.</span></div>
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<span style="color: #2a2a2a;">I clarify with Pamela Z’s <i>Syrinx</i> (2003), which slows down recorded birdsong until a singer can imitate it. The voice is recorded and gradually manipulated to match the birdsong’s original register and speed. Syrinx frames human and non-human lifeforms not as ontologically same, but as reciprocally open to one another, yet sonically irreducible to each other. Its transformations of bird and human vocalizations point to each’s opening towards becoming sonically other than themselves—hence towards becoming vulnerable. This reading of <i>Syrinx</i> reconfigures T<i>he Force of Things </i>to hear both as occasions for ecological solidarity, while avoiding the colorblindness of grounding solidarity in violently occluding the other’s difference.</span></div>
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<span style="color: #2a2a2a;"><b>Andrew Chung</b> is a music theorist who specializes in topics of musical meaning, the philosophy of language, and performativity, with applications in 21st century musical works and social/sonic life. His work centers upon recent music in European festivals of new music, but also includes a focus on the use of music as violence. He is especially interested in the ethics of musical practices, with their entanglements in ecological, semiotic, and feminist thought. Other work of his includes explorations in mathematical music theory and the writings of David Lewin. Andrew is active as a pianist, teacher, and speaker at conferences across the United States and Europe, and he will be joining the faculty of the University of North Texas College of Music.</span></div>
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<span style="color: #2a2a2a;"><b>3:45p An exploration of Tuvan music through the traditional string instruments of Tuva</b></span></div>
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<span style="color: #2a2a2a;">– Ceren Turkmenoglu (Independent Scholar)</span></div>
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<span style="color: #2a2a2a;">A bowed string instrument, rebab, has roots that can be traced back to the ninth century and is said to be the first bowed string instrument that emerged from Central Asia, which spread widely over time, evolving into different shapes and forms. As a violinist, my way of exploring different cultures’ music has been through the study of their traditional string instruments. Studying the Turkish rebab and its roots, I expanded my study to the interconnections between different cultures’ string instruments, and conducted a research in Tuva, Central Asia, a culture which possesses an instrument also related to rebab, the igil.</span></div>
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<span style="color: #2a2a2a;">An autonomous republic in the heart of Asia, Tuva, is home to Turkic Tuvan people with a unique musical tradition that was shaped by their nomadic lifestyle and nature. According to Tuvans, nature is their conservatory, where they learn their craft and find their inspiration, and as Tuvan music derives from nature, it is also ‘for’ nature. Moreover, their sensitivity to the sounds of nature is not only for musical reasons, but also survival. </span></div>
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<span style="color: #2a2a2a;">This paper studies Tuvan music and how it was shaped by their nomadic lifestyle and nature. The aim of this paper is to do the study through the lens of their traditional string instrument igil; discussing the history and making of the instrument and focusing on the concepts of tuning and harmony within their music. The information is collected through field research, participation in music sessions and interviews with musicologists, musicians</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiO-9b7iBcziG-r0N3Lhafcmc69oDzqyqSlv7E2UUJJqCBbpJnNp2eqwmbkpZ1dJdjFV7e_5p8MNg05wVqxw5249KGE9XuMYkMXvA2bF0hIvi3ZqZkZ5XLtyvDm3pF67TJ1WD11udi1j_e/s1600/foto.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiO-9b7iBcziG-r0N3Lhafcmc69oDzqyqSlv7E2UUJJqCBbpJnNp2eqwmbkpZ1dJdjFV7e_5p8MNg05wVqxw5249KGE9XuMYkMXvA2bF0hIvi3ZqZkZ5XLtyvDm3pF67TJ1WD11udi1j_e/s200/foto.JPG" width="200" /></a></div>
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<span style="color: #2a2a2a;"><b>Ceren Turkmenoglu </b>is a classically trained violinist who seeks to expand her musical language through the study of other cultural traditions, especially her own, Turkish Traditional Music.</span></div>
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<span style="color: #2a2a2a;"> </span><span style="color: #2a2a2a; font-size: 12pt;">She began her violin studies with Prof. Cengiz Ozkok in Hacettepe University Ankara State Conservatory, Turkey. In Germany, Hochschule fur Musik und Theater Leipzig, she studied with Carolin Widmann and Henryk Hochschild.</span></div>
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<span style="color: #2a2a2a;"></span><span style="color: #2a2a2a; font-size: 12pt;">In 2011, she received her position in Ankara State Opera and Ballet Orchestra, and in 2015, she became a member of Istanbul State Symphony Orchestra. In 2017 January, she moved to Boston and received a master’s degree from Longy School of Music Bard College. She is an active musician performing recitals, chamber music and in orchestras such as Boston Philharmonic Orchestra. </span></div>
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<span style="color: #2a2a2a; font-size: 12pt;">Apart from her classical music career, she is also a performer of traditional Turkish music and performs on traditional instruments besides violin. Her aim in her music is to preserve the traditional roots and to bring out the interconnections cultures carry. Her project 'Music from Where the Sun Rises' was awarded by a LAB grant from The Boston Foundation.</span></div>
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<span style="color: #2a2a2a; font-size: 12pt;">Her latest project ‘Strings Around the World’, explores the music of different cultures through their string instruments. Being a string player herself, she aims to study the interconnections of different cultures through their traditional string instruments. Her recent trip to Tuva, Central Asia, to research about Tuvan music and string instruments, was funded by a grant from Women’s Travel Club, Boston.</span></div>
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<span style="color: #2a2a2a;"><b>4:15p Symphonic Metal: A New Frame of Listening – Greg Eckhardt (Southern Methodist</b></span></div>
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<span style="color: #2a2a2a;"><b>University)</b></span></div>
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<span style="color: #2a2a2a;">4:45 Refreshments</span></div>
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AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-24225292392820127182019-03-15T08:00:00.002-07:002019-03-15T08:00:53.271-07:00CFP: Spring 2019 Chapter Meeting ( 27 April, College of the Holy Cross)<div align="center" class="MsoNormal" style="background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Calibri, sans-serif; font-size: 12pt; margin: 0in 31.5pt 0.0001pt 0in; text-align: center;">
<b>Call for Papers</b></div>
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<span style="color: black;"><b><span style="font-size: 14pt;">AMS-NE </span></b><b><span style="font-size: 14pt;">Spring 2019</span></b></span></div>
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<span style="font-family: "Times New Roman", serif;">The Spring 2019 meeting of the New England Chapter of the American Musicological Society will be held on Saturday, April 27, 2019 at College of the Holy Cross in Worcester, MA.</span></div>
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<span style="font-family: "Times New Roman", serif;">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 blind review, and submissions from faculty, independent scholars, and graduate students are all encouraged and welcome. Abstracts should be submitted by <b>Sunday, March 31, 2019</b> via email to kacook -at- </span><u><span style="color: #1155cc; font-family: "Times New Roman", serif;"><a data-saferedirecturl="https://www.google.com/url?q=http://hartford.edu/&source=gmail&ust=1552748270868000&usg=AFQjCNGTLigIHH6QSCCymBoZ6EvgpD1huQ" href="http://hartford.edu/" style="color: #1155cc;" target="_blank">hartford.edu</a></span></u><span style="font-family: "Times New Roman", serif;">.</span></div>
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<span style="font-family: "Times New Roman", serif;">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.</span></div>
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<span style="font-family: "Times New Roman", serif;">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).</span></div>
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<b><span style="font-family: "Times New Roman", serif;">Program Committee Members:</span></b><span style="font-family: "Times New Roman", serif;"></span></div>
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<span style="font-family: "Times New Roman", serif;"><span class="il">Karen</span> M. Cook, University of Hartford, chair</span></div>
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<span style="font-family: "Times New Roman", serif;">Kate Galloway, Wesleyan University</span></div>
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<span style="font-family: "Times New Roman", serif;">Timothy Mangin, Boston College</span></div>
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<span style="font-family: "Times New Roman", serif;">Emiliano Ricciardi, University of Massachusetts, Amherst</span></div>
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<span style="font-family: "Times New Roman", serif;">Gail Woldu, Trinity College</span></div>
AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-22841330970650327722019-02-08T08:15:00.000-08:002019-02-22T13:16:12.474-08:00Parking info to Wellesley College for Feb. 23rd meeting<div class="gmail_default" style="color: #222222; font-family: "times new roman", serif; font-size: large;">
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Wellesley College's address is <b>106 Central Street </b>(do not enter from Rte. 16)</div>
<b><span style="background-color: yellow;">**updated 2/22 to reflect error in street name below**</span></b><br />
<b style="background-color: white;">PARKING</b></div>
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Turn left off Rte 135 (West Entrance) onto College Road. Turn right to get to Visitor Parking. You may park in any available space, except for those reserved for handicapped and disabled patrons.</div>
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<b>TO GET TO PENDLETON WEST </b>from the parking lot:</div>
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1. Follow the path out of Visitor Parking. </div>
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2. Once you see the Lulu Chow Wang Campus Center, continue to the left along the sidewalk on the right side of College Road.</div>
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3. You will pass the Physical Plant on the right, and next on you will see the brick wall of the Museum on the right.</div>
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4. Cross the road and the path will fork; take the upper path on the right.</div>
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5. The first building you come to near the top of the hill is Pendleton West on the left. Enter; Pendleton West 101 will be immediately on the left.</div>
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<a href="https://drive.google.com/file/d/1COHo3jq2Zo2OQFAG12m5wun9W6U7S_aK/view?usp=sharing" target="_blank">CAMPUS MAP</a><br />
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<a href="https://www.mbta.com/schedules/CR-Worcester/schedule?date=2019-02-23&direction_id=0&trip=CR-Saturday-Fall-18-1503#CR-Saturday-Fall-18-1503" target="_blank">COMMUTER RAIL INFO</a> from Boston South Station</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGFB6paqhXIuGm5Ja5Llk2kM0vdzyi94KLe6274sEvLR4VMdnBb0ItC6W0x0uqFGZA0EEw9wdKX0qSyBpoGVo8l5BXwy5lnBvpiYTMfbDfgBSslsw61B1gAtO4f1at5TbESb8nyY_3y_6w/s1600/pendleton_walk_garden_ds.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="1280" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGFB6paqhXIuGm5Ja5Llk2kM0vdzyi94KLe6274sEvLR4VMdnBb0ItC6W0x0uqFGZA0EEw9wdKX0qSyBpoGVo8l5BXwy5lnBvpiYTMfbDfgBSslsw61B1gAtO4f1at5TbESb8nyY_3y_6w/s320/pendleton_walk_garden_ds.jpg" width="320" /></a></div>
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<a href="https://ams-ne.blogspot.com/2019/02/winter-2019-chapter-meeting-saturday.html" target="_blank">MEETING PROGRAM</a></div>
AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-24162438644019266912019-02-07T13:28:00.000-08:002019-02-20T14:08:47.272-08:00Winter 2019 Chapter Meeting (Saturday, Feb 23 at Wellesley College)<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;">AMS-NE Winter Chapter Meeting </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">February 23, 2019</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"> Pendleton West 101 / Sargent Concert Salon --Wellesley College</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">(<a href="https://ams-ne.blogspot.com/2019/02/parking-info-to-wellesley-college-for.html" target="_blank">Parking Info and Campus Map</a>)</span></div>
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<b> 9:45-10:15 Refreshments and Registration</b><br />
<span style="font-size: large;">Morning Session </span><br />
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<b>10:15 Welcome</b><br />
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<b>10:20 “Me at Last, Me at Last!”: Black Artists Freeing Themselves From Country Music’s “White Avatar” – Joel Schwindt (Boston Conservatory at Berklee)</b><br />
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Mainstream country music has long been branded a “white” genre, even though this identity is based on ahistorical constructs that downplay regular borrowings from black musical culture (Malone 2017, Nunn 2010, Manuel 2008). This “white avatar” has even been used to justify the marginalization of black performers’ racial identity, most infamously in the refusal of Charley Pride’s label to include a photo in the singer’s promotional materials during the first two years of his career. This “hegemony of vision” (McCrary 1993), however, has been challenged by two emerging black singers, Kane Brown and Jimmie Allen. These artists formulated their “black avatar” in part through the regular inclusion of musical elements associated with rap and R&B (snap tracks, syncopations, rapped verses), a “non-country” image (e.g., Brown’s “fade” haircut, which is featured prominently on the cover of his 2018 album, <i>Experiment)</i>, and high “black visibility” in their videos, including these artists’ creation of the first two mainstream country videos not to show a single white face (Brown’s 2017 “Heaven,” and Allen’s 2018’s “BestShot,” both of which reached #1 on Country Music Television’s weekly, viewer-polled countdown). Acceptance of the “black avatar” within mainstream country—a conclusion supported in part by both artists’ notable success—can be attributed to various factors, including a 14% increase in black listenership from 2005-15 (Country Music Association 2016), a substantial rise in collaborations between white country artists and black R&B/rap artists since 2003, and the use of rap and R&B styles by white mainstream artists such as Florida Georgia Line and Jason Aldean. Finally, the reclaiming of “rusticity” by black artists in American rootsmusic (e.g., The Ebony Hillbillies, The Carolina Chocolate Drops)—a construct largely avoided since the 1960s due to associations with minstrelsy, and the rising popularity of “urban” genres that eschewed it (Stewart 2005, Smith 2001b)—has weakened its presumed association with whiteness. In sum, this paper reveals noteworthy challenges to the hegemony of racial identity in country music, aided by changes in musical styles and visual representation, listener demographics, and cultural conceptions of blackness in popular music.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2O3rnOyie3Fv5eJaOfP3egLba9h4rV21I_GrTA3bQwK7Y5tq89IBuEyshjQcNmyj6luFGmA_1DhNbMi2vqmlbw5fPCtF6aWKXZAuyLvRZde3lWi4tmpAo_Ful8j3dMUep1gx9-aTmna3F/s1600/Joel+headshot.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2O3rnOyie3Fv5eJaOfP3egLba9h4rV21I_GrTA3bQwK7Y5tq89IBuEyshjQcNmyj6luFGmA_1DhNbMi2vqmlbw5fPCtF6aWKXZAuyLvRZde3lWi4tmpAo_Ful8j3dMUep1gx9-aTmna3F/s200/Joel+headshot.jpg" width="139" /></a><b>Joel Schwindt</b> is an Assistant Professor of Music History at Boston Conservatory at Berklee. He has presented at various international and regional conferences, including the Society for Seventeenth-Century Music, the Renaissance Society of America, and regional chapters of the American Musicological Society. Among his publications are an article on Monteverdi’s Orfeo from the 2014 volume of the Cambridge Opera Journal, and a critical edition of Marc-Antoine Charpentier's <i>In nativitatem Domini canticum</i>, H. 416, published by Bärenreiter in 2011. He received the Eugene K. Wolf Travel Grant from the American Musicological Society in 2014, and the Mellon-Sachar Research Grant in 2012. Joel’s research focuses on class rivalry and gender in vocal music from the early modern era, as well as racial identity and religious philosophy in country music.<br />
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<b>10:50 Fred Ho’s The Warrior Sisters (1998): A Performance of “Transformative Interracialism” – Jingyi Zhang (Harvard University)</b><br />
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Fred Ho’s opera <i>The Warrior Sisters: The New Adventures of African and Asian Womyn Warriors </i>premiered at the City College of New York in 1998, featuring an all principal cast of women of Asian and African descent. While much scholarly attention is focused on the mono-directional, cross-racial appropriations in looking at Asian-Americans performing black traditions or blacks performing stereotyped Asian traditions, few musicological studies explore the mutual, two-way interactions between black and Asian musical traditions, a gap I aim to bridge. Drawing on Ho’s archive at Harvard University’s Loeb Music Library, which includes his handwritten score of <i>The Warrior Sisters</i>, his personal writings, and interviews, I study the multilayered musico-cultural exchanges between black and Asian traditions, spanning the fields of critical theory, African American studies, Chinese film history, and ethnomusicology. Extending the conversation of prominent scholars like Tamara Roberts, Amilcar Cabral, Susan Asai, Kevin Fellezs, Ellie Hisama, Amy Abugo Ongiri, and Homi Bhabha, I seek to illuminate spaces whereby Asian and black performers simultaneously engage in both “black” and “Asian” soundworlds, enabling us to hear Afro-Asian music from multiple racial positions. I examine Ho’s aesthetics of what I call “transformative interracialism” in the opera, viewing his vision as a powerful performance of racial identity and expression of counter-dominant sonic spaces in which Asianness and blackness simultaneously engage in, through creative juxtapositions of musico-cultural traditions, singing styles, and the interracial identities of the artists who perform them. More specifically, I focus on two strategies that Ho employs in articulating “transformative interracialism,” through musical borrowing of the prominent Wong Fei-hung theme and rejection of a single sonic expression of Asianness or Africanness in presenting the fluid, dynamic musical conversation taking place between the Asian and African traditions.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFhfNUU2-vMnlXt979y43VUEqX-xKjuBrURSS4oufm9WLeadgSX_YF9f5nkO7J3o_ZXJr_F_PgDgxQYH0jfgpi2zX7gaxV8k-VDdAsvph7BwbtolS7tLvpNPM5KVFQQiXc-c-oyLReoSMF/s1600/IMG_0447.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFhfNUU2-vMnlXt979y43VUEqX-xKjuBrURSS4oufm9WLeadgSX_YF9f5nkO7J3o_ZXJr_F_PgDgxQYH0jfgpi2zX7gaxV8k-VDdAsvph7BwbtolS7tLvpNPM5KVFQQiXc-c-oyLReoSMF/s200/IMG_0447.JPG" width="150" /></a><b>Jingyi Zhang</b>, a musicologist-pianist from Singapore, is currently pursuing her Ph.D. degree in historical musicology at Harvard University. Her research interest focuses on musical borrowing in the works of Chinese-American composers, film music, opera, philosophy of music, and aesthetics. An active performer and musicologist, Jingyi holds a double-degree BM in musicology and piano performance at Oberlin Conservatory under a Dean’s Scholarship Award, as well as a double-degree MA in musicology and MM in piano performance at Indiana University Jacobs School of Music under a three-year Jacobs fellowship. At Oberlin Conservatory, Jingyi served as Charles McGuire’s music history course tutor for all incoming music undergraduates. She was also actively involved in piano pedagogy and was a secondary piano program teacher led by Andrea McAlister. An avid performer, Jingyi has participated in numerous piano masterclasses by Edward Auer, José Ramón Mendez, Marian Hahn, and Mary Wu. She was also invited to perform in Singapore and several cities in China including Hangzhou, Changsha, and Wuhan. Upon graduating from Oberlin Conservatory, she was awarded the Carol Nott Pedagogy Prize for her exemplary efforts in music pedagogy. Last year, Jingyi was invited by Southern University of Science and Technology (SUSTech) to be their guest music lecturer in the summer, teaching a course on Introduction to Western Music History.<br />
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<b>11:20 Race and Anti-Patriotism in Bernstein’s 1600 Pennsylvania Avenue – Neal Warner (University of Arizona)</b><br />
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Leonard Bernstein’s final Broadway undertaking, 1<i>600 Pennsylvania Avenue</i>, opened at the Mark Hellinger Theatre on May 4th, 1976. The production, featuring book and lyrics written by Broadway veteran Alan Jay Lerner, is considered a massive flop, as it closed after only four days and seven total performances. Initial issues with the production became apparent during out-of-town tryouts in Philadelphia and Washington D.C., where the production experienced alterations to its meta-theatrical concept, editing and condensing of Bernstein’s original score (many times without his consent), and the loss of a number of the original production staff. A quote from Bernstein’s daughter Jamie reveals another possible reason for failure: “It was maybe ahead of its time. [The show had] a built in problem: Two white Jewish guys were talking about [race]. That automatically put people’s hackles up.”<br />
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While historical accounts often reduce <i>1600’s </i>failures to the lackluster book put together by Lerner, few explore the unsettling problems present in the production’s conception and reception. Through personal accounts, interviews, and archival documents, this research will uncover <i>1600 Pennsylvania Avenue</i>’s underlying racist and anti-patriotic sentiments, present in both the nature of the show and the attitudes of its creators and critics. These two sentiments exist as foundational pillars in the creation of <i>1600</i>, undermining the artistic efforts of Bernstein and Lerner and largely contributing to the designation of the production as a non-starter in the landscape of 1976 American theater.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN0ydaEhOLXk0985Rsp3voUi-vw9vaipWcwSlPppQ70Ry9lJvELp_bJRBuL3A9XpbiIBKZDMv4Y52m4FfgFK8Cf_Ey8-SWJBjLslmmqCcFtO3Hksb5YfR8SS84J8fS-g3gXEDEgmvLs8YD/s1600/Neal+Warner-1005-X3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN0ydaEhOLXk0985Rsp3voUi-vw9vaipWcwSlPppQ70Ry9lJvELp_bJRBuL3A9XpbiIBKZDMv4Y52m4FfgFK8Cf_Ey8-SWJBjLslmmqCcFtO3Hksb5YfR8SS84J8fS-g3gXEDEgmvLs8YD/s200/Neal+Warner-1005-X3.jpg" width="200" /></a><b> Neal Warner </b>is a Detroit born composer, researcher, and music educator. His research includes explorations in the language of non-musicians as well as the narrative and emotional elements within the compositions of composers Franz Liszt and Gustav Mahler. Recent research presentations include appearances at the University of South Carolina, Florida State University, and the 2018 International Association for the Study of Popular Music conference in Hamilton, New Zealand. His research surrounding the programmatic nature of cadential formula in the music of Gustav Mahler is published in the Cincinnati Conservatory of Music’s 2018 Research Forum Journal. Warner holds a Bachelor of Music from Berklee College of Music, a Master of Music from Wayne State University, and is currently completing his Doctor of Musical Arts in composition and theory at the University of Arizona.<br />
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<b>11:50 Freedom, Difference, and the Promise of the Ocean: Maritime “Otherness” in The Music of the Waters – Pallas Riedler (Eastman School of Music)</b><br />
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During the “Golden Age” of the sailing vessel, sea shanties were integral to maritime life. Sung by sailors as they navigated the open ocean, a sea shanty unified labor for maximum efficiency and relieved the tedium and monotony of the ocean by providing entertainment for the crew. As the decline of sailing vessels brought about the decline of sea shanties, practitioners and fans of the maritime oral tradition scrambled to preserve their music. Laura Alexandrine Smith’s anthology, <i>The Music of the Waters</i> (1888), has long been considered one of the most influential works from this period of preservation (Terry 1920; Carr 2009). In this paper, I examine Smith’s discourse of maritime “authenticity” and argue that her work exemplifies a larger trend of mainlander involvement in both the romanticization and empowerment of nautical culture.<br />
<span style="white-space: pre;"> </span>As with any musical tradition that is translated from oral to written, sea-song anthologizers were forced to make difficult decisions regarding transcription and inclusion. In examining how Smith chose to portray maritime music, we are granted insight into mainlander conceptualizations of the maritime community. We are likewise able to identify the maritime community’s conceptualization of its own culture by studying the reactions to Smith’s work that emerged from nautical sources. Throughout my paper, I will refer to R. R. Terry’s response to Smith’s work (as published in the introduction to his own collection of sea shanties) as a primary example of the nautical community’s reaction to existing mainlander transcriptional practices and presentations of maritime identity.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6glLx-LU-0ktpQ-zhLyfcccsPkkYzUHZWkBVWIz2c6VTxh-YUIAKojJiblt-rCGW8Qt6arYtmimj3umOTxFOgYsdCp5Og9skjfnLVNkGY1Qxagx0cqGNA6c0Z3B2PDL0zxuO6MbU3WnaX/s1600/NeAMSHeadshot.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6glLx-LU-0ktpQ-zhLyfcccsPkkYzUHZWkBVWIz2c6VTxh-YUIAKojJiblt-rCGW8Qt6arYtmimj3umOTxFOgYsdCp5Og9skjfnLVNkGY1Qxagx0cqGNA6c0Z3B2PDL0zxuO6MbU3WnaX/s200/NeAMSHeadshot.jpg" width="200" /></a><b>Pallas Catenella Riedler</b> is currently pursuing her Ph.D. in historical musicology at Eastman School of Music. In 2017, she received her B.A. in Music and English Literature from Wellesley College, where she completed a thesis on sea shanties in Western art music entitled “Piratical Debauchery, Homesick Sailors, and Nautical Rhythms.” Aside from maritime music, her research interests include musical manipulations of perceptual experience, imagined sound, and the intersection between music and poetry.<br />
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<b>12:20-2:10 Lunch Break</b><br />
<b>2:10-2:30 Business Meeting</b><br />
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<span style="font-size: large;">Afternoon Session </span><br />
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<b>2:30pm Weeping as Singing in Strozzi’s Laments – Claire Fontijn (Wellesley College)</b><br />
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Over forty years ago, Ellen Rosand drew attention to a published debate from Giulio Strozzi’s Academy of the Unisons, <i>La contesa del canto e delle lagrime</i>, which pitted the affective power of a woman weeping against that of a woman singing. Matteo Dandolo and Giovanni Francesco Loredano argued each side, respectively, and Barbara Strozzi’s subsequent recitation of their arguments reportedly impressed the academy.<br />
What did Strozzi’s recitation consist of? Perhaps a clue to the answer lies in her composition of three cantatas labelled “Lamento.” In each one, she evidently resolved the debate with a special technique: the verisimilitude of weeping as singing. In “Appresso ai molli argenti,” Strozzi focused on particular words—“laments,” “crying,” and “death”—to be interpreted with feigned characteristics of crying, such as trembling, gasping for breath, and disintegrating words. In “Lagrime mie,” Strozzi framed the cantata with the mimesis of weeping through the voice: an astonishing harmonic E-minor scale descends in a jagged and convulsive manner over a pedal tonic. By contrast, in “Sul Rodano severo,” around the midpoint of the lament for Henri, Marquis de Cinq-Mars, an instrumental trio accompanies his plaint over a passacaglia repeated 13 times. Henri weeps as he sings above the symbol of his misfortune.<br />
Alex Ross wrote of Strozzi’s “gender identity melting away into a purely musical space of lamentation.” Indeed, her recitation and lament performances transformed the academic notion of a woman weeping or singing into weeping as singing—an androgynous emotive experience.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBbL6kEaZnVdSjHi2LO89PFPKegkz5lFX9ExLsM_RPEciS9h7lz6Ecw2JrDV08rW7ndBW_Nx-tLDvr98b0IebaIW0Yv9gdcOVX33oo8RAG4mxAuX80TZpBvUoK4wI1OcbktRJcjGqbohCq/s1600/fontijnc-square.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBbL6kEaZnVdSjHi2LO89PFPKegkz5lFX9ExLsM_RPEciS9h7lz6Ecw2JrDV08rW7ndBW_Nx-tLDvr98b0IebaIW0Yv9gdcOVX33oo8RAG4mxAuX80TZpBvUoK4wI1OcbktRJcjGqbohCq/s200/fontijnc-square.jpg" width="200" /></a><b>Claire Fontijn </b>is Phyllis Henderson Carey Professor of Music at Wellesley College, where she teaches wide-ranging courses: Hildegard of Bingen; Musicke’s Recreation: Studies in Renaissance Music with an Emphasis of Performance; theSymphony; Music, Gender, and Sexuality; 20th- and 21st- century Solo Song; and Music in Public Discourse. She is the author of three books: a monograph, <i>Desperate Measures: the Life and Music of Antonia Padoani Bembo</i> (2006; 2013); a set of essays, <i>Fiori Musicali: Liber Amicorum Alexander Silbiger</i> (2010), and another monograph, <i>The Vision of Music of Saint Hildegard’s </i>Scivias (2013). In the past, she was a semi-professional baroque flutist; currently, she plays the renaissance flute with the Wellesley College Collegium Musicum. Herpaper today is adapted from a chapter in an anthology she’s editing for Routledge, <i>Uncovering Music of Early European Women</i> (1250-2020).<br />
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<b>3:00pm Refashioning Ophélie: Emma Calvé’s <i>Nouvelle Création</i> in f<i>in-de-siècle</i> Paris – Molly Doran (Northeastern University)</b><br />
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During the 1880s, French artist Madeleine Lemaire painted an Ophélie shockingly different from those of her male colleagues: with a defiant glowering stare and breasts indecorously displayed, this Ophélie’s madness stems from frustrated sexuality and undermines the popular presentation of the character as pure and feminine in her madness and death. As Lemaire broke boundaries with her presentation of Paris’s favorite madwoman, her friend Emma Calvé also created a surprising Ophélie in performances of Ambroise Thomas’s opera <i>Hamlet </i>(1868). While portrayals of the operatic Ophélie earlier in the century by Christine Nilsson were celebrated for their delicate beauty, Calvé’s later, fin-de-siècle performances famously reflected an increasing desire for darker realism on the stage, and critics admired her less curated portrayal of insanity. In her memoir, Calvé comments on her decision to do away with aesthetically pleasing visuals and acting choices in favor of greater naturalism, even explaining that she observed an Ophélie-like madwoman in an asylum as preparation for the role. Calvé’s performances of Ophélie participate in Paris’s obsession with theatricalized hysteria during the later part of the nineteenth century, a period during which neurologist Jean-Martin Charcot’s displays of female patients’ hysteria in the Salpêtrière’s amphitheater produced an atmosphere in which madness and hysteria specifically were both feminized and commoditized. Indeed, the opera’s mad scene can be compared easily with the medical hysterical attack described by Charcot, and its theatrical intensity and dramatic fluctuations provide ample opportunity for expressive singing and acting choices. In this paper, I examine Calvé’s portrayal of Ophélie within the context of Parisian artistic and medical discourses surrounding Ophélie, madness, and hysteria. I argue that, although part of a problematic discourse that medicalized and othered women, Ophélie’s mad scene afforded artists and performers, such as Lemaire and Calvé, opportunities for experimentation and creativity.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg28qqdJ1BlW1LUURabSfRK_K82BqWpsV1qP3i4hg_M9hKmmG-GW7YYQcBzmxkwpiSVzOL6S6wD2TJqha5JsqFcjGnxoWV2hEIAd3owMq0MoE8WsboYSzaGa5vsFZPGk4uuAehRTVxj5TIj/s1600/P2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg28qqdJ1BlW1LUURabSfRK_K82BqWpsV1qP3i4hg_M9hKmmG-GW7YYQcBzmxkwpiSVzOL6S6wD2TJqha5JsqFcjGnxoWV2hEIAd3owMq0MoE8WsboYSzaGa5vsFZPGk4uuAehRTVxj5TIj/s200/P2.jpg" width="160" /></a><b>Molly C. Doran</b> is a PhD candidate in musicology at Indiana University Bloomington. Her dissertation, “Representing Trauma and Suffering on the Late-Nineteenth-Century Operatic Stage: Gender, Hysteria, Maternity, and Culture in France,” examines representations of women’s trauma and suffering in French opera, focusing on the performance of hysteria and maternity in works by Charles Gounod, Ambroise Thomas, and Jules Massenet. Combining critical analytical approaches from musicology, performance studies, and trauma studies, her work demonstrates how operatic performance, both historical and contemporary, can signify forms of witness-bearing. Applied to modern contexts, her critical strategies provide insight into how operatic performance choices can satisfy collective responsibilities to engage current issues of domestic violence and women’s rights, by breaking down barriers between stage and spectator and emphasizing female perspectives. Molly has received grants to present her work at major musicology, French studies, and trauma studies conferences in the US and abroad. She currently teaches music history and writing classes at Northeastern University and piano at the Dedham School of Music in Dedham, MA. A French enthusiast, she spent summer 2018 studying the language in an immersive environment at Middlebury College in Vermont. Molly received her MM in music history from Bowling Green State University and her BA in music from Hillsdale College. She currently lives in Providence, RI with her husband, Nathan, and her dog, Clara.<br />
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<b>3:30pm The power of the <i>femme fragile</i>: How Lili Boulanger gave feminine voice to Debussy’s sound world in a culture that silenced women – Madison Spahn (Boston Conservatory at Berklee)</b><br />
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Lili Boulanger is well known as the first woman to claim the Grand Prize in composition at the Prix de Rome in 1913, as well as for her untimely death at the age of 24. With rare exceptions (such as the scholarship of Annegret Fauser), her work is most often approached through this limited biographical lens, without consideration for her multifaceted identity and the larger sociocultural implications of her work. She entered a world in which women were excluded from the professional sphere, in which female voices in literature and art were effectively silenced, and despite actively distancing herself from the <i>femme nouvelle</i> movement, she had a critically important role in giving voice to women who otherwise went unheard. Although her musical work met rare critical acclaim, many critics reduced her to and even idolized her <i>femme fragile</i> image, placing her in a position of weakness next to her male contemporaries. As I argue in this paper, however, it was exactly this position which allowed Boulanger the freedom to develop a genuine feminine compositional voice within the French prewar musical scene.<br />
As an initial point of comparison, examination of works of male contemporary Claude Debussy featuring prominent female characters (<i>L’enfant prodigue</i>, <i>Pélleas et Mélisande</i>), in combination with contextual details of Debussy’s relationships with women, confirms his one-dimensional, stereotypically reduced approach to feminine narrative. Analysis of personal anecdotes as well as critical discourse surrounding Boulanger establish her popular characterization as a fragile, prodigal young woman in a constant state of suffering. Critical examination of several works by Boulanger (<i>Faust et Hélène</i>, <i>Clariéres dans le ciel</i>, <i>La princesse Maleine</i>) elucidate how Boulanger incorporated Debussy’s techniques into a wholly unique compositional style that, intentionally or not, gives a more personal voice to stories of the female experience. This study places Boulanger in a larger sociocultural context in which her work and its popularity provided a vehicle for greater authenticity in female narratives.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSowsrmnMr_2u3OJcE_5Urf8a7G2OL94c0TS5xXgU1WuO2316S2OncyIpwmYOndjW2T0Ma_oKjC0gtDaWAZHE3inuJvZV6am0rBXJfZCOccVDsKhGBSBa9vznqsJLGHqBaCij1mrRL2y7r/s1600/Madison+Spahn+2017_+-31-4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSowsrmnMr_2u3OJcE_5Urf8a7G2OL94c0TS5xXgU1WuO2316S2OncyIpwmYOndjW2T0Ma_oKjC0gtDaWAZHE3inuJvZV6am0rBXJfZCOccVDsKhGBSBa9vznqsJLGHqBaCij1mrRL2y7r/s200/Madison+Spahn+2017_+-31-4.jpg" width="200" /></a><b>Madison Spahn</b> hails from Sarasota, FL and is currently pursuing her Master of Music degree in Voice Performance at Boston Conservatory at Berklee under the tutelage of Kendra Colton. She received her Bachelor of Arts in Music from Duke University (2016), where she completed an honors thesis entitled “The Evolution of a Woman’s Life and Love: A Performer’s Guide to <i>Frauenliebe und Leben</i>” under the direction of R. Larry Todd. She is an active performer and has recently appeared in productions of Le Nozze di Figaro with the Miami Music Festival and Albert Herring with Chicago Summer Opera. In Boston, she also sings with The Boston Cecilia and as soprano section leader at Old West Church.<br />
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<b>4:00pm “All my heart, in this my singing:” Amy Beach and the Women's Clubs of New England – Lili Tobias (Swarthmore College)</b><br />
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Scholars and critics have regularly chosen to focus on the large-scale works of Amy Beach in the context of the concert hall, situating her within a well-rehearsed narrative of “masters” and “masterworks,” aiming to prove (or disprove) her “greatness.” Yet such an approach paints an inaccurate picture of the ways in which Beach interacted with music and contributed to American musical culture over the course of her life. In actual fact, Beach’s compositional career overwhelmingly centered on creating music for women within the decidedly gendered context of women’s social clubs and societies, and her participation within this musical landscape was pivotal to her success as a composer.<br />
In this paper, I focus on her songs, and in particular, the <i>Three Browning Songs</i>, Op. 44, within the context of the women musicians, composers, and listeners for whom these compositions were written. Using a graph model I have developed, I demonstrate that Beach’s harmonic language, contrary to the multitude of comparisons to that of the German Romantics, actually coincides with that of contemporary American parlor song writers. This is because having a common musical system facilitated social music-making and fostered a strong sense of community, providing a common base of musical knowledge that invited participation from everyone for whom it was familiar. I argue that Beach’s songs and other small-form works arose for the purpose of forming bonds of community, where ideas of “originality” or “greatness” were not the foremost metrics of musical value, and that these works were integral to her identity as a composer. In order to sufficiently discuss Amy Beach’s contribution to American music, I argue that one must first situate her creative work within the context in which it was principally created.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4DuWc9g-731oFq4tInaZqJKxa1CRDlCy-UlZW9TWNXFGsG_3-uQj2jKH-5QmyYU3se9vcABiFc8DWUPzkVALzShiAAuQ9gaI15PX_vlcpmLpo1eW_myZbV934BI1hWfzGvk2eHucz9s5C/s1600/Lili+Tobias%252C+Photo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4DuWc9g-731oFq4tInaZqJKxa1CRDlCy-UlZW9TWNXFGsG_3-uQj2jKH-5QmyYU3se9vcABiFc8DWUPzkVALzShiAAuQ9gaI15PX_vlcpmLpo1eW_myZbV934BI1hWfzGvk2eHucz9s5C/s200/Lili+Tobias%252C+Photo.jpg" width="200" /></a><b>Lili Tobias</b> is a senior at Swarthmore College, majoring in Music and Linguistics. Her current scholarly interests include women composers of vocal music, including Amy Beach and Pauline Viardot-García, and in general, the intersection of music and gender. Lili also studies composition with Gerald Levinson.<br />
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<b>4:30 Refreshments</b><br />
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ALL AMS-NE Attendees are cordially inited to attend the <b>Wellesley College <a href="https://www.wellesley.edu/events/node/160571" target="_blank">Classical Faculty Concert</a> </b>at <b>7:30 pm in Jewett Auditorium</b>, featuring Lois Shapiro (piano), Laura Bossert-King (violin/viola), David Russell (cello) , Franziska Huhn (harp), Deborah Selig (soprano), and Jane Starkman (violin/viola).<br />
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AMS-New Englandhttp://www.blogger.com/profile/05434745013313293775noreply@blogger.com0tag:blogger.com,1999:blog-1387117973570591142.post-19626646516617488172018-12-10T18:39:00.000-08:002018-12-11T17:41:32.032-08:00CFP: Winter 2019 Chapter Meeting (23 February, Wellesley College (MA))<div style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: small;">
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<span style="font-family: "times new roman" , serif;">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.</span></div>
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<span style="font-family: "times new roman" , serif;">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 <b>Tuesday, January 15, 2019</b> via email to Karen Cook: kacook -at- </span><u><span style="color: #1155cc; font-family: "times new roman" , serif;"><a data-saferedirecturl="https://www.google.com/url?q=http://hartford.edu/&source=gmail&ust=1544582168830000&usg=AFQjCNEmP4Je3V2CJgjGB-HN6ld_UnlQCg" href="http://hartford.edu/" style="color: #1155cc;" target="_blank">hartford.edu</a></span></u><span style="font-family: "times new roman" , serif;">.</span></div>
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<span style="font-family: "times new roman" , serif;">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.</span></div>
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<span style="font-family: "times new roman" , serif;">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).</span></div>
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<b><span style="font-family: "times new roman" , serif;">Program Committee Members:</span></b><span style="font-family: "times new roman" , serif;"></span></div>
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<span style="font-family: "times new roman" , serif;"><span class="il">Karen</span> M. Cook, University of Hartford, chair</span></div>
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<span style="font-family: "times new roman" , serif;">Kate Galloway, Wesleyan University</span></div>
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<span style="font-family: "times new roman" , serif;">Timothy Mangin, Boston College</span></div>
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<span style="font-family: "times new roman" , serif;">Emiliano Ricciardi, University of Massachusetts, Amherst</span></div>
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<span style="font-family: "times new roman" , serif;">Gail Woldu, Trinity College</span></div>
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