Musicology Colloquium Archive

Spring 2024

January 12: Halina Goldberg, “The Jewish Inn in the Polish National Ballet”
January 19: Samantha Hark, “As the Parish Was Perishing: A Theological Perspective on Black Musical Activism During the AIDS Crisis in the United States”
January 26: Sarah Sabol, “Taking Up the Cross: Difficulty, Effort, and Contemplation in Three Cruciform Riddles”
February 2: Ayana Smith, “Inclusive Music Histories: On Origins, Belief, and the Power of Listening”
February 23: GTA / GMA Symposium
March 1: Daniel R. Melamed, “J. S. Bach, Multiple ‘Parallel Proportions,’ and U. S. Tax Enforcement”
March 8: Alessandra Jones, “Collecting Impulses: Folklore, Music, and Informal Empire in Nineteenth-Century Italy”
March 15: [Spring Break, No Colloquium]
March 22: Peter Burkholder Lecture Series | Ford-Crawford Hall
William Gibbons (SUNY Potsdam), “Ode to Joysticks: Canonic Fantasies and the Beethoven of Game Music”
April 5: Professional Development Workshop: On Publication
(A panel with Ayana Smith, Noriko Manabe, and Sergio Ospina Romero)
April 12: Sarah McDonie, “Reclaiming Connection through One Turtle and Billions of Cells: A Cybernetic Approach to the Work of Meredith Monk”
April 19: Iryna Yahodzynska, “Ukrainian music of wartime”
[POSTPONED] April 26: Peter Burkholder, “Schoenberg, Ives, and the Evocation of the Familiar”

Fall 2023

September 1: Phil Ford, “The View from the Cheap Seats at the UFO Show”
September 8: Giovanni Zanovello, “Dissecting a Kingfisher”
September 15a; Jacobs School of Music Distinguished Lecture Series | Ford-Crawford Hall | Birgit Lodes (University of Vienna), ““Reframing the song cycle An die Ferne Geliebte op. 98: Beethoven the Consoler”
September 22: Professional Development Workshop: On Public Speaking
October 6: Kirby Haugland, “Staging an Effective Revolution: Lodoïska in Habsburg Europe”
October 20: Sergio Ospina Romero, “Talking Machine Empires and the Early Sound Recording Business in Latin America and the Caribbean”
October 27: Meredith Michael, “Wordlessness, Dissolution, and Cosmic Allure”
November 3: Miguel Arango Calle, “Ending with Flair: Final Transformations in Late-Eighteenth-Century Magical Operas”
November 17: Professional Development Workshop: On Doctoral Programs and Other Professional Paths

Spring 2023

January 13: Halina Goldberg, “The Piano Virtuosa at Home and Away: Transnational Salon Networks of Maria Szymanowska, Maria Kalergis-Muchanoff, and Marcelina Czartoryska”
January 27: Oladele Ayorinde (Visiting Assistant Professor, Folklore and Ethnomusicology), “Hearing Postcolonial Theory through African Choralism: Themes, Topics and Aesthetics in Modern African Choral Music”
February 3: Massimo Ossi, “Of Keys, Clefs, Locks, and a Rogue Polytextual Madrigal: (Bawdy) Humor in Antonfrancesco Doni’s Dialogo della musica (1554)
February 10: Professional Development Session: Seth Walker (Director of International Partnerships, Office of the Vice President for International Affairs)
February 17: Peter Burkholder Lecture Series | Ford-Crawford Hall | Mark Burford (R.P. Wollenberg Professor of Music at Reed College), “’A Good Musical Education’: Mahalia Jackson and the Legibility of Black Women’s Voices”; co-sponsored by JSOM Diversity & Equity Committee
February 24: Chelsey Belt, “Comic Song and Oral Culture: The Archiving Influence of Laughter”
March 3: Peter Burkholder, “Rewriting the History of Music, and Rethinking How to Listen.”
March 10: Devon Nelson, “Contextualizing Music in 18th Century Authenticity Debates”
March 24: Fritz Schenker (St. Lawrence University), “The Filipino Fox-trot”: Manila’s Popular Song Industry in the 1920s”; co-sponsored by the Presidential Arts and Humanities Fellowship
April 7: Travis Whaley, “What was Intabulation?”
April 14: Howell Petty, “Queering Fidelio: An Asexual Exemplar”
April 21: Yishai Rubin, “The Plague and St. Macharius in Medieval Ghent”
April 28: Bridget Foley, “You Can(‘t) Play with Us: Puzzle Canons and Huizinga’s Magic Circle”

Fall 2022

September 16: Aaron Riedford, “Hillbilly Talent and Hootenanny Cultists: “Folk” in a 1950s Pop Music Landscape”
September 23: Sergio Ospina Romero, “The Dawn of the Jazz Age in the Caribbean: Dance, Consumer Culture, and the Imperial Shape of Modern Entertainment”
September 30: Christine Wisch, “(En)Gendering Music in El Correo de las Damas (1833–1835)”
October 7: Patrick Domico, “Composing Refuge: Medtner as Theorist”
October 21: Mingfei Li, “‘Ten Years of Turbulence’: Music and Musicians during the Chinese Cultural Revolution”
October 28: Alessandra Jones, “The Piedigrotta Festival and the Mysterious Origins of Neapolitan Song”
November 4: Nicolette van den Bogerd, “Composing the Polish Jewish Past: the Politics of Memory in Szymon Laks’s ‘Elégie pour les villages juifs’”
November 18: Professional Development Session: “Introduction to External Funding for Research” with Paul Fogleman, Director of National Scholarships & Awards at IU
December 2: Giovanni Zanovello, “Einstein’s Frottola and Its Legacy”

Spring 2022

January 14: Halina Goldberg “Music and Charity in Nineteenth-Century Lwów: The Concept and Context of Princess Jadwiga Sapieha’s ‘Musical Album of Polish Composers’”
January 21: Professional Development Series: “Mental Self-Care in Graduate School,” with Dr. Brad Stepp, HSPP (Associate Director of IU Counseling & Psychological Services)
January 28: Professional Development Series: “Choosing a Ph.D. Program and Crafting an Excellent Application”
February 4: Phil Ford, “Some Thoughts on Public Musicology”
February 11: Ana R. Alonso Minutti, “Writing as an Affective Practice: Mario Lavista, a Relational Composer”
February 18: Professional Development Series: “Career Resources at IU.” Special guest, Trevor Martin Verrot (Career Coach, IU Walter Center for Career Achievement)
February 25: Massimo Ossi, “Monteverdi’s Self-Borrowings, Secular to Sacred”
March 4: Paul Borg, “Beyond the Composer Catalog: Describing Content in Lesser-Known Manuscripts”
March 11: Deanna Pellerano, “The Many Lives of Death: A Functional Perspective on the Early Sixteenth-Century Déploration”
April 1: INAUGURAL PETER BURKHOLDER LECTURE | Ford Hall
Anna Maria Busse Berger (University of California, Davis, emerita), “Bruno Gutmann, the WaChagga, and Jugendbewegung”
April 8: Sarah Sabol, “Was Isaac an Austrian?: The Construction of National Musical Identity in the Denkmäler der Tonkunst in Österreich”
April 15: Giovanni Zanovello, “Monk See, Monk Do?”
April 22: Kaylee Simmons, ““I Can Show You Incredible Things”: What Taylor Swift Can Teach Us About Commonplace Teenage Trauma”
April 29: Miguel Arango Calle, “Sets, Settings, and Stage Décor in Die Zauberflöte and Contemporary Magical Operas”

Fall 2021

August 27: Grace Pechianu, “War of the Waves: Radio Free Europe’s Crusade for Freedom in Early Socialist Romania”
September 3: Elizabeth Frickey, “Schoenberg’s (De)Compositions: Destruction of Tonality, Woman, and Nature in Das Buch der hängenden Gärten”
September 10: Devon Nelson, “Preserving Authenticity and Exposing Forgery in Eighteenth-Century Britain.”
September 17: Kirby Haugland, “La famiglia svizzera and Operatic Genre in Dresden and Milan.”
September 24: Nicolette van den Bogerd, “The Composer as Intellectual: Biblical Interpretation and Jewish Martyrdom in Alexandre Tansman’s Isaïe le prophète”
October 1: Chelsey Belt, “Performing Humanism: Nostalgia for a Poetic Golden Age in Early Seventeenth-Century Solo Song.”
October 15: Sergio Ospina Romero, “The Jazz Age in the Caribbean: Musical Transactions and Jazz Modalities in New Orleans, Havana, and Beyond”
October 22: Judah Cohen, “The Invention of Synagogue Music (1760-1840) and What That Says About Musicology”
October 29: Professional Development Series: “Life After Coursework”
November 5: Professional Development Series: “Hot Topics and Classroom Discussion”
December 3: Elizabeth Hebbard, “Where do books belong? Empires of cultural heritage”

Spring 2021

February 5: Halina Goldberg, “The Banished Masters and the Shadow Legion of “Greats”: Curating an Inclusive Museum Gallery of Polish Jews in Music”
February 12: No colloquium (Trauma Conference)
February 19: Professional Development Series: Standing Out
February 26: Aaron Riedford, “People, Process, Product? Discourse and Ideology in American Folk Music, 1950-1960”
March 5: Bradley Berg, “Encyclopedic Études: Charles-Valentin Alkan’s Op. 39 Studies and the French Pianist-Composer Archetype”
March 12: No colloquium (Handel Conference)
March 19: Devon Nelson, “Antiquaries, Female Harpists, and the Survival of the Bardic Tradition”
March 26: Daniel Bishop and Gabriel Lubell, “Gaston Bachelard and the Imaginal in Musical Media”
April 2: Meredith Michael, “Music of the Spheres: Circles and Cosmic Order in 20th-Century Music and Science Fiction”
April 23: Caitlin E. Brown, “Dramatizing the Future: The MacDowell Colony and the 1910 Peterborough Pageant”
April 30: Jillian Rogers, “‘There’s Always Time to Talk about Feelings’: Taking a Trauma-Informed Approach to Musicological Teaching and Training”

Fall 2020

September 11: Ayana Smith, “Race and Representation in the Music History Classroom”
September 18: Judah Cohen, “Bernstein & Robbins’ ‘Dybbuk Variations’: A Study in Narrative Intersection”
September 25: Professional Development Series: “Applying for PhD Programs in the COVID Age”
October 2: Erika Honisch, Deanna Pellerano, and Giovanni Zanovello, “Decolonizing Early Music or Decolonizing from Early Music?”
October 9: Sergio Ospina Romero, “The Transnational Circulation of Sound Recordings in the Era of the Acoustic Phonograph”
October 16: Professional Development Series: “Interdisciplinary Scholarship and Interdisciplinary Teaching”
October 23: Kaylee Simmons, “‘She sings a song of her desire’: Female Song Culture of the Dutch Republic as Represented by Gesina ter Borch”
October 30: Patrick Domico, “The Politics of Russian Music Abroad: Resisting Modernism in Medtner and Ilyin”
November 20: Professional Development Series: Beyond the Western Canon: Building Anti-Racist Teaching and Research Practices (with Greg Siering, Director of the Center for Innovative Teaching and Learning; and Nicky Belle, Director of the First Nations Educational & Cultural Center)
December 4: Daniel R. Melamed, “A Compositional History for Die Zauberflöte”
December 11: Massimo Ossi, “Monteverdi’s Orfeo as Classical Tragedy”

Spring 2020

January 17: Phil Ford, “Diviner’s Time”
January 24: Professional Development Series “Applying for Academic Jobs at Teaching Institutions”
January 31: Maura Sugg, “Riddle Me This: An Extension of Topic Theory to Renaissance Music”
February 7: Ayana Smith, “Immagini funeste: The Afterlife of Operatic Ocularcentrism in Handel’s London”
February 14: Professional Development Series “How to Prepare for Diverse Careers as a Musicologist”
February 21: Stewart Duncan, “The Role of Music in British Diplomacy, 1934-1939: The British Council and National Identity Abroad”
February 28: Christine E. Wisch, “Piermarini’s Harem: Fashioning the Musical Image of the Spanish Nation”
March 6: J. Peter Burkholder, “Making Old Music New”
March 13: Matthew Leone, “Jan Ladislav Dussek: Music’s ‘Prodigal Son’”
March 27: Michael Bane, “Music and Sociability in French Salons around 1700: Or, How to Compliment a Musical Friend”
April 3: Professional Development Series “The Musicologist as an Archivist and Administrator”
April 10: Inaugural Peter Burkholder Musicology Lecture (Ford-Crawford Hall)
Anna Maria Busse Berger (University of California, Davis), “Bruno Gutmann, the Chagga, and Jugendbewegung”
April 17: Nicolette van den Bogerd, “‘Music as a Distorted Mirror’: Memory and Trauma in Szymon Laks’s Elégie pour les villages juifs”
April 24: Joseph Stiefel, “Processing Trauma through Concert Spirituals: Margaret Bonds’ Spiritual Suite for Piano”
May 1: Devon Nelson, “Antiquarians, Female Harpists, and the Survival of the Bardic Tradition”

Fall 2019

August 30: Katherine Altizer, “‘Sing Out For Him!’: Rendering Cetaceans and Whalers in Sonic Adaptations of Herman Melville’s Moby Dick”
September 6: Andrew Barrett, “Shared Visions of the Eternal: Joaquín Rodrigo’s Fantasía para un gentilhombre and Francoist Spain”
September 13: Chelsey Belt, “Remembering the Sound of the Lira da Braccio in the Seventeenth Century”
September 20: Daniel R. Melamed, “Rethinking Bach Codes”
September 27: Professional Development Series: “Navigating the Musicology Academic Job Market” (Elmi, Rogers, Zanovello)
October 4: Jillian Rogers, “The Importance of Being Pleasing: Laughter as a Salve for Trauma in Jean Cocteau’s Interwar Musical Theater Productions”
October 11: Giovanni Zanovello, “Singing, Writing, and Printing Songs in North-Eastern Italy in the Fifteenth Century”
October 25: Professional Development Series: “Graduate Life After Coursework”
November 8: Sergio Ospina Romero, “Lucho Bermúdez and the Jazz Age in the Caribbean”
November 15: Alex Reed (Ithaca College), “Gender and Genre in Laurie Anderson’s Big Science”
December 7: Elizabeth Elmi, “Pastoral Politics in the Lyric Song of Late-Fifteenth-Century Southern Italy”

Spring 2019

January 11: Ayana Smith, “Like the Light of Liberty: Art, Music, and Politics at the Tennessee Centennial Exposition (1897)”
January 18: Carolann Buff, “A Mirror for Princes and a Model for Motets: The Influences of Rex Karole–Letitie gentes on Early Fifteenth-Century Motet Style”
January 25: Professional Development Event: Suzanne Ryan, “Navigating the Academic Book Publishing World”
February 1: Massimo Ossi, “A Doric Song and a Broken Lyre: Music in the Hypnerotomachia Poliphili (1499)”
March 22: Michael Bane, “Guitar Song in Seventeenth-Century France: New Sources, New Perspective”
March 29: Paul Borg, “Chant in the Lilly Library’s Guatemalan Music Manuscripts”
April 5: Giuliano Di Bacco, “‘You Got a Letter from the Pope’: On Musicians’ Careers in the Fourteenth Century”
April 12: Judah Cohen, “Soundtracks of Westward Expansion: Jews and Music in Mid-19th Century California”
April 19: Daniel R. Melamed, “Does Bach Add Up?”

Fall 2018

August 31 Phil Ford, “The Devil’s on your Side: A Meditation on the Perennially Disreputable Business of Hermeneutics”
September 7 Johanna Frymoyer, “The Middle Ages and the Alt-Right: The Case for Incorporating the Islamic World into Early Music Curriculum”
September 14 Samuel Dwinell, “Intimate Opera’: Encountering Blackness in Tippett’s The Knot Garden”
September 21 Daniel Bishop, “Divining the Audiovisual: J. S. Bach in the Science Fiction of Andrei Tarkovsky”
September 28 Mollie Ables, “Musicians’ Networks and the Tourism Industry in Early Modern Venice: Methods of Visualizing Data”
October 12 Elizabeth Elmi, “Performing Culture and Community in the Kingdom of Naples: Italian-texted Songs and Their Sources”
October 19 Giovanni Zanovello, “Songs Without Dukes: Singing Communities in Veneto Cities”
November 9 Professional Development Series: “Interdisciplinary Scholarship: Training, Publishing, and Teaching” (Cohen)
November 30 Christopher Chowrimootoo (University of Notre Dame), “Copland’s Styles: Musical Modernism, Middlebrow Culture and the Appreciation of New Music”
December 7 Kirby Haugland, “Leonore in Leipzig (and Dresden): Saxon Opera on the Eve of Transformation”

Spring 2018

January 12 Phil Ford, “Garmonbozia: A Daimonic Commentary on Nuclear Fear”
January 19 Simon Morrison (Princeton University), “Galina Ustvolskaya Inside, Outside, and Beyond Music History”
January 26 Professional Development Series (students-only event): “GMA Roundtable on Student Welfare”
February 2 Judah Cohen, “Masculinizing the Cantorate: The Sagerin and Her Erasure from Cantorial History”
February 9 Amanda Jensen, “Kircher’s Musical Wonders”
February 16 Johanna Frymoyer, “Topics and Stylistic Register in Russian Opera, 1775-1800”
February 23 Molly Doran, “Marguerite, Medicalization, and Women’s Trauma in Gounod’s Faust”
March 2 Devon Nelson, “Have you Doctor Burney’s History?”
March 9 Renata Pieragostini, “On Music and Healing in the Fourteenth Century”
March 23 Professional Development Series: “Careers for Musicologists Beyond Academia,” (panelists: Alison Mero, Brent Reidy, Amanda Sewell, Nik Taylor)
March 30 Michael Bane, “Marin Marais and His Public”
April 6 Patrick Domico, “Exile at the Dacha: Displacement, Nostalgia, and Medtner’s Forgotten Melodies”
April 20 Daniel Melamed, “Parody is Overrated”

Fall 2017

September 1 David Rugger, “Do you Nomi?”
September 8 Diana Matut, Guest Lecturer, Musicology Department; co-sponsored by Borns Jewish Studies Program, “Henekh Kon: Beyond the Dybbuk”
September 22 Johanna Frymoyer, “Metrical Phase Shift and Dance Topics in Stravinsky’s Ballets”
October 13 Michael Bane, “Armida/Armide: Act 2, Scene 5 of Lully and Quinault’s Armide (1686) and the Rewriting of Tasso in France”
October 20 Giuliano Di Bacco, “Representing Music Documents in Digital Format. An Introduction to the Music Encoding Initiative”
November 3 Massimo Ossi, “Italian Style and Schütz as Agent of Cultural Transfer”
November 17 Giovanni Zanovello, “Heinrich Isaac and the Vernacular Soggetto Equivoco”
December 1 Professional Development Series: Misti Shaw, “Opportunities to Apply the Information Literacy Framework in the Music History Classroom”

Spring 2017

January 13: Phil Ford, “Style as Analysis”
January 27: David Rugger, “Alfred Deller, the Countertenor Voice, and English Masculinity”
February 3: Massimo Ossi, “‘What does your lordship want the music to do?’ Representation, Mimesis, and Instrumental Music in the Early 17th Century”
February 10: Giovanni Zanovello and Kate Altizer, “#Latergrams”
February 17: Michael Bane, “Divergent Vocal Performance Practices in 17th-Century Paris”
February 24: Elizabeth Stoner, “Mousike, Barbarized: Anti-Democratic Sentiments in Athenian Musical Writings”
March 3: Judah Cohen, “The Wave: Translating a Social Experiment into Youth Musical Theater”
March 24: Professional Development Session: “Developing/Preparing an Article for Publication in a Scholarly Journal” (Daniel Melamed)
March 31: Halina Goldberg, “Chopin’s Oneiric Soundscapes and the Role of Dreams in Romantic Culture”
*April 5: James Webster (Cornell University), “Haydn’s Sonata Theory”
Note that this event is part of the Music Theory Colloquium Series, which takes place at 3:30 p.m. on Wednesdays in M 267.
April 7: Ayana Smith, “Giovanni Giacomo Komarek, a Publisher near the Trevi Fountain”
April 14: Katie Chapman, “The Resonance of Borrowed Melody in Troubadour Song”
April 21: Anne Lake, “Deducing Moriarty: BBC’s Sherlock and the Musical Acousmêtre”
April 28: Devon Nelson, “Joseph Ritson’s Ancient Songs (1790)”

Fall 2016

September 2: Kirby Haugland, “A Question of Influence: John Adams and Charles Ives”
September 9: Daniel R. Melamed, “How did ‘Aus Liebe’ get to be so slow?”
September 16: Johanna Frymoyer, “Octatonic and Ombra: The Russian Supernatural as a Musical Topic”
September 23: Judah Cohen, “American Interfaith Musicology, 1880: G. S. Ensel and the Publication of Ancient Liturgical Music“
September 30: Elizabeth Elmi, “Written and Oral Practice in Late-Quattrocento Neapolitan Song”
October 14: Molly Ryan, “‘Our enemies are gathered together’: The Politics of Motets in the Newberry Partbooks”
October 21: Patrick Domico, “Charles Ives’s Substance”
October 28: Effie Papanikolaou, Musicology Department Lecture Series
November 18: No colloquium (Ostiglia Program informational meeting)
December 2: Daniel Bishop, “The Occult Soundtracks of Guy Maddin”

Spring 2016

January 15: Massimo Ossi, “Madrigals in their Place: Intertextuality in Italian Madrigal Books”
January 29: Hyun Joo Kim, “Interpretive Fidelity to Gypsy Creativity: Liszt’s Representations of Hungarian-Gypsy Cimbalom Playing”
February 5: Phil Ford, “Practice and the Self: Findings from the M. C. Richards Papers”
February 12: Elizabeth Stoner, “‘Technology Graced with Humanity’: Ivor Darreg’s Megalyra”
February 19: Christine Kyprianides, “Music and Politics on the London Stage: St Martin’s Hall, 1850-1867”
February 26: Molly Ryan, “Music, Spirituality, and Reform after the Sack of Rome”
March 4: J. Peter Burkholder, “From Improvisation to Symphony: Charles Ives as Organist and Composer”
March 11 (Society for American Music in Boston): No colloquium (Musicology Department Lecture Series)
March 25: Professional Development Event: “The Faculty Hiring Process: How It Works and How You Work It”
April 1: Jillian Rogers, “‘Si douce et si cruelle’: The Paradox and Persistence of Corporeal Memory in Nadia Boulanger’s Work of Mourning”
April 15: Mollie Ables, “Giovanni Legrenzi and the Chiesa Santa Maria della Fava in Venice”
April 22: Katie Chapman, “Crusaders or Invaders?: Troubadour Song and the Albigensian Crusade”
April 29: Daniel Rogers, “A Reevaluation of Musical Imitatio in the Late Fifteenth and Early Sixteenth Centuries”

Fall 2015

September 4: Ayana O. Smith, “Specularity, or, What a Comet, the Telescope, and Mirrors Have to Do with Seventeenth-Century Italian Opera”
September 11: Judah Cohen, “Can a Cantor Do a Wedding?: Debates Over the Legal Status of American Jewish Musical Clergy, 1924-1964”
September 18: Virginia Whealton, “Imagining a Nationalist Future through Polish Music: Franz Liszt’s F. Chopin”
September 25: Giuliano Di Bacco, “Philipoctus de Caserta: The Authority of a Myth”
October 2: Elizabeth Elmi, “Poetry and Song in Aragonese Naples: Written Traces of an Oral Practice”
October 16: Giovanni Zanovello, “‘You Will Take This Sacred Book’: The Musical Strambotto as a Humanistic Gift”
October 23: Alison Mero, “‘Genius, Power, and Originality’ or ‘Stolen Wholesale’: The Concepts of Originality and Plagiarism in the Criticism of Two English Romantic Operas”
October 30: Claudio Vellutini, “Donizetti and Viennese Cosmopolitanism”
November 20: Kate Altizer, “An Ethics of Musical Attention: Toward a Philosophy of Interspecies Musicking”
December 4: Daniel R. Melamed, “Two Sanctus Settings by Johann Christoph Altnickol” (SEM in Austin, Texas)

Spring 2015

January 16: Halina Goldberg, “Descriptive Instrumental Music in 19th-Century Poland: Genre, Context, and Performance”
January 30: Tomas McAuley, “What Is Music and Philosophy?”
February 6: Giovanni Zanovello, “Renaissance Humanism and Music 5.0”
February 13: Marysol Quevedo, “Beyond Afrocubanismo: Cuban Classical Music Composition, 1940-1959”
February 27: Derek Stauff, “The Political Context of Schütz’s ‘Saul, Saul was verfolgst du mich’”
March 13: Professional development event: Musicology on the Internet
March 27: Christopher Lynch, “Broadway at the Metropolitan Opera House: Producing Opera in the 1940s”
April 3: Lynn Hooker, “‘Gypsy Music’ as Labor in Twentieth-Century Hungary”
April 10: J. Peter Burkholder, “A Listener’s Companion for Ives”
April 24: Nathan Landes, “Clowns Are Not Metal: Performance, Identity, and Representation in Heavy Music”

Fall 2014

September 12: Judah Cohen, “Liturgical Music and Generational Change: Debbie Friedman’s Early Career”
September 26: Christine Kyprianides, “John Hullah and the Advancement of Musical Literacy in Victorian Britain”
October 3: Professional development event: “Careers Beyond the Academy”
October 17: Phil Ford, “We Are Our Demands: Occupy Wall Street and Sound Practice”
October 31: Lisa Cooper Vest, “Shades of Cultural Backwardness: Negotiations between Composers and the State in Communist Poland 1955-1958”
November 14: Kelly Christensen, “Musical Court Culture in ‘The Merchant of Venice’”
November 21: Kristina Muxfeldt, “Schubert’s ‘Wehmuth’ and ‘the famous bass’”
December 5: Dan Bishop, “Sex, Sin, and Sound in the Dream Factory: Imagining Old Hollywood in the 1970s”
December 12: Daniel Rogers, “The Voice of No-Body in Steffano Landi’s La morte d’Orfeo”

Spring 2014

January 17: Halina Goldberg, “‘On the Wings of the Beautiful Towards the Radiant Spheres of the Infinite’: Maskilic Views on Liturgical Music in 19th-Century Warsaw”
January 31: Professional development event—“Get a Job!”
February 7: Daniel R. Melamed, “Did J. S. Bach’s Listeners Analyze?”
February 14: Marcin Konik (Jagiellonian University), “Cosmology of 16th-Century Music Treatises”
February 21: Professional development event—“Get a Grant!”
February 28: Molly Ryan, “The Motet and Savonarolan Spirituality in Florence, ca. 1530”
March 14: Matthew Leone, “Albert Lortzing’s Szenen aus Mozarts Leben: A Reading of Mozart’s Myth and Music”
March 28: Ayana Smith, “Specularity: La forza della virtù (Venice, 1693) and the Reflected Gaze”
April 4: Laura Stokes, “Felix Mendelssohn’s Deutsche Liturgie and
the Medievalist Political Imagination”
April 11: Giovanni Zanovello, “Jacobetus, Marchetus, Perinus, and Other Little Ones: For a Small-Men Music History of the Padua Cathedral”
April 18: Virginia Whealton, “Henri Herz’s Mes Souvenirs de Voyage en Amérique and Mes Voyages en Amériques: Autobiographical Self-Fashioning within the Genre of Travel Literature”
April 25: Marysol Quevedo, “Experimental Music for the People: Avant-garde Composition in Post-1959 Cuba”
May 2: Information session on the MA Exam

Fall 2013

30 August: Special presentation: Giovanni Zanovello et al., “The Ostiglia Project, Year 2”
6 September: Phil Ford, “Dig”
13 September: Michael Long, “Hearing Josquin Hearing Busnoys”
20 September: Judah Cohen, “Berlin Stories: A Tale of Four Musicals”
27 September: Derek Stauff, “Psalm 83, Confessional Strife, and the Leipzig Convention of 1631”
4 October: Lynn Hooker, “Educating Gypsy Musicians: The Rajkó Ensemble in State Socialist Hungary”
11 October: Professional development event “Dissertating”
25 October: Tomas McAuley, “Roll Over, Wackenroder: Friedrich Schlegel¹s Place in Musical Thought c. 1800”
1 November: Nik Taylor, “Performance History of Georg Philipp Telemann¹s Musicalisches Lob Gottes (Nuremberg, 1744)”
22 November: Special presentation: Giuliano Di Bacco et al., “New Initiatives at the Center for the History of Music Theory and Literature”
6 December: Paul Killinger, “Sonic Self-Marginalization in Top-40 Country Music”

Spring 2013

11 January: Daniel R. Melamed, “J. S. Bach’s Christmas Oratorio and the Jews”
25 January: Dana Barron, “Johannes Lupi and the English Masses in Trent 87 and 92”
1 February: Michael Long, “Kenneth Anger and the Fabric of Film Music”
8 February: Halina Goldberg, “Nationalizing the Kujawiak and Constructions of Nostalgia in Chopin’s Mazurkas”
15 February: Professional Development Series: “Tweeting Musicology:”
22 February: Lisa Vest, “The Polish Composers’ Union as Arbiter between Individual Authorship and Collective Style”
1 March: Carolyn McClimon, “The 19th-Century Reception of J. S. Bach’s Christmas Oratorio“
8 March: Dan Bishop, “The Sounding Spaces of Nostalgia in The Last Picture Show and American Graffiti“
22 March: Giovanni Zanovello, “Plainchant and the Liturgical Identity of the Servants of Mary”
29 March: Peter Burkholder, “Style Contrast as a Formal and Expressive Device in Early Music”
12 April: Kristina Muxfeldt, “Schubert’s Freedom of Song, if not Speech”
19 April: Kerry O’Brien, “Steve Reich and Technology in the 1970s”
26 April: Virginia Whealton, “Franz Liszt: The Virtuoso Musician as Travel Writer”

Fall 2012

24 August: Special presentation: The Ostiglia Project
31 August: [CHMTL Conference]
7 September: Phil Ford, “Mailer’s Sound”
14 September: Alison Mero, “John Hullah and Charles Dickens’s ‘Decidedly English’ Opera”
21 September: Profesional Development Series: Research Travel
28 September: Timothy Freeze, “Mahler’s Untimely Romanticism: On the Musical Contexts for Mahler’s Wunderhom Style”
5 October: Ayana Smith, “Images and Imagination in Lully’s Tragédies en musique”
19 October: Judah Cohen, “Imagine This: Musical Theater, Narrative Confluence, and the Problems of Representation”
26 October: Professional development series: Surviving Musicology Conferences
16 November: Lynn Hooker, “Sándor Lakatos, Gypsy Musicianship, and the Modern ‘Folk Orchestra’ in Stalinist Hungary”
30 Novemberl: Amanda Sewell, “Copyright and Its Effect on the Musical Style of Sample-Based Hip-Hop”

Spring 2012

13 January: Prof. J. Peter Burkholder,“Stylistic Heterogeneity and Topics in the Music of Charles Ives”
3 February: Prof. Daniel R. Melamed, “Multi-Day Passions and J. S. Bach’s Christmas Oratorio BWV 248″
10 February: Professional development: Proposing a conference paper
17 February: Prof. Robert Green, “Charles de Janon and the Guitar Music of 19th-Century America”
24 February: Professional development: Applying for fellowships and research grants
2 March: Derek Stauff, “Polemical Broadsheets and Lutheran Music in Saxony during the Thirty Years’ War”
9 March: Prof. Judah Cohen, “Zimrath Yah: A New Source for Understanding Jews and Music in the Late 19th Century”
23 March: Laura Dallman, “Leonard Bernstein and Orchestral Space”
30 March: Giuliano Di Bacco, “A Motet in Honor of Thomas Becket and Other Unknown Music in the Fragments Paris 22069”
6 April: Kerry O’Brien, “Early Minimalism and the Multimedia Magazine”
13 April: Christine Kyprianides,”Music in the Charles Dickens Periodicals”
20 April: Sherri Bishop, “Arcadelt’s Primo libro: A Case Study in 16th-Century Attribution Practices”
27 April: Prof. Giovanni Zanovello, “Dear Brother Antonio: Preparing a Visit to the Annunziata Archive”

Fall 2011

September 9: Prof. Massimo Ossi, “Monteverdi’s Madrigali Guerrieri et Amorosi (1638): An Overview”
September 16: Prof. Matthew Balensuela,”Conflicting Strategies of Management and Memory at the Indiana Roof Ballroom in the Early 1930s”
September 30: Prof. Timothy Freeze, “Becoming Klezmer: Stylistic Reference in the Funeral March of Mahler’s First Symphony”
October 7: Prof. Phil Ford, “Lounging”
October 14: Prof. Alison Altstatt, “Recovering a Lost Office for St. Blaise: An Investigation of Tenth-Century Compositional Process”
October 28: Prof. Ayana Smith, “Deceiving the Eye and Pleasing the Ear, Part 2: Alessandro Scarlatti’s La Statira“
November 4: Visitor, details to be announced
November 11: AMS San Francisco
November 18: Visitor, details to be announced
November 25: Thanksgiving Break
December 2: Amanda Sewell, “Leda and the Swan and Arcadelt’s Il bianco e dolce cigno“

Spring 2011

February 4: Prof. Halina Goldberg, “Chopin’s Albumblätter: Conventions, Contexts and Texts”
March 4: Prof. Giovanni Zanovello, “‘Countenance Italienne’ and Liturgy in Heinrich Isaac’s Missa Misericordias domini“
March 11: Jir Shin Boey, “Self-Reflexivity and the Decivilizing Process in the Keyboard Variations of J.P. Sweelinck”
March 25: Professional Development Series: Getting Control of Dissertation Data
April 1: Jonathan Yaeger, “The Leipzig Gewandhaus Orchestra and gesamtdeutsche New Music”
April 8: Rika Asai, “Music in Radio Drama: Death Valley Days and Dr. Christian“
April 15: Dan Bishop, “Sounding History in Arthur Penn’s Bonnie and Clyde“
April 22: Amanda Sewell, “On ‘Sampling’ as Term and Concept in Popular Music”
April 29: Prof. Massimo Ossi, “Sense and Sexuality in Early Modern Music”

Fall 2010

September 10 Paul Killinger, “Cover Songs as Autobiography, Credentials, Commodity, and Play in Country Music
September 24 Prof. Phil Ford, “John Benson Brooks: The View from Way Out”
October 1 Mollie Ables, “Structure and Context of the Musica Spirituale (1586)”
October 8 Prof. Judah Cohen, “Anne Frank, Copyright, and the Politics of musical Adaptation”
October 15 Prof. Ayana Smith, “Deceiving the Eye and Pleasing the Ear in 17th-Century Rome”
October 22 Lisa Vest, “Educating Audiences, Educating Composers: The Polish Composers’ Union and Upowszechnienie”
November 5 [AMS Indianapolis]
November 12 Prof. Kristina Muxfeldt, “Happy and Sad: Robert Schumann’s Art of Ambiguity”
November 19 Prof. Daniel R. Melamed, “J. S. Bach, J. G. Walther and the Music of Palestrina”
December 3 Prof. J. Peter Burkholder, “Toward a Typology of Musical Borrowing”

Spring 2010

15 January: Jonathan Shull, “Music Theory and Ethics in Book III of Kepler’s Harmonices mundi libri V“
22 January: Kerry O’Brien, “Early Steve Reich and Techno-Utopianism”
29 January: Prof. Ayana Smith, “Catharsis and Character in Handel’s Rodrigo (1707)”
5 February: Prof. Phil Ford, “Ellington the Entertainer”
19 February: Christine Kyprianides, “Dance, Music, and Magic in Late Valois France”
26 February: Prof. Giovanni Zanovello, “High Learning and Frottola in a 1496 Paduan Manuscript”
12 March: Alisa White, “Modern Tradition: Blue Note’s Image and the Blues”
26 March: Elizabeth Elmi, “Music in the Commedia dell’Arte and Monteverdi’s Venetian Operas”
2 April: Thomas J. Mathiesen, “Skindapsos, Pandoura, and Trichordon: Hellenistic Lutes?”
9 April: Sherri Bishop, “The Evolution of the Printed Madrigal Book, 1538-80” and Alison Mero, “Musical Diversity in Victorian English Opera”
16 April: Molly Ryan,“Heinrich Isaac’s Motets and the Manuscript Florence, Biblioteca Nazionale Centrale, II.I.232”
23 April: Prof. Daniel R. Melamed, “Madama Brillante and Le nozze di Figaro“

Fall 2009

18 September: Halina Goldberg, “Authorship, Originality, and Intertextuality in Liszt’s Six polonais de Fr. Chopin“
5 September: Mollie Ables, “Wild Side: Self-Styling and the Aesthetics of Metal in the Music Videos of Mötley Crüe”
October: Lewis Rowell, “Musicology in India: Traditions, Methods, and Problems”
October: Laura Weber, “The Fate of Musica mundana within the Aristotelian Revolution of 13th-Century Paris”
6 October: Marysol Quevedo, “Cuban Cold War Cultural Exchanges: Negotiating Local Identity within an International Context
November: Lynn Hooker, “Bartók’s ‘Nature Music,’ Ecomusicology, and the Hungarian Tradition”
December: J. Peter Burkholder, “Borrowing, Reminiscence, or Coincidence?: Testing the Evidence”

Spring 2009

16 January: Amanda Sewell, “Toward a Theoretical Perspective of Nerdcore Hip-Hop”
23 January: Laura Weber, “Gender Reversal in Handel’s Alcina“
6 February: Giovanni Zanovello, “Gift Transactions and the Circulation of Music in Late 15th-Century Florence”
6 March: Halina Goldberg, “The Jewish Self/The Jewish Other: Performing Identity in the ‘Majufes'”
13 March: Katherine Baber, “The Jazz Trope, Identity, and Community in Leonard Bernstein’s Symphony No. 2”
27 March: Milner Fuller, “Chorus or Soli: Performing Beethoven’s Sanctus“
3 April: Derek Stauff, “The Thomaskirche East Gallery Organ and the St. Matthew Passion“
17 April: Katherine Axtell, “Redemption on the Mississippi? Der fliegende Holländer and Show Boat“
24 April: Gabriel Harkov, “A Narratological Approach to the Music of Platoon‘s Summary Ending”
1 May: Dan Bishop, “Silent Film Music and the Aesthetics of Humor”

Fall 2008

12 September: Phil Ford, “What Is the Sound of Revolution? The Auditory Imagination of the American Radical Left”
9 September: Jonathan Yaeger: “Back in the Day: Historicism in Recent Black American Popular Music”
6 September: Kunio Hara, “The Structure of Nostalgia in Puccini’s Operas”
October: Luiz Lopes, “Performing Villa-Lobos Abroad: The Dissemination and Reception of His Music in the United States (1923-59)”
0 October: Robert Green, “Aristophanes, Rameau, and Platée“
7 October: Professional Development Series: Musicology in the Age of Facebook
4 October: Daniel R. Melamed, “Johann Sebastian Bach and Barthold Heinrich Brockes”
1 October: Professional Development Series: Proposing and Delivering Conference Papers
4 November: Kristen Strandberg, “‘Une véritable consécration’: Revisiting the Question of Chopin’s Influence on Gottschalk”
1 November: Massimo Ossi, “Looking for Precedents for Vivaldi’s Le Quattro stagioni“
December: Judah Cohen, “The Bass Jew: Shylock on the Opera Stage”
2 December: Kristina Muxfeldt, “”Franz Schubert and the Culture of Viennese Censorship: Alfonso und Estrella“

Spring 2008

11 January: Halina Goldberg, “Chopin’s Late Fantasia Pieces within the Context of Nineteenth-Century Fantasia Genres”
18 January: Hans Tischler, “A Report on the Earliest Polyphonic Art Music”
1 February: J. Peter Burkholder, “Music of the Americas and Historical Narratives”
29 February: Thomas J. Mathiesen, “‘Perfuming the Air’: The Heyday of the Theatre Organ, 1918-1930”
4 April: Alison Mero, “Quinario and the Buffa Character in the Libretti of Lorenzo Da Ponte”
11 April: Randy Goldberg, “Clerics vs. Cavaliers: Early Investigations into the Zarlino-Galilei Controversy”
18 April: Nik Taylor, “A Meditation on Peter’s Denial in J. S. Bach’s Passions”

Fall 2007

7 September: Robert Green, “Schubert and the Hurdy-Gurdy: ‘Der Leiermann’ as a Love Duet”
21 September: Ayana Smith: “Image as ‘Truth’ in Alessandro Guidi’s L’Endimione and Gianvincenzo Gravina’s Discorso (Arcadia, 1691)”
5 October: Ann Shaffer: “Composing the North: Environmental Themes in the Works of John Luther Adams and R. Murray Schaefer”
19 October: Phil Ford, “The Holmes Acetates: Hearing and History”
16 November: Massimo Ossi, “The Bard, the Warrior, the Lover, and Their Women in Monteverdi’s Madrigali Guerrieri et Amorosi“
7 December: Sherri Winks, “Marketing and the Madrigal: A Typology for Venetian Madrigal Collections, 1530-1560”

Spring 2007

12 January: Daniel R. Melamed, “Pulling Loose Threads in ‘Nun ist der Herr zu Ruh gebracht’ BWV 244/67”
19 January: Todd Decker (University of California at Los Angeles), “‘You play and I’ll dance.’ ‘No, you dance and I’ll play.’: Fred Astaire’s Solos (1933-1968)”
26 January: Larry Hamberlin (Middlebury College), “Poor Butterfly: From Puccini Opera to Jazz Standard”
2 February: Jane Fulcher, “Romanticism, Technology, and the Masses: Arthur Honegger and the Allure of French Fascism”
9 February: Kristen Strandberg, “Understanding 9/11 Memorial Concert Programs through Reception History”
16 February: Phil Ford (University of Texas at Austin), “Jazz Exotica and the Naked City”
23 February: Professional Development Series: “The Student-Centered Classroom and Active Learning”
2 March: Lisa Vest, “Issues of Gender, Voice, and Politics in K. Penderecki’s Opera The Devils of Loudon (1968)”
23 March: Malcolm Brown, “A Centennial Perspective on Shostakovich”
30 March: Katherine Baber, “Jazz as Trope in the Music of Leonard Bernstein”
6 April: Kunio Hara, “Puccini’s use of Rudolf Dittrich’s Nippon Gakufu in Madama Butterfly“
13 April: Massimo Ossi, “Venus in the House of Mars: Martial Imagery in Monteverdi’s Madrigali Guerrieri et Amorosi (1638)”
20 April: Brent Reidy, “Our Memory of What Happened Is Not What Happened: Cage and the Power of Myth”
27 April: Sheryl Zukowski, “Fantasy of Modernism: Mahler’s Conflicted Hermeneutics and Contemporary Musical Understanding”

Fall 2006

8 September: Thomas J. Mathiesen, “Music, Aesthetics, and Cosmology in Early Neo-Platonism”
29 September: Halina Goldberg: “Phrase Structure of Chopin’s Early Works in Light of Józef Elsner’s Instruction”
6 October: Professional Development Series 1: “Tools for Teaching: The Freshman Learning Project”
20 October: Christine Kyprianides, “The Emasculated Violoncellist: A Victorian Gender Stereotype?”
27 October: Matthew Nisbet, “The Tabley House Lute Book”
1 December: Rika Asai, “Music to Foster Goodwill: Consolidated Edison and Echoes of New York“
8 December: Alisa White, “‘We insist! Freedom now’: Max Roach’s Transatlantic Civil Rights Imperative”

Spring 2006

13 January: Robert Green, “Recent Research Concerning the Hurdy-Gurdy in Eighteenth-Century France”
20 January: Dale Chapman (Bates College): “Twilight at Birdland: Tin Pan Alley and Cultural Politics in John Coltrane’s ‘I Want to Talk about You'”
27 January: John Howland (Rutgers University): “‘Jazz’ with Strings: Between Jazz and the Great American Songbook”
3 February: Kristina Muxfeldt, “The Fairy Tale and the Censor: Schubert’s Der Graf von Gleichen (an Opera for Posterity)”
10 February: Annie Randall (Bucknell University): “Transatlantic Dialogues: US Pop in Europe ca. 1965”
24 February: Jonathan Yaeger, “Music, Science, and Philosophy in al-Farabi’s Great Book of Music“
3 March: Jane Fulcher, “From Hybrid to Metamorphosis: Poulenc’s Path to Symbolic Resistance and Musical Counter-Discourse during Vichy”
24 March: Travis Yeager, “The Earliest Known Liturgy of St. Emmeram at Regensburg: New Evidence from the Lilly Library N.B.: TheMarch colloquium will be held in the Lincoln Room, Lilly Library
7 April: J. Peter Burkholder, “Richard Strauss and the Survival of Tonality”
14 April: Ayana Smith, “Queen Christina, Aesthetics, and Italian buon gusto: L’Endimione and Arcadian Reform”
21 April: Phillip Kurasz, “On the Transmigration of Ives: Understanding Adams through Ives”

Fall 2005

9 September: Lynn Hooker, “Hungarian Music or Gypsy Music? An Old Question Revisited”
23 September: Jeffrey Magee, “Irving Berlin, Jazz, and Broadway in the 1920s”
30 September: Professional Development Series 1: “Career Opportunities for Musicologists”
7 October: Daniel R. Melamed, “The Evolution of ‘Und wenn die Welt voll Teufel wär’ BWV 80/5”
21 October: Thomas J. Mathiesen, “Reconstructing the Greek Aulos”
11 November: Katherine Baber, “Deliberation, Pragmatism, and Democracy in the Music of Charles Ives”
2 December: Professional Development Series 2: Topic to be announced
9 December: Alisa White, “From Running the Changes to Motivic Manipulation: The Evolution of Lee Morgan’s Improvisational Style”

Spring 2005

21 January: Robert Green, “Rameau’s Platée as Operatic Satire”
4 February: Halina Goldberg, “The Dancing Jew: Assimilation, National Identity, and the majufes“
18 February: Francesco Izzo (New York University), “Verdi, the Virgin, and the Censors: The Cult of Mary in Mid-Nineteenth-Century Italy”
25 February: Sheryl Zukowski, “Discipline of the Ear: Mahler’s Operatic Direction and the fin-de-siècle Debate about Hearing and Communication”
4 March: Jeffrey Magee, “Miles Davis and the Blues”
11 March: Kristina Muxfeldt (Yale University), “Music Recollected in Tranquillity: Postures of Memory in Beethoven”
8 April: Hans Tischler, “A Neglected Trouvère Manuscript from Vienna”
15 April: Christopher Holmes, “Conventional Genres and Their Alloys: Benjamin Britten’s Symphony for Cello and Orchestra, op. 68”

Fall 2004

10 September: Thomas J. Mathiesen, “Ars critica and Fata libellorum The Significance of Codicology to Text Critical Theory”
17 September: Bethany Kissell, “Bernstein’s Personal Statement: Jewish and American Identity in the Jeremiah Symphony”
24 September: Daniel R. Melamed, “Did J. S. Bach Perform the St. Luke Passion BWV 246?”
1 October: Professional Development Series, Topic to be announced
8 October: Joanna Biermann, “How to Compose a Nazi Opera: Werner Egk’s Zaubergeige and Peer Gynt“
22 October: Lynn Hooker, “Festivalization and the Carnivalesque in Hungarian Folk Music and Dance Camps”
29 October: Jane Fulcher, “French Identity in Flux: Vichy’s Collaboration and Antigone’s Operatic Triumph”
5 November: Professional Development Series, Topic to be announced
19 November: Massimo Ossi, “Petrarchian Themes in Monteverdi’s Madrigali guerrieri et amorosi.“
3 December: Alison Trego, “The Story of Music’s Discovery”
10 December: Ayana Smith, “The Mock Heroics of L’Anagilda (Girolamo Gigli and Antonio Caldara, Rome 1711)”

Spring 2004

23 January: Thomas J. Mathiesen, “Greeks Bearing Gifts: Byzantine Scribes and Scholars in the History of Music Theory”
30 January: Professional Development Series, “Proposing and Delivering Conference Papers”
6 February: Jeffrey Magee, “‘Playing in the Mud’: Fletcher Henderson’s Band on the Cusp of the Swing Era”
20 February: Massimo Ossi, “Monteverdi and Petrarch”
27 February: Professional Development Series, “Preparing and Submitting Journal Articles”
5 March: Halina Goldberg, “Chopin and the Stammbuch Tradition: Conventions and Contexts”
26 March: Don Fader, “Philippe II d’Orléans’s Italian Ensemble, Its Repertory and Influence on French Compositional Style, 1700-1709”
2 April: Professional Development Series, “Writings CVs, Cover Letters, and Applications for Jobs and Grants”
9 April: Hans Tischler, “Rhythmic Variation and Other Elements of Style in Polyphonic Conductus”
23 April: Professional Development Series, “Taking Research from Idea to Publication”
30 April: Lynn Hooker, “Modernism in the Periphery: The New Hungarian Music Society of 1911-1912”

Fall 2003

5 September: J. Peter Burkholder, “Rewriting a History of Western Music”
19 September: Robert Green, “Recent Research on the Air in Late Seventeenth-Century France”
3 October: Daniel R. Melamed, “The Double Chorus in J. S. Bach’s St. Matthew Passion BWV 244”
17 October: Joanna Biermann, “Cyclical Ordering in Beethoven’s Gellert-Lieder op. 48”
31 October: Jonathan Shull, “di estro, e di fantasia: Early Classic Concinnity in the Compositional Technique of Domenico Fischietti”
December 5: Ayana Smith, “Blues, Criticism, and the Signifying Trickster”

Spring 2003

24 January: A. Peter Brown, “The Reception of Haydn’s Keyboard Music”
7 February: Halina Goldberg, “Belonging through Music: 19th-Century Jewish Participation in the Construction of Polish National Identity”
21 February: Sam Cox, “‘A Faltering Step in a Basically Right Direction’: Richard Rodgers and All Points West”
7 March: Jeffrey Magee, “‘Great Country’? Understanding Irving Berlin’s America”
28 March: Thomas J. Mathiesen, “Byzantine Scholarship and Ptolemy’s Harmonics“
11 April: Sara Beutter, “Aaron Copland and the Struggle to Maintain Intellectual Integrity”
25 April: Don Fader, “Rules and agréments: Propriety and Rhetoric in 17th-Century French Compositional Theory and Practice”

Fall 2002

20 September: Jane Fulcher, “The Politics of Transcendence: Ideology in the Music of Messiaen in the Thirties”
4 October: J. Peter Burkholder, “A Simple, Comprehensive Model for Musical Meaning”
18 October: Daniel R. Melamed, “Hamburg Passion Music, 1675-1721”
22 November: Massimo Ossi, “Upside Down in Vivaldi’s Musical World”
6 December: Peter Schimpf, “Henry Cowell’s Ongaku and a Transethnic Basis for the Tone Cluster”

Spring 2002

11 January: Judy Barger, “‘Ladies Not Eligible’? Female Church Organists in 19th-Century England”
25 January: David Cannata (Temple University), “Mephisto Incognito!”
1 February: Jeffrey Magee, “Music, Drama, and Race in Show Boat“
8 February: Don Fader, “Philippe d’Orléans and the Origins of the cantate françoise“
22 February: J. Peter Burkholder, “The Organist in Ives”
1 March: Luiz Lopes, “Villa-Lobos’s Uirapuru and the Transformations of an Enchanted Little Bird”
8 March: Dexter Edge (University of Memphis)
22 March: Special Presentation on the Challis Biography Project
29 March: Hans Tischler, “The Performance of Two-Part Conductus: A Proposal”
5 April: A. Peter Brown, “The Reception of Sibelius’s Symphonic Works”
12 April: Daniel R. Melamed, “Counterpoint (of all things) in Mozart’s Abduction“
19 April: Massimo Ossi, “Monteverdi, Marenzio, and Battista Guarini’s ‘Cruda Amarilli'”

Fall 2001

14 September: Rika Asai, “Hearing the Woman in the Dunes”
28 September: Peter Schimpf, “The Role of Folk and Vernacular Music in the Music of the Second Viennese School”
12 October: Jane Fulcher, “Symbolic Domination and Contestation in French Music: Shifting the Paradigm from Adorno to Bourdieu”
26 October: Jennifer King, “Dueling Madrigals: Monte, Monteverdi, and the Process of Dialogue”
9 November: Bathia Churgin (Bar-Ilan University), “Old Ideas Recycled: Aspects of Beethoven’s String Quartet, op. 132”
7 December: Gayle Sherwood, “Charles Ives and ‘Our National Malady'”

Spring 2001

January 19: A. Peter Brown, “Contexts for Mozart’s ‘Jupiter’ Symphony
February 2: Jeffrey Magee, “‘King Porter Stomp,’ the Birth of Swing, and Jazz Historiography”
February 16: Hans Tischler, “The Earliest Extant Italian Music: The Cortona Laudario”
March 2: Don Fader, “Aristocratic Politesse and the Reception of Italian Music in Seventeenth-Century France”
March 23: J. Peter Burkholder, “Questions of Value: Toward a Unified Field Theory for Musical Scholarship”
April 6: Felicia Miyakawa, “Jazz at Night and the Classics in the Morning: Negotiating Tensions between Musical Traditions in African-American Short Stories”
April 20: Thomas J. Mathiesen, “The Musical Ambience of the Silent Film in the 1920s”

Fall 2000

8 September: Susan Greene, “‘I want you all to hold me up!’: Correspondences between Baptist Sermons and Muddy Waters’s Early Recordings”
22 September: Jane Fulcher, “Speaking the Truth to Power: The Dialogic Element in Debussy’s Wartime Compositions”
6 October: Luiz Fernando Lopes, “A Theory of Style Periods for the Works of Heitor Villa-Lobos”
20 October: Daniel R. Melamed, “The Distribution of Character Roles in J. S. Bach’s Passion Repertory”
10 November: Malcolm Hamrick Brown, “Shostakovich Reconsidered Yet Again”
17 November: Massimo Ossi, “‘Excuse me, but your teeth are in my neck’–Monteverdi’s ‘Eccomi pronta ai baci,’ and the Kiss in Renaissance Poetry”
1 December: Margarita Mazo (The Ohio State University): Shostakovich: The First American Festival, Recollections of the Widow, and Issues of National Identity