Music Theory Colloquium Archive

Spring 2025

January 15 — Tori Vilches, “Sex Sells: A Decolonial Analysis of Feminine Sexual Empowerment in the Women of Reggaetón”
PhD Public Lecture; Prof. Noriko Manabe, respondent
February 26
- Drake Eshleman, “Battle against a Machine: A Computer-Aided Analysis of Motif and Meter in EarthBound“
- Jacob Wilkinson, “Transformation Theory and the Ambiguity of the Body”
March 5 — Lev Roshal, “Folk Songs, Notation, and Semiotics: The Composer’s Interpretive Role”
March 12 — Lina Tabak, “‘Rhythmic Venom’ or Comfortable Groove? On Microtiming in Colombian Currulao“
March 26 — Christopher White (University of Massachusetts Amherst), “Music’s AI Problem, AI’s Music Problem”
In conjunction with AlgoRhythms: The World of Music and AI
April 9 — Loida Garza, “Maestro Julián Carrillo (1875–1965): A Musical Journey of Continuity and Metamorphosis”
In conjunction with the Julián Carrillo 150th Anniversary Concert
April 23 — Thomas Collison, “Dancing through the Tonnetz: Transformative Process in the Second Movement of Mahler’s Ninth Symphony”
PhD Public Lecture; Prof. Amy Tai, respondent

Fall 2024

September 18 — Wade Voris, “Sonic Experience: A Kurth-Inspired Analysis.” PhD Public Lecture; Prof. Julian Hook, respondent
September 24 — Eric Drott(University of Texas at Austin), “Music Streaming, Music Data, and the Work of Social Reproduction”
Five Friends Master Class Series honoring Robert Samels
September 25 — Eric Drott (University of Texas at Austin), “Music and Asset Aesthetics.”Five Friends Master Class Series honoring Robert Samels
October 2 — Chelsey Hamm (Christopher Newport University), “Reconsidering Ives’s Problematic Language”
Derek J. Myler (East Carolina University), “On the Paradox of Polymusic”
David Thurmaier (University of Missouri–Kansas City), “A Letter from Charles Ives: Rhinemaidens, Chromaticism, and Wagnerian Influence”
In conjunction with Charles Ives at 150: Music, Imagination, and American Culture
October 9 — Dexter Edge, “Hearing Holiday: Analyzing Billie Holiday’s Singing”
October 15 — Nadine Hubbs (University of Michigan), “Country-Loving Mexican Americans: Borderlands Country Music Lovers’ Dual Patriotism and Inevitable Fandom”
Five Friends Master Class Series honoring Robert Samels
October 16 — Nadine Hubbs (University of Michigan), “Queer Influences in Country Music: The First Hundred Years”
Five Friends Master Class Series honoring Robert Samels
October 23 — Tori Vilches, “‘Sex Sells’: A Decolonial Analysis of Purplewashing and Sexual Narrative in the Women of Reggaeton”
Andrew Goldman, “The Contingency of Music Cognition”
October 30 — Isaac Smith, “The Mashups of Mouth Moods: Parody and Intertextuality in Neil Cicierega’s Third Album”
Noriko Manabe, “The Development and Artistry of Text-Setting in Japanese Rock: Happy End and the Great Japanese Rock Debate (1970)”
November 20 — Drake Eshleman, “‘Message from the Veins’: Rhythm Game Charts as Embodied Analysis.” PhD Public Lecture; Prof. Orit Hilewicz, respondent
Connor Reinman, “Formal Delamination: Reframing the Boundaries of Sonata Form.” PhD Public Lecture; Prof. Roman Ivanovitch, respondent

Spring 2024

January 17 — Professional Development, “Conference Proposal Workshop”, led by Professors Frank Samarotto and Roman Ivanovitch, both former chairs of the Society for Music Theory Program Committee
February 21 — Fred Maus (University of Virginia), “‘Teach Yourself to Fly’: Pauline Oliveros and Musical Analysis”
Five Friends Master Class Series honoring Robert Samels
February 22 — Fred Maus (University of Virginia), “Thinking Again about Masculinity and Music Theory”
Five Friends Master Class Series honoring Robert Samels
February 23–24 (Friday–Saturday) Thirtieth Symposium of Research in Music
Sponsored by the Graduate Theory Association and the Graduate Musicology Association
February 28 — Iryna Tukova (IU-Ukraine Nonresident Scholar), “Ukrainian Music on a Stage: Personalities and Creativity”
March 6 — Lizhou Wang, “Contour-Clustering and Key-Finding Models: Principles, Criticism, and Their Application to J. S. Bach’s Preludes in Cello Suites Nos. 2-3” (Public Lecture); Respondent: Prof. Eric Isaacson
March 20 — Samantha Waddell, “From Old-Time to “Hard Times”: Phrase Rhythm and Prosody in the Music of Tyler Childers” (PhD Public Lecture); Respondent: Prof. Noriko Manabe
March 27 — Psyche Loui (Northeastern University), “Imaginings from an unfamiliar world: The Science of a New Musical System”
Five Friends Master Class Series honoring Robert Samels
March 28 — Psyche Loui (Northeastern University), “Why Music Moves Us: New Directions in Music for Brain Health”
Five Friends Master Class Series honoring Robert Samels
April 3 – Joey Grunkemeyer, “Brahms the Self-Conscious: Contextualizing His Musical Topics” (PhD Public Lecture); Respondent: Prof. Kyle Adams
April 24 – Professional Development, “Process and Clarity in Academic Publishing”

Fall 2023

August 23 – Professional Development, “Making the Most of Your Years at IU”
August 30 – Kyle Adams, “Does Music Mean Anything At All? Towards a Semiotics of Digital Sampling”
September 13 – SMT Preview Talk, Jack Bussert, “Sonic Shadings in Three Versions of BWV 21/3, ‘Seufzer, Tränen, Kummer, Not.'”; Respondent: Prof. Andrew Mead
September 27 – Andrew Goldman, “Neuroscience in Music Research: Critical Challenges and Contributions”
October 11 – Connor Reinman, “The Anxiety of Exposition: Formal Indeterminacy in the First Movement of Mahler’s Ninth Symphony”
October 18 — SMT Preview Talk, Alex Shannon, “Chord-Member Space and Transformations” (Public Lecture); Respondent: Prof. Orit Hilewicz
October 25 — Panel Discussion: “We Need to Talk About Carmina Burana” (Prof. Judah Cohen (musicology), Prof. Marianne Kielian-Gilbert (music theory), Prof. Mark Doerries (University of Notre Dame, and JSOM Choral Conducting alumnus)
November 1 — SMT Preview Talks
- Mitia Ganade d’Acol, Paper: “Krump Meets Rameau: Affect, Bodies, and the Communication of Emotions.”
- Drake Eshleman, Paper: “‘Where Did You Learn Those Moves?’: A Choreomusical Approach to Movement-Oriented Rhythm Games”
- Thomas Collison, Poster: “Metric Irregularity as Characterization in Death Note (2006)”
- Lizhou Wang, Poster: “Computational Analysis of Melodic Contour Based on CSIM and Clustering Techniques: A Model Tested by J. S. Bach’s Preludes in Cello Suites No.2 and 3”
November 15 – Post-SMT Discussion
December 6 – Professional Development, “Entering the Job Market” (Prof. Kyle Adams and IU alumni Leah Frederick (Assistant Professor, University of Michigan) and Christa Cole (Assistant Professor, Oberlin).

Spring 2023

January 25: Alex Shannon, “Chord-Member Space and Transformations”
February 8: Madeleine Howey, “Physical and Musical Structure in Twentieth and Twenty-First Century Multipercussion Music.”
Respondent: Prof. Andy Mead
March 22: René Rusch (University of Michigan), “Contemporary Schubert Criticism, Musical Aesthetics, and Poetics”
Five Friends Master Class Series honoring Robert Samels
Thursday, March 23: René Rusch (University of Michigan), “Transforming the Familiar into the Foreign: Schubert’s Last Piano Sonata Revisited”
Five Friends Master Class Series honoring Robert Samels
March 29: Kara Yoo Leaman (New York University), “Analysis of Choreography, Choreography as Music Analysis in George Ballanchine’s Ballets”
April 26: Anna Peloso, “Thelonious Monk’s ‘Wrong (…but Right) Notes’”

Fall 2022

August 31: Despoina Panagiotidou, “Theory and Practice of the Modes: Early Intonation Formulas and Byzantine echemata” (Winner of the Benito V. Rivera Essay Prize)
September 14: Thomas Collison, “Metric Irregularity as Characterization in ‘Death Note’ (2006)”
September 21: David Orvek, “Symmetry and Balance in Twentieth-Century Diatonic Music”
September 28: Joey Grunkemeyer, “Vocal Timbre as a Signifier of Stylistic Development in the Music of Fall Out Boy and Patrick Stump”
October 5: Tori Vilches, “Exploring the Hidden Curriculum: Diversifying Gender Representation in Music Theory Pedagogy”
October 12: Orit Hilewicz, “Berio’s Compositional Poetics as Performance”
October 19: Professional Development Session: “Getting the Most out of SMT”
October 26: Kofi Agawu (CUNY Graduate Center), “Music Studies in Crisis? Notes and Queries on Reframing Music Theory”
Five Friends Master Class Series honoring Robert Samels
Thursday, October 27: Kofi Agawu (CUNY Graduate Center), “Composing in the Postcolony: A Perspective on African Art Music”
Five Friends Master Class Series honoring Robert Samels
November 2: SMT Previews: Simon Prosser, “Tonal Hierarchy as Schema” and Samantha Waddell, “Storytelling through Metric Manipulation in Popular Music”
November 16: Lev Roshal, “Hypermeter as Character Development in Tchaikovsky’s Eugene Onegin”
November 30: Jack Bussert, “Towards a Theory of Form in Pop Albums”

Spring 2022

January 19: Eric Isaacson, et al., “Excellence in Visualization: Six Case Studies”
Symposium with Jack Bussert, Jack Nighan, Despoina Panagiotidou, Connor Reinman, Wade Voris, and Lizhou Wang
January 26: Toru Momii, “Honjoh Hidejirō, Miyata Mayumi, and the Politics of Intercultural Analysis”
February 23: Professional Development Session. “The Article Process, from Start to Finish”
March 2: Samantha Waddell, “Storytelling Through Metric Manipulation in Popular Music”
March 16: no colloquium (Spring Break)
March 30: Mitia Ganade D’Acol, “Krump Meets Rameau: Affect, Body, and the Communication of Emotions”
April 5 | 4:30 pm | Cook Center for Arts and Humanities, Maxwell Hall: Michael Spitzer (University of Liverpool, UK), “Towards the Evolution of Music”
Five Friends Master Class Series Honoring Robert Samels
April 6 | M267 and online: Michael Spitzer (University of Liverpool, UK), “Analysing Musical Emotion: A Very Short History of Fear”
Five Friends Master Class Series Honoring Robert Samels
April 27: Professional Development Session. “Everything You Always Wanted to Know About Music Theory”

Fall 2021

September 1: Jack Bussert, “Theorizing Albums with David Crowder* Band’s A Collision or (3+4=7)”
September 8: Sachet Watson (Diversity and Inclusion Coordinator, Eskenazi School of Art, Architecture & Design and Jacobs School of Music), “Introduction to Cultural Competency”
Professional Development Session
September 15: Christa Cole, “Violinistic Effort in Bach’s C Major Largo (Sonata No. 3, BWV 1005)”
September 22: Julian Hook, “Three Simple Proofs in Mathematical Music Theory”
September 29: Megan Kaes Long (Oberlin College and Conservatory), “Hexachord-Invariant Counterpoint in the Vocal Music of William Byrd”
Five Friends Master Class Series Honoring Robert Samels
September 30 / 5.30 pm / Ford Hall: Megan Kaes Long (Oberlin College and Conservatory), “How to Succeed at Imitation Without Really Trying: Improvised Canon and Stretto Fuga in Sweelinck’s Ricercar in A”
Five Friends Master Class Series Honoring Robert Samels
October 6: David Orvek, “‘Like a Piece of Woven Material’: Unity and Organicism in Elizabeth Maconchy’s String Quartet No. 11”
October 13: Emily Truell, “Rethinking Rondo Form(s) in C. P. E. Bach’s Keyboard Music”
October 20: Michèle Duguay, “Sonic Intimacy and White Femininity in Taylor Swift’s Folklore” and Toru Momii, “Intercultural Analysis as Border Thinking”
October 27: Despoina Panagiotidou, “The Greek Folk Element in Nikos Skalkottas’s Variation Forms”
November 3: no colloquium (SMT meeting Nov. 4-7)
November 10: Thomas Cooke-Dickens, “‘All You Can Say As You Run Down the Street Is…’: Live Versus Recorded Elements in Frank Zappa’s YCDToSA Series”
November 17: Alex Shannon, “Exploring Harmonic Motion and Text-Based Motivic Development in Richard Strauss’s Deutsche Motette, Op. 62”
November 24: no colloquium (Thanksgiving Break)
December 1: Leslie Drane (Instructional Consultant, Center for Innovative Teaching and Learning), “Creating A Diversity Statement”
Professional Development Session
December 8: Workshop,“Applying to Conferences: A Practical Guide”
Professional Development Session

Spring 2021

Wednesday, February 10: Christa Cole, “‘And the Nightingale Sings…’: Performative Effort in Elisabeth Lutyens’s The Valley of Hatsuse, Op. 62″
Wednesday, March 31: Lois Garza: “Julián Carrillo and ‘El Sonido Trece’”
Tuesday, April 6: Sumanth Gopinath (University of Minnesota): “Minimalism as Musical Ideology”
Wednesday, April 7: Sumanth Gopinath (University of Minnesota): “Alone in a World That’s So Cold: The Sexual and Racial Climatology of Prince’s Songscapes, 1980–1984”
Wednesday, April 14: Mítia D’Acol, “Constructing Pamina’s ‘Ach, ich fühl’s’ as a Siciliana Lament”
Wednesday, April 21: “Crafting a Diversity Statement” with Leslie Drane, Instructional Consultant, IU Center for Innovative Teaching and Learning
Professional Development Session, hosted by JSoM Office of Entrepreneurship and Career Development
Wednesday, April 28: Roman Ivanovitch, “Surprise Tactics: A Haydn Habit of Disruption”

Fall 2020

Wednesday, September 16: Alexander Rehding (Harvard University), “Grieg’s Gramophone”
Wednesday, September 23: Alexander Rehding (Harvard University), “Alien Listening: The Golden Record and Music from Earth”
Wednesday, September 30: Thomas Cooke-Dickens, “You’re Probably Wondering Why I’m Here: Expressive Reference in the Music of Frank Zappa”
Wednesday, October 7: Emily Barbosa, “Magnetism, for Public Utility, or for Analysing Du Fay’s Fifteenth-Century Compositions” (PhD public lecture)
Wednesday, October 14: Despoina Panagiotidou, “The Dark Horse Case, Copying and Style Analysis”
Wednesday, October 21: Andrew Goldman, “Reassessing Syntax-Related ERP Components Using Popular Music Chord Sequences: A Model-Based Approach”
Wednesday, October 28: Professional Development Session: “The Job Search in Music Theory”
Wednesday, November 4: Professional Development Session: “Preparing for SMT”
Wednesday, November 18: L. Poundie Burstein (CUNY Graduate Center), “Schenker, Schenkerian Analysis, and Other Strange Bedfellows”
Wednesday, December 2: L. Poundie Burstein (CUNY Graduate Center), “Containers vs. Journeys vs. Cookies: Formal Metaphors for the Early Classical Style”

Spring 2020

Wednesday, February 5: David Orvek, “Stanford, Schoenberg, Commuting Groups, and Some Extensions to Cohn’s SUM-Class System”
Wednesday, March 4: Mítia D’Acol, “‘Profane Deliriums,’ or a Proposed Grammatical Model of 18th-Century Luso-Brazilian Love Songs”
Wednesday, March 11: Frederick Reece, Workshop: “Analysis as Authentication,” Part I
Wednesday, April 1: Thomas Cooke-Dickens, “You’re Probably Wondering Why I’m Here: Expressive Self-Reference in the Music of Frank Zappa”
Wednesday, April 8: Emily Barbosa, PhD public lecture (title TBA)
Wednesday, April 15: Frederick Reece, Workshop: “Analysis as Authentication,” Part II

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 18: Fall Break, no colloquium
October 25: Professional Development Series: “Graduate Life After Coursework”
November 1: AMS in Boston, no colloquium
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”
November 22: No colloquium
November 29: Thanksgiving Break, no colloquium
December 7: Elizabeth Elmi, “Pastoral Politics in the Lyric Song of Late-Fifteenth-Century Southern Italy”
December 13: No colloquium

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 15: Spring Break
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?”
April 26: No colloquium [MA Exam Committee meets with MA students during colloquium time]

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 5 [no colloquium, fall break]
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”
October 26 [no colloquium]
November 2 [no colloquium, AMS in San Antonio]
November 9 Professional Development Series: “Interdisciplinary Scholarship: Training, Publishing, and Teaching” (Cohen)
November 16 [no colloquium]
November 23 [no colloquium, Thanksgiving break]
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 16 [no colloquium, spring break]
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 13 [no colloquium]
April 20 Daniel Melamed, “Parody is Overrated”
April 27 [no colloquium, MA exam informational meeting]

Fall 2017

August 25 [no colloquium]
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 15 [no colloquium]
September 22 Johanna Frymoyer, “Metrical Phase Shift and Dance Topics in Stravinsky’s Ballets”
September 29 CANCELLED
October 6 [Fall Break, no colloquium]
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”
October 27 [no colloquium]
November 3 Massimo Ossi, “Italian Style and Schütz as Agent of Cultural Transfer”
November 10 [AMS in Rochester, no colloquium]
November 17 Giovanni Zanovello, “Heinrich Isaac and the Vernacular Soggetto Equivoco”
November 24 [Thanksgiving Break, no colloquium]
December 1 Professional Development Series: Misti Shaw, “Opportunities to Apply the Information Literacy Framework in the Music History Classroom”
December 8 [no colloquium]

Spring 2017

January 13: Phil Ford, “Style as Analysis”
January 20: No colloquium
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 10: TBD
March 17: No colloquium (Spring Break)
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

August 26: No colloquium
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 7: No colloquium (Fall Break)
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 4: No colloquium (AMS/SMT in Vancouver)
November 11: No colloquium (MA Exam informational meeting)
November 18: No colloquium (Ostiglia Program informational meeting)
November 25: No colloquium (Thanksgiving Break)
December 2: Daniel Bishop, “The Occult Soundtracks of Guy Maddin”
December 9: No colloquium

Spring 2016

January 15: Massimo Ossi, “Madrigals in their Place: Intertextuality in Italian Madrigal Books”
January 22: No colloquium
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 18 (Spring Break): No colloquium
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 8: No colloquium (Musicology Department Lecture Series)
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

August 28: No colloquium
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 9: No colloquium (Fall Break)
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 6: No colloquium (CMS in Indianapolis)
November 13: No colloquium (AMS in Louisville)
November 20: Kate Altizer, “An Ethics of Musical Attention: Toward a Philosophy of Interspecies Musicking”
November 27: No colloquium (Thanksgiving Break)
December 4: Daniel R. Melamed, “Two Sanctus Settings by Johann Christoph Altnickol” (SEM in Austin, Texas)
December 11: No colloquium

Spring 2015

January 16: Halina Goldberg, “Descriptive Instrumental Music in 19th-Century Poland: Genre, Context, and Performance”
January 23: No colloquium
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 20: No colloquium
February 27: Derek Stauff, “The Political Context of Schütz’s ‘Saul, Saul was verfolgst du mich’”
March 6 (Society for American Music): No colloquium
March 13: Professional development event: Musicology on the Internet
March 20: No colloquium (Spring Break)
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 17: No colloquium
April 24: Nathan Landes, “Clowns Are Not Metal: Performance, Identity, and Representation in Heavy Music”
May 1: TBA

Fall 2014

August 29: No colloquium
September 5: No colloquium
September 12: Judah Cohen, “Liturgical Music and Generational Change: Debbie Friedman’s Early Career”
September 19: No colloquium
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 10: No colloquium (Fall Break)
October 17: Phil Ford, “We Are Our Demands: Occupy Wall Street and Sound Practice”
October 24: no colloquium
October 31: Lisa Cooper Vest, “Shades of Cultural Backwardness: Negotiations between Composers and the State in Communist Poland 1955-1958”
November 7: No colloquium (AMS/SMT in Milwaukee)
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 24: No colloquium
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 7 (Society for American Music meeting): No colloquium
March 14: Matthew Leone, “Albert Lortzing’s Szenen aus Mozarts Leben: A Reading of Mozart’s Myth and Music”
March 21 (Spring Break): No colloquium
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”
18 October: Fall Break
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)”
8 November: No colloquium (AMS Pittsburgh)
15 November: No colloquium (SEM Indianapolis)
22 November: Special presentation: Giuliano Di Bacco et al., “New Initiatives at the Center for the History of Music Theory and Literature”
29 November: Thanksgiving break
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