Gretchen A. Wheelock

Gretchen A. Wheelock

Professor Emerita of Musicology

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Biography

BA, Wellesley; MA, MPhil, PhD, Yale. Piano study with Bruce Symonds and Donald Currier. Recipient, fellowships from Radcliffe Institute, Danforth Foundation, Mary Ingraham Bunting Institute, and National Endowment for the Humanities (University Fellowship; Summer Stipend; NEH Institute). Eisenhart Award for Excellence in Teaching (1991). Member, American Musicological Society (council member, 1987-90; program committee, 1992; board of directors, 1995-96; vice-president, 1999-2000; chair, New York State-St. Lawrence Chapter, 1995-97), American Society for Eighteenth-Century Studies, Early Music America, and Westfield Center for Early Keyboard Studies. Research interests include Haydn, Mozart, 18th-century aesthetics, reception history, and performance practice. Author, Haydn’s Ingenious Jesting with Art: Contexts of Musical Wit and Humor. Articles and reviews in Early Music, The Musical Quarterly, Journal of the American Musicological Society, Journal of Musicology, Journal of Interdisciplinary History, Historical Performance, Eighteenth-Century Studies, Proceedings of the International Mozart Congress, Salzburg 1991, Musicology and Difference, Piano Roles, Siren Songs, Haydn-Fest 2002: Joseph Haydn und das Streichquartett, and The Great Tradition and its Legacy: Dramatic and Musical Theater in Austria and Central Europe. Invited guest speaker at Aston Magna, Chamber Music America, Focus on the Piano: Haydn. Advisory board, Eastman Studies in Music. Board of Directors, Mozart Society of America; Westfield Center for Early Keyboard Studies. Faculty member, Hampshire College (1976-77), Smith College (1977-83), Valentine Distinguished Visiting Professor, Amherst College (1995). Eastman (1984-).

Works / Publications

Book

  • Haydn’s Ingenious Jesting with Art: Contexts of Musical Wit and Humor. New York: Schirmer Books, 1992.

Articles

  • “Mozart’s Fantasy, Haydn’s Caprice: What’s in a Name?” The Century of Bach and Mozart (Harvard University Press, forthcoming 2007).
  • “The ‘Rhetorical Pause’ and Metaphors of Conversation in Haydn’s String Quartets,” in Haydn und das Streichquartett, eds. Georg Feder and Walter Reicher, 67-88. Eidenstädter Haydn-Berichte 2. Tutzing: Hans Schneider, 2003.
  • “Displaying (Out)Rage: The Dilemma of Constancy in Mozart’s Operas,” in The Great Tradition: Dramatic and Musical Theater in Austrian and Central European Society, eds. Michael Cherlin, Halina Filipowicz, and Richard L. Rudolph, 179-223. NY and Oxford: Berghan Books, 2003.
  • Eingänge: Following Mozart’s Lead,” in Beyond Notation: Study Materials for the Practice and Pedagogy of Improvisation in Mozart’s Time, compiled and edited by Gretchen Wheelock, 19-34. Ann Arbor: The Westfield Center, 2002.
  • “The Classical Repertory Revisited: Instruments, Players, and Styles,” in Piano Roles: Three Hundred Years of Life with the Piano, ed. James Parakilas, 109-131. New Haven: Yale University Press, 1999; pbk. ed. 2002.
  • “Konstanze Performs Constancy,” in Siren Songs: Representations of Gender and Sexuality in Opera, ed. Mary Ann Smart, 50-57. Berkeley & Los Angeles: University of California Press, 2000.
  • Schwarze Gredel and the Engendered Minor Mode in Mozart’s Operas,” in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. Ruth A. Solie, 201-221. Berkeley & Los Angeles: University of California Press, 1993.
  • Schwarze Gredel in Mozart’s Operas: Tonal Hierarchy and the Engendered Minor Mode,” (Shorter version), in Mozart Jahrbuch 1991: Bericht über den Internationalen Mozart-Kongress 1991 (1992): 274-84.
  • “Engaging Strategies in Haydn’s Opus 33 String Quartets,” Eighteenth-Century Studies 25 (1991): 1-30. Reprinted in translation as “Strategie di coinvolgimento nei Quartetti op. 33,” in Haydn, ed. Andrea Lanza, 31-66. Bologna: Società editrice il Mulino, 1999.
  • “Marriage à la mode: Haydn’s Instrumental Works ‘Englished’ for Voice and Piano.” The Journal of Musicology 8 (1991): 356-96.

Reviews

  • Annette Richards, The Free Fantasia and the Musical Picturesque, in Journal of the American Musicological Society 57 (2004): 401-410.
  • Yoshio Watanabe, ed. Mozart, Fantasy and Sonata in C Minor, KV 475/457, ed. Yoshio Watanabe, and Improvising Mozart: Fantasy and Sonata in C minor, Yoshio Watanabe, fortepiano. Early Music 24 (1996): 349-51.
  • Neal Zaslaw, Mozart’s Symphonies: Context, Performance, Practice, Reception. Historical Performance 4 (1991): 55-57.
  • Richard Leppert, Music and Image, Domesticity, Ideology and Socio-Cultural Formation in Eighteenth-Century England. The Journal of Interdisciplinary History 20 (1990): 657-59.
  • H. C. Robbins Landon, Haydn in England, 1791-1795 (Vol. III of Haydn: Chronicle and Works). The Musical Quarterly 64 (1978): 106-112.