Thursdays at 4:30 p.m., New Sibley Library 404, unless otherwise indicated
Thursday, 28 January 2016, 7:00 p.m., Messinger
Theo Cateforis, Syracuse University
“Soft/Loud: Form and Meaning in Alternative Rock of the 1990s”
Co-sponsored with the Institute for Popular Music
25 February 2016
John M. Green
Monday, 29 February 2016, 3:00 p.m. Hatch Recital Hall
Glenn E. Watkins Lecture
JoAnn Falletta, Conductor of the Buffalo Philharmonic Orchestra
“The Musician as Citizen”
17 March 2016
Rembert Hüser, University of Minnesota
“Having Beethoven Over in 1970”
Co-hosted with the Humanities Department
24 March 2016
Elisabeth LeGuin, University of California Los Angeles
7 April 2016
William Cheng, Dartmouth College
Sponsored by the Eastman Departmental Diversity Initiative
14 April 2016
Alessandra Campana, Tufts University
Friday, 28 April 2016, 3:30 p.m., ESM 305
A Celebration of Milton Babbitt’s Centennial
Joseph N. Straus, CUNY Graduate Center
Andy Mead, Indiana University
Zachary Bernstein, Eastman School of Music
Co-sponsored with the Music Theory Department
|Ralph Locke (professor emeritus), Music and the Exotic from the Renaissance to Mozart (Cambridge University Press, 2015).|
|Kerala Snyder (professor emerita), The Choir Library of St. Mary’s in Lübeck, 1546-1674 A Database Catalogue (University of Gothenburg, 2015).|
|Ellen Koskoff, A Feminist Ethnomusicology: Writings on Music and Gender (University of Illinois Press, 2014).|
|Jürgen Thym, Professor Emeritus., ed., Mendelssohn, the Organ, and Music of the Past (Eastman Studies in Music, University of Rochester Press, 2014).|
|Michael Anderson, St. Anne in Renaissance Music: Devotion and Politics (Cambridge University Press, 2014).|
|Holly Watkins, Metaphors of Depth in German Musical Thought (Cambridge University Press, 2011).|
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|Michael Anderson won the University of Rochester Provost’s Multidisciplinary Award and will undertake a recording and online archiving project in 2013-14 in connection with the reinstallation of the medieval gallery at the Memorial Art Gallery. His book on Renaissance music for St. Anne is forthcoming from Cambridge University Press in March 2014.|
|Corbett Bazler, newly appointed assistant professor in the Music Department at the College of the University of Rochester, presented a paper at the 2011 AMS meeting in San Francisco. The title, “Reforming Handel: The Failed Heroics of Imeneo (1740) and Deidamia (1741)”, reflects research contained in his recently completed dissertation at Columbia University.|
|Melina Esse was awarded the AMS Alfred Einstein Award for 2014 for her article “Encountering the improvvisatrice in Italian Opera,” Journal of the American Musicological Society 66, no. 3 (Fall 2013): 709-70. This award honors “a musicological article of exceptional merit published by a scholar in the early stages of his or her career.|
|Maria Cristina Fava joins the faculty as assistant professor of Musicology and Humanities (Italian) for the 2013-14 school year. She is currently working on two articles for publication, respectively on the role of the chorus in Rossini’s Tancredi and on the Composers Collective of New York.|
|Roger Freitas presented his paper, “The Art of Artlessness, or, Adelina Patti Teaches Us How to Be Natural,” at the 2012 Congress of the International Musicological Society in Rome. An article version is forthcoming in the festschrift for Ellen Rosand (Eastman Studies in Music, Univ. of Rochester Press). His article from 2002, “Towards a Verdian Ideal of Singing: Emancipation from Modern Orthodoxy,” was reprinted in the collection Classical and Romantic Music, ed. David Milsom, Ashgate Library of Essays on Music Performance Practice (Surrey, UK: Ashgate, 2011).|
|Lisa Jakelski organized the session on Cross-Border Encounters in the Global South: A New Look at Cold War Cultural Diplomacy for 2013 AMS. She will also chair Musicology in Russia and Hungary during the Cold War. She gave a paper on the Warsaw Autumn Festival at the 2012 IMS Congress in Rome. In November 2012 she will be presenting at the annual meeting of the Association for Slavic, East European, and Eurasian Studies in New Orleans. Her title will be “Pushing Boundaries: Musical Exchange at the Warsaw Autumn Festival.”|
|Ellen Koskoff has published her book of collected essays, A Feminist Ethnomusicology: Writings on Music and Gender, (University of Illinois Press), as well as an article, “Ethnomusicology,” for the Oxford Handbook on Western Music Philosophy. She was also invited to be on the International Advisory Board of the British Royal Musical Research Chronicle. Last summer, she joined an international committee to evaluate university music programs in Israel and taught an intensive course on musical ethnography to Swedish and Finnish students.|
|Kim Kowalke Professor of Musicology and the Richard L. Turner Professor in the Humanities in the College, is presenting a paper on The Miller’s Son at AMS in New Orleans. Two weeks later he’ll be the scholar-in-residence at Cincinnati College-Conservatory in conjunction with a year-long Weill Festival and the opening of Street Scene there. After conducting the Broadway opera for Eastman Opera in 1992, Kowalke has written extensively about the piece, and his 65-minute concert sequence, Street Scenes, has been performed by the New York Philharmonic, BBC Symphony at the Proms, and the Berlin Radio Symphony. Last summer he gave one of the “ShowTalk” lectures at Glimmerglass and wrote the essay on Lost in the Stars for the program book.|
|Jennifer Kyker has recently published an short article in the American Journal of Public Health, exploring musical approaches to HIV prevention in Zimbabwe. As part of the University of Rochester’s Humanities Project initiative “Looking at AIDS 30 Years On,” she also recently organized a concert featuring Zimbabwean musicians Musekiwa Chingodza and Zivanai Masango, with participation from students enrolled in her spring 2011 course, “Music, Ethnography, and HIV/AIDS.”|
|Ralph Locke recently published a book entitled Music and the Exotic from the Renaissance to Mozart (Cambridge University Press). The book is a “prequel” to his 2009 study Musical Exoticism: Images and Reflections (now available in paperback from Cambridge). Although retired from teaching (after forty years at Eastman), he continues to edit the series Eastman Studies in Music (University of Rochester Press) and to serve on dissertation committees.|
|At the Casa Italiana of New York University in March 2013, Patrick Macey gave a talk on newly reconstructed music for carnival songs by Lorenzo de’ Medici, with performances of the songs by three undergraduate singers from the Eastman Voice Department. The talk is available on YouTube, starting at the timing 10:30.In April 2013 he presented a paper on musical canon in motets by Mouton at the annual meeting of the Renaissance Society of America in San Diego. Later that same month he was an invited participant at Stanford University at a symposium: Performing and Analyzing Josquin in the Digital Age.|
|Honey Meconi’s recent publications include “Pierre de la Rue: Missa Alleluia” and “Antoine de Févin: Missa pro fidelibus defunctis,” both in Meerstemmigheid in Beeld: Zeven Meesterwerken uit het Atelier von Petrus Alamire (Leuven: Davidsfonds).|
|Holly Watkins has published an article titled “The Music Friend” in Opera Quarterly 31, nos. 1-2 (2015). The article was originally presented on the panel “Psychoanalysis and Music: A (Sexual) Relationship?” at the AMS Annual Meeting in Milwaukee (2014). In 2014-15, Watkins held an ACLS Fellowship, during which she drafted portions of a book manuscript entitled Musical Vitalities.|
Jacek Blaszkiewicz’s review of a new critical edition of Edouard Lalo’s Fiesque is forthcoming in the March issue of MLA Notes.
Rachel Brashier was awarded the T. Temple Tuttle Prize from the Niagara Chapter of the Society for Ethnomusicology for her Paper entitled “In Gamelan You Have to Become One ‘Feeling’: Sensory Embodiment and Transfer of Musical Knowledge.”
Regina Compton enters with a B.M. in Clarinet Performance from Southern Methodist University and an M.M. in Music History from the University of Cincinnati, College-Conservatory of Music. Regina is the recipient of the Eastman GTA Prize for Excellence in Teaching (2011), the Jerald C. Graue Fellowship (2011), and the American Handel Society’s J. Merrill Knapp Research Fellowship (2013), which supported study in London at the British Library. Regina has presented at national and international conferences, most recently, the 2013 annual meeting of the American Musicological Society. Regina also serves as the general director of Chamber Music Campania (www.chambermusiccampania.org) a cross-disciplinary summer festival in southern Italy. Her dissertation examines the communicative potential of Handel’s recitativo semplice in his operas for the First Royal Academy of Music (1720-1728).
Jack Hanlon arrives at Eastman after earning a Bachelor’s Degree in Music Education from Illinois Wesleyan University, where he was recognized for his academic and performance achievements by the R. Dwight Drexler scholarship award. His current research interests include late German Romanticism and German modernism.
Aaron James completed an MM in organ performance at Eastman following a BMus at the University of Western Ontario, where he received the Faculty of Music Gold Medal; he is now pursuing a PhD in musicology concurrently with a DMA in organ. His primary research interests involve issues of genre, theology and devotional culture in the sixteenth-century motet. He has presented conference papers at McGill University and the University of Sheffield (UK), and will present his work at the 2014 annual meeting of the Renaissance Society of America. His article on polyphonic settings of the Salve Regina is forthcoming in the spring 2014 issue of the Journal of the Alamire Foundation.
Lauron Kehrer earned her MA in Ethnomusicology at Eastman, as well as a Graduate Certificate in Women’s Studies from the Susan B. Anthony Institute for Women and Gender Studies (University of Rochester). Before moving to Rochester she completed her BM in Flute Performance at Michigan State University, with an undergraduate specialization in Women, Gender, and Social Justice. Her doctoral studies are supported by a Sproull Fellowship and she is a past recipient of the Ann Clark Fehn award. Lauron has presented papers at national conferences including AMS, SAM, SEM, and Feminist Theory and Music. Her current research explores the intersections of queer identity, gender, and race in hip hop.
Sarah Fuchs Sampson spent three summer months doing archival research in Paris for her dissertation, “Opera and Technology in Third Republic France,” which examines how the advent of technologies such as the telephone, théâtrophone, phonograph, and cinema affected the singing, teaching, listening, and viewing of opera in France between 1870 and 1914. Her archival work was supported by the 2013 Presser Music Award.
Tanya Sermer completed the BMus at McGill University. She completed the MA in Ethnomusicology in 2008 on the role of music and chant in Muslim practice in the U.S. Her dissertation topic is “The Battle for the Soul of Jerusalem: Musical Practice, Public Performance, and Competing Discourses of Israeli Nationalism.” Tanya has been a Visiting Research Fellow at the Hebrew University of Jerusalem since 2009, teaches at the University of Tel Aviv, and works as a researcher at the Jewish Music Research Center. She has presented papers at many conferences and workshops, including the International Musicological Society in Rome, and won the Charles Warren Fox Award in 2010. She received the International Dissertation Research Fellowship from the Social Science Research Council for ethnographic fieldwork in Jerusalem in 2010-11 and currently holds the Elsa T. Johnson Dissertation Fellowship for 2013-14. A chapter on the repertoire of American singer-songwriter, Debbie Friedman, is due to be published in a compiled volume by Ashgate in early 2014.
Anne Marie Weaver traveled to Russia and Germany this summer, doing library research as a recipient of the Glenn Watkins Traveling Fellowship. She was gathering song scores for her dissertation, Russian Art Song, ca. 1830-1917: An International Exploration.