MHTE Lecture Series, 2011-12
MHTE Lecture Series, 2011-12
Chair: Dr. Stephen Slottow
The Division Lecture Series is a vibrant nexus for a cross-disciplinary exchange of ideas about music by students, faculty, and invited guests. The 2010-11 lecture series included musicologist Helen Greenwald, music theorist David Smyth, a visit by South Indian music virtuosi, the Mysore Brothers, music theorist Lee Rothfarb, musicologist Robert Kendrik, and ethnomusicologist, Bruno Nettl.
The lecture series of 2008-09 featured Roger Chaffin, Poundie Burstein, Jeannie Guerrero, Mark Spicer, Allen Forte, Steven Vande Moortele, the Mysore Brothers, and composer Mario Lavista. The series for Fall 2009 included Barbara Rose Lange, Benjamin Brand, and Charles Burkhart. The Spring 2010 line-up included musicologist Dorothea Gail, ethnomusicologists Eileen Hayes and Zoe Shirinian, and music theorist Carl Schachter.
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Hendrik Schulze: "French Dance and Dance Music at the Times of Louis XIV: Uncovering the Meanings of an Elusive Phenomenon," October 19, 2011; 4 p.m., Room 321, Music Buildling.
Assistant Professor Hendrik Schulze has studied Musicology, Medieval History and Philosophy in Berlin (TU), Ferrara, Princeton and Heidelberg. He is a specialist in seventeenth-century Italian and French music, especially in Venetian opera and Italian instrumental music. In 2004 his book entitled “Odysseus in Venedig” was published, which investigates the subject choices and character depictions of seventeenth-century Venetian opera composers and librettists. A second book, “Identität, Kosmologie und Ritual”, is forthcoming; it is a study of the communication of meanings in French baroque dance and dance music, and how that is changed when dances and music are introduced in other European cultures. He is currently editing Francesco Cavalli’s operas Artemisia and Xerse for Bärenreiter. La Venexiana under the direction of Claudio Cavina performed Artemisia for the first time since the 17th century in June 2010; a recording will be available later this year. Hendrik Schulze has previously held positions at the University of Salzburg, the University of Heidelberg, and the University of Illinois at Urbana-Champaign.
Daniel J. Arthurs, November 9, 2011; Room 321, 4:00 p.m., Music Building.
Professor Bruno Nettl was born 1930 in Prague, received his PhD at Indiana University, and spent most of his career teaching at the University of Illinois, where he is now professor emeritus of music and anthropology. His main research interest have been ethnomusicological theory and method, music of Native American cultures and Iran. He has been concerned in recent years with the study of improvisatory musics, and with the intellectual history of ethnomusicology. Among his numerous books, the following are recent:
Blackfoot Musical Thought: Comparative Perspectives (1989), Heartland Excursions: Ethnomusicological Reflections on Schools of Music (1995), The Study of Ethnomusicology (rev. ed. 2005); and a retrospective and prospective collection of essays titled Nettl's Elephant: On the History of Ethnomusicology (2010, University of Illinois Press).
Lee A. Rothfarb earned degrees at the Eastman School of Music (B.M., Composition, 1971), the Hartt School of Music (M.M., Theory, 1979), and at Yale University (Ph.D., Theory, 1985). Before joining the faculty at the
University of California, Santa Barbara, in 1994, he taught at the University of Michigan, Tulane and Harvard Universities. His first book, Ernst Kurth as Theorist and Analyst (1988), won the Society for Music
Theory's 1989 Outstanding Publication Award. A second book, Ernst Kurth: Selected Writings, appeared in 1991. August Halm: A Critical and Creative Life in Music was published in 2010. Rothfarb's essays have appeared in the Journal of Music Theory, 19th Century Music, Beethoven Forum, Indiana Theory Review, Theoria, Schweizer Jahrbuch für Musikwissenschaft, the yearbook of Musik in Baden-Württemberg, Festschrift for Patricia Carpenter, and in other essay anthologies. He is the founding editor of the Society for Music Theory's electronic journal, Music Theory Online. Rothfarb's current research deals with early music-analytical reception of Bruckner's symphonies, 19th-century aesthetics, and with the music-cultural impact of adult-targeted lay music education in Germany.
Division lecture, March 23, 4-5 P.m.: "Halm and Schenker: Culture, Politics, Aesthetics;" Reception to follow in the Graham Green Room.
Robert L. Kendrick teaches at the University of Chicago. He works largely in early modern music and culture, with additional interests in Latin American music, historical anthropology, and early modern literature and theater in relation to music. He is currently engaged in a book project on music and ritual in early modern Catholicism. Recent papers include work on 17th-century opera, male religious orders and music, and the historiography of 17th-century sacred repertories. He is also one of the co-editors of the forthcoming collected works of Alessandro Grandi. His books include The Sound of Milan, 1580-1650 (2002) and Celestial Sirens (1996) and he has edited the motets of Chiara Margarita Cozzolani for A-R Editions (1998). He has advised or worked with a range of early music performers, including Chicago’s Newberry Consort, Bologna’s Cappella Artemisia, and Boston’s La Donna Musicale. At Chicago he is also Chair of the Committee on the History of Culture, and affiliated faculty for the Department of Romance Languages and Literatures (Italian, French, Spanish, Catalan), the Center for Gender Studies, and the Center for Latin American Studies, and he served as Department Chair in 2004-08 and 2009-10. A member of Milan’s Accademia di S. Carlo, Kendrick received his Ph.D. (musicology) and M.A. (ethnomusicology) from New York University, after a B.A. from the University of Pennsylvania, and he is a former Junior Fellow at the Harvard Society of Fellows. Kendrick's lecture was titled: "Hearing Litanies in Late 16th Century Italy."
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DAVID SMYTH (Edward and Catherine Galante Professor and Coordinator of Music Theory, LSU) holds degrees from The Colorado College (B.A. 1974), Cornell University (M.A. 1978) and the University of Texas at Austin (Ph.D. 1985). He has taught at Louisiana State University since 1987, winning awards for outstanding teaching (1989, 1999) and the LSU Distinguished Faculty Award (2005). He participated in an NEH Summer Seminar for College Teachers at Harvard University (1989) and has attended the Mannes Institute for Advanced Studies in Music Theory three times (2001, 2004, 2006). His research has centered on studies of large-scale rhythm and meter in tonal music and analytical studies drawing upon composers' sketches. Articles and reviews by Smyth have appeared in Music Theory Spectrum, Perspectives of New Music, Journal of Music Theory, College Music Symposium, Intégral, Beethoven Forum, Journal of the Arnold Schoenberg Institute, Theory and Practice, Indiana Theory Review, and Music Theory Online. He has presented papers at music theory conferences in Canada, England, Switzerland, Ireland, and the United States. He served on the editorial board for Music Theory Spectrum (2001-2003) and is currently Treasurer for the Society for Music Theory. He is working on a book about Stravinsky's sketches, based on research carried out at the Paul Sacher Foundation in Basel, Switzerland, where he has been awarded two research fellowships (1996, 2002).
Dr. Smyth's lecture was titled "Stravinsky's Sketches: Snapshots of a Composer at Work."
>The musicologist Helen Greenwald (New England Music Conservatory) will deliver a lecture entitled "Ars moriendi: Reflections on the Death of Mimì" on Wednesday, September 22, 4:00-5:00, in Room 321. A reception will follow at 5:00 in the Graham Green Room. All are welcome.
Helen Greenwald has taught at the New England Conservatory of Music since 1991, and was Visiting Professor in the Music Department at the University of Chicago, winter-spring 2008. A native New Yorker, she began her career as a professional cellist, and later earned the Ph.D. in Musicology from the Graduate Center of the City University of New York. Her numerous articles on vocal music of the 18th – 20th centuries have appeared in 19th-Century Music, Acta Musicologica, Journal of the American Musicological Society, the Mozart-Jahrbuch, Cambridge Opera Journal, and the Salzburger Akademische Beiträge. She is the editor of the critical edition of Verdi's Attila for The Works of Giuseppe Verdi (University of Chicago Press/Ricordi, forthcoming), which was premiered Tuesday evening by Riccardo Muti in his debut at the Metropolitan Opera in February 2010. Her critical edition with Kathleen Hansell, of Rossini's Zelmira (Fondazione Rossini/Ricordi, 2005), was premiered by Robert Abbado August 2009 at the Rossini Opera Festival in Pesaro, Italy, with Juan Diego Flórez in the role of Ilo. Greenwald was contributing curator and consultant to the international exhibition, "La Scena di Puccini," shown 2003 - 2004 at the Fondazione Ragghianti in Lucca, Italy. Greenwald has presented papers in the international forum, including the 1991 International Mozart Congress (Salzburg), the 2001 Verdi Congress (Parma), the Royal Musical Association, the British Society for Music Analysis, the biannual British 19th-Century Music Conference, the Salzburg Symposium, the American Musicological Society, the Society for Music Theory, the New England Conference of Music Theorists, the Music Theory Society of New York State, and the Modern Language Association. Current projects include the Oxford Handbook of Opera (Oxford University Press), a forum on Verdi’s Attila for Cambridge Opera Journal (forthcoming fall 2010), which she convened and edited, the Puccini entry for Oxford Bibliographies Online, and a book with the working title, “In Their Own Image: An Operatic Iconology.” Prof. Greenwald has written program notes for the Boston Symphony Orchestra, the New York City Opera, the Metropolitan Opera, the Lyric Opera of Chicago, the Maggio Musicale Fiorentino, and the Gothenburg Opera in Sweden. The expanded version of “Ars moriendi: Reflections on the Death of Mimì” will appear as a chapter in The Arts of the Prima Donna in the Long Nineteenth Century, ed. Rachel Cowgill and Hilary Poriss (Oxford University Press, forthcoming).