The program for the Spring Meeting of AMS Allegheny is available. Please click here for details.
CALL FOR PAPERS
Allegheny Chapter of the American Musicological Society
Spring Meeting 2017
Saturday, April 8, 2017
CFP Due: March 3, 2017
Cleveland State University
The Spring Meeting 2017 of the AMS Allegheny Chapter will be held on Saturday, April 8, 2017 at Cleveland State University. Presenters are invited to submit a proposal for papers or other scholarly presentations on any subject of musicological interest.
An abstract of max. 300 words, along with the proposed title and list of the equipment necessary for your presentation should be submitted by Friday, March 3, 2017. Presentations in all forms shall last no longer than 25 minutes. Please send your abstract to: firstname.lastname@example.org
In addition to individual proposals, the Program Committee invites abstracts for plenary sessions on any subject of musicological interest. An abstract of max. 500 words, along with the proposed title, list of the participants and their role in the session, and a list of the equipment necessary for the presentation should be submitted by Friday, March 3, 2017. Plenary sessions shall last no longer than 1 hour and 15 minutes. Please send your abstract to: email@example.com
1) The chapter invites students to submit their submissions to the Allegheny Student Award for Best Scholarly Paper. The award consists of a $250.00 monetary award generously sponsored by the West Virginia University Press. For submission guidelines please see:
The Prize has been implemented by the chapter members at the Spring meeting 2016.
2) All submissions will be evaluated by a blind peer-review process, and those from a program member’s colleagues or students will not be forwarded by the committee chair to that member.
This policy has been implemented by the chapter members at the Fall meeting 2013.
Chair, Program Committee
Cleveland State University
Department of Music
Allegheny Chapter of the American Musicological Society
Saturday, March 19, 2016 • Chatham University, Pittsburgh, Pennsylvania
Program Spring Meeting
8:30 AM Registration and Refreshments
9:00 AM Opening Remarks by Chapter President, Christopher Wilkinson
Contemporary Music: Notation and Quotations
Chair: Andrew Farina (Butler University)
Antonella Di Giulio (University at Buffalo, SUNY)
Deictic Spaces and Form-Meaning Pairings in 20th-Century Works
The recent research of Gjerdingen offers some ideas for the application of construction grammar to schemas. This paper considers two types of space involved in score: the map of schemas and the segmentations within the piece. The combination of these spaces is defined as deictic.
Using as a point of departure Etude by Salvatore Sciarrino and “Der Spiegel sagt mir” by Luigi Dallapiccola, this paper provides a window on deictic spaces used as analytical tool. Listeners are able to remember and predict segments of sounds and the act of recalling is facilitated by the points of orientation distributed in time.
Laura Dallman (Indiana University)
The Surface and Beyond: Quotation and Allusion in Daugherty’s Orchestral Works
Many of Michael Daugherty’s orchestral works use musical quotation and allusion, drawing upon history and popular culture to create a sense of familiarity. He manipulates a variety of material, from simple to complex, creating a diverse musical palette. With borrowed material, Daugherty often labels the score or writes explanatory program notes. In a few instances, however, he makes little or no mention of a quotation or allusion. This raises questions. Why this particular material? How does it connect to the larger work? Addressing these questions moves beyond the surface and offers more nuanced interpretations of Daugherty’s work.
Recording Technology and Dissemination: Music and Radio
Chair: William Hannam (Kent State University)
Julie VanGyzen (University of Pittsburgh)
Listening for Hope: Listening and Resistance During the Occupation of France
During the German occupation of France in World War II (1940–44) both Germany and Great Britain launched propaganda initiatives through the employment of radio broadcasting. Germany wanted to subsume the French identity, while Great Britain’s goal, via the BBC, was to encourage French citizens to join the resistance against Germany. The majority of French citizens tuned into the BBC broadcasts each night, but not many joined the resistance movement, begging the question—why did they listen? Using Occupied France as a case study, this paper will investigate how occupied peoples conceive a notion of collective identity through collective radiographic listening.
Garreth Broesche (University of Houston)
Are Recordings Forgeries?
This paper considers issues of authenticity and ontology in recordings of Western art music. I engage with ideas developed by Lydia Goehr (the perfect performance of music and the perfect musical performance) and Nicholas Cook (that musical performances lie on a continuum between two poles of product and process). To this largely theoretical discussion, I introduce real-world considerations gathered from interviews with producers and performers. I conclude by proposing that performers, perhaps surprisingly, do not wish to produce “perfect” recordings. Rather, they seek to leave some human trace in the recording, some proof of the process behind the product.
12:00 PM Lunch Break
2:00 PM Business Meeting
Eighteenth-Century Opera in Germany
Chair: Christopher Wilkinson (West Virginia University)
Adam Shoaff (University of Cincinnati College-Conservatory of Music)
Rousseauian Aesthetics and the Rebirth of German Opera
In the late-1760s, public opera in North Germany experienced a reawakening following the Seven Years’ War. Johann Adam Hiller, a composer, writer, and pedagogue in Leipzig, played a pivotal role in the genre’s rebirth. While writing his first operas, he was also editing a new music periodical, the Wöchentliche Nachrichten und Anmerkungen, die Musik betreffend (1766–70). Hiller gave special consideration to the aesthetic writings of Jean-Jacques Rousseau. This presentation discusses a few points of aesthetic agreement between Rousseau and Hiller, and demonstrates Hiller’s reflection of these principles in his comic operas Lottchen am Hofe, Die Jagd, and Der Aerndtekranz.
Music, Culture and Place
Chair: Michael Baumgartner (Cleveland State University)
Juan Fernando Velásquez (University of Pittsburgh)
(Re)Sounding Urban: Symphonic Bands, Modernity, and Public Space in Medellín, Colombia (1863–1910)
An historical analysis of the Banda de la Gendarmería—a symphonic band from Medellín, Colombia—provides a powerful case study of music, public space, and the reconfiguration of modern urban life in Latin America. During the second half of the nineteenth century, Medellín experienced a modernization process that included the transformation of the colonial plaza into the republican parque. This paper illustrates how retretas (public concerts) of Medellín’s symphonic bands during this period reflected a changing urban environment while simultaneously producing new understandings of public culture and use of urban spaces through music and sound.
Anne Briggs (Wichita State University)
Fado: Origin Narratives and Female Azorean Immigrants
An important paradox is built into the structure of Portuguese fado. The genre is defined by a sense of saudade—longing, nostalgia, soulfulness, and heartache—but also deliberately lacks a solidified origin narrative. This circumstance results in constructed, highly gendered narratives surrounding the genre and its performers. But even more importantly, this circumstance means that the process of formulating folk traditions is self-consciously and continually unfolding in the fado community. As a lens onto fado and its communities, this paper explores the complex gender expectations in fado narratives and the influence on female Azorean-American immigrants’ agency during the twentieth century.
Matthew Baumer (Indiana University of Pennsylvania)
Who Benefits from a Benefit Concert? Music and Philanthropy in 1980s Pittsburgh
Music and charity have a venerable and reciprocal relationship. In the U.S., the opera and symphony have always required contributions beyond ticket sales, but musicians are also frequently asked to donate their services for charity. The all-purpose vehicle for charity for and from musical organizations is the benefit concert, an institution with multiple and overlapping meanings. High-profile benefit concerts in mid-1980s Pittsburgh given by Pavarotti and the Pittsburgh Symphony Orchestra reveal many shadings of the word “benefit.” Far from being special or unusual, the benefit concert is an important part of the strategy for marketing, supporting and legitimizing cultural institutions.
4:45 PM Informal Get-Together
CALL FOR PAPERS
American Musicological Society
Spring Meeting 2016
Saturday, March 19, 2016
The Spring Meeting 2016 of the AMS Allegheny Chapter will be held on Saturday, March 19, 2016 at Chatham University. Presenters are invited to submit a proposal for papers or other scholarly presentations on any subject of musicological interest.
An abstract of not more than 300 words, along with the proposed title and list of the equipment necessary for your presentation should be submitted by Monday, February 15, 2016.
Presentations in all forms shall last no longer than 25 minutes. Please send your abstract to firstname.lastname@example.org
Note: All submissions will be evaluated by a blind peer-review process, and those from a member’s colleagues or students will not be forwarded by the committee chair to that member. This policy has been implemented by the chapter members at the Fall meeting 2013.
CALL FOR PAPERS
Spring, 2015, Meeting of the Allegheny Chapter of the American Musicological Society
Saturday, April 18, 2015
Grove City College | Grove City, Pennsylvania
Deadline for Submissions: March 16, 2015
The Spring, 2015,Meeting of the Allegheny Chapter of the American Musicological Society will be held on Saturday, April 18, 2015 at Grove City College in Grove City, Pennsylvania. Proposals are invited for papers or other scholarly presentations on any subject of musicological interest.
An abstract of not more than 300 words, along with the proposed title and list of the equipment necessary for your presentation should be submitted by Monday, March 16, 2015. Presentations in all forms are to last no longer than 25 minutes. Abstracts must be sent electronically to Chris.Wilkinson@mail.wvu.edu .
Note: the Program Committee has implemented a policy regarding recusal from evaluating abstracts by faculty and students at the institution with which Committee members are affiliated as directed by the Chapter membership at the Fall, 2013, Chapter meeting. Submissions will be evaluated by a blind peer-review process, and those from a member’s colleagues or students will not be forwarded by the Committee Chair to that member.
Fall, 2014, Meeting of the Allegheny Chapter
American Musicological Society
Saturday, October 25, 2014
West Liberty University
West Liberty, West Virginia
Deadline for Submissions has been extended to 9/26/14
The Fall Meeting of the Allegheny Chapter of the American Musicological Society will be held on Saturday, October 25, 2014 at West Liberty State University in West Liberty, West Virginia. Proposals are invited for papers or other scholarly presentations on any subject of musicological interest.
An abstract of not more than 300 words, along with the proposed title and list of the equipment necessary for your presentation should be submitted by midnight on Friday, September 26, 2014. Presentations in all forms are to last no longer than 25 minutes. Abstracts must be sent electronically to Chris.Wilkinson@mail.wvu.edu.
We are proud to announce the program for the Spring Meeting of the American Musicological Society Allegheny Chapter. We’re looking forward to a diverse set of papers and research at Cleveland State University in Cleveland, Ohio.
8:30 a.m. REGISTRATION AND COFFEE [PH103, Parker Hannifan Admin. Center]
9:00 a.m. OPENING REMARKS and MORNING PRESENTATIONS
Terry Dean (Indiana State University)
The Rachmaninoff Memorial Fund (1943-1949): Some Preliminary Observations on the Downfall of the Organization
Established in the months immediately following his death, the Rachmaninoff Memorial Fund was founded to celebrate the life and achievements of Russian émigré Sergei Rachmaninoff (1873-1943). The principal aim of the organization was to identify through rigorous competition highly talented American pianists, composers, and conductors—areas of output which represent Rachmaninoff’s main contributions as a musician. Additionally, the Fund aspired to promote better relationships between musicians of the United States and the Soviet Union. Unfortunately, after six years of concerted effort, the organization quietly disbanded indicating a “lack of public support” and an “inability to carry out fully the purposes for which the fund was founded.” During its existence, the Fund completed only one successful competition for pianists, an effort which extended over two concert seasons (1946-47 and 1947-48). Although the Fund cites a “lack of public support” as the primary cause of its dissolution, newspapers and archival documents reveal that the organization suffered a number of significant challenges, despite the influence of its prominent membership.
In this paper, I will argue that the Rachmaninoff Memorial Fund disbanded not due to a lack of public interest in its mission, but rather as the result of a complex series of self-inflicted factors. In particular, I will reveal that the Fund embraced overzealous business practices that unnecessarily complicated its administrative structure as well as threatened its financial stability. Moreover, I will suggest that the Fund demanded an excessively rigorous performance standard informed more fully by a desire to preserve the memory of Rachmaninoff than its stated interest in identifying and promoting talented young musicians.
Taryn Kunisaki (University of Kentucky)
Franz Liszt’s Die Drei Zigeuner: “a Tribute to his Hungarian Nation and Ancestry”
Franz Liszt’s setting of Nikolaus Lenau’s Die Drei Zigeuner (1860), an impassioned song of his Hungarian nation and ancestry, serves as an apology to the public’s negative response to his publication of Des Bohemiens. Liszt utilizes a Hungarian poem about gypsies and musical icons to depict his pride in Hungary’s nationalism.
Unfortunate timing of the publication of Des Bohemiens and Liszt’s premise of his book caused an outraged response from the Hungarian public. Besides surviving and healing after the tumultuous War of Independence (1849), Imre Madach’s A Civilizator, a satire about Austria’s attempt to colonize Hungary, was also published during the same year of Des Bohemiens (1859). A combination of the topic of A Civilizator and nursing the wounds of defeat fueled people’s contempt about Liszt’s well-intended but wrong statement of Hungarian music originating from Gypsy music. After fiery commentaries and correspondences with a number of people, Liszt composed Die Drei Zigeuner to make amends and prove his loyalty to Hungary.
In this paper, through the lens of a cultural geographer, I explore Liszt’s immense respect of the Gypsies beginning since childhood, his association of the Gypsy with Hungary, the political issues involved with Des Bohemiens, and the Hungarian musical elements of Die Drei Zigeuner, expressing his apology and patriotism of Hungary. Liszt’s use of Nikolaus Lenau’s poem, musical reference of a cimbalom, Hungarian minor scales, speech like rhythms, and verbunkos creates an image of Hungary expressing Liszt’s sincere apology and tribute to his Hungarian nation and ancestry.
Anna Stephan Robinson (West Liberty University)
Correspondence between Marion Bauer and the A.P. Schmidt Company (1915-1951): Some Findings
Despite her importance, composer, writer, teacher, and American- and contemporary-music advocate Marion Bauer (1882-1955) remains somewhat obscure. As a textbook author, she proved a significant early influence on Milton Babbitt; as a critic, she was among the earliest to champion younger contemporaries such as Aaron Copland; and as a composer, she was the second woman to have a piece performed by the New York Philharmonic. Though Bauer often struggled to get her music published, some two dozen works were issued by the Arthur P. Schmidt Company of Boston, a significant publishing house in advancing the careers of women composers, as Adrienne Fried Block (1984) has noted.
In this paper, I present some preliminary findings from my study of the correspondence between Bauer and the Schmidt Company, housed in the Library of Congress. Dating from 1915 to 1951, with the bulk from the 1920s and ’30s, the 65 letters are invaluable in providing insight into the concert-music business during the early twentieth century. The most frequently occurring topics in the letters are business dealings such as Bauer’s proposals for original compositions and other projects; requests for the company to provide sheet music to performers; discussion of recent or upcoming performances; and money matters, including the payment of royalties to Bauer and the repayment of advances granted by the company. However, artistic concerns also feature significantly, ranging from both parties’ views on musical modernism to Bauer’s reflections on artistic satisfaction. She declares that some pieces feel more her “own” than others, and asserts that composers are not taken seriously until they publish in certain genres. Taken as a whole, this correspondence sheds important light on music of the early twentieth century, relations between composers and publishers, and the ambitious self-promotion of a woman composer in the prefeminism era.
Sarah Dietsche (University of Memphis)
F the President:Reactions to George W. Bush in Popular Music
“Your enemy is not surrounding your country; your enemy is ruling your country.”
In his 2003 State of the Union address George W. Bush addressed these words to Iraqi citizens but they ironically echoed the sentiments of people around the world watching America under the Bush administration. He was one of the most polarizing presidents in American history and popular musicians of all genres seized the moment to express their frustration. Using absurdity, rationality, irony, and obscenity, artists from P!nk to Public Enemy articulated their views on the president and his policies. Dissenting artists were received differently based on their timing and core audience. Some-most infamously the Dixie Chicks-paid the price for their opinions with public criticism or career failure while others met with acclaim and success.
This paper explores songs which protested President Bush and his administration through musical and lyrical analysis. Based on the main lyrical themes, the songs fall into general categories of complaints reflecting the range of societal response over the course of his presidency. I will discuss how these reactions were framed in popular music and whether they resonated or clashed with the cultural climate of the audience and the nation. This study builds on previous research of post-9/11 music by focusing on one of the most prominent themes found therein. Because of its proximity, it offers information that is of broad cultural significance and contributes to the limited but expanding musicological studies of popular music, protest music, and post-9/11 music.
12:00 p.m. LUNCH [Elements Bistro]
2:00 p.m. BUSINESS MTG. and AFTERNOON PRESENTATIONS [PH103, Parker Hannifan Admin. Center]
Classical Vienna: Common Tones and Uncommon Colds
Susan K. de Ghizé (University of Texas, Brownsville)
Mozart’s Common (yet Uncommon) Common-Tone Modulations
A common-tone modulation is technically defined as a modulation that singles out one pitch in the original key to modulate to another key that shares the same pitch. The works of such composers as Schubert and Liszt are well known for their use of typical common-tone modulations, which have evolved to imply a modulation to a distantly-related key a third away. However, the common-tone modulation actually has a diverse range of possibilities, and was quite popular with at least one earlier composer. In particular, Mozart’s compositions are rife with unconventional common-tone modulations that continually surprise the listener.
An overview of Mozart’s piano sonatas alone shows that there are no less than 50 instances in which he uses common tones to modulate. In addition to traditional usages, Mozart deploys common-tone modulations by less-typical approaches. For example, in a number of instances, Mozart uses a common tone to become the seventh of a major-minor seventh chord, or even a member of a diminished seventh chord. Mozart will also set up the listener by including one type of common-tone modulation in the exposition, while using a different type in the recapitulation. After surveying the various types of common-tone modulations, I examine Mozart’s First Piano Sonata in C major (K. 279) in detail.
In this paper, I will show how Mozart’s piano sonatas illustrate his use of common-tone modulations, which are not only as common as those used by Schubert and Liszt, but also are of the more uncommon varieties.
Theodore Albrecht (Kent State University)
Mortality and Musicians: An Epidemiology of Vienna’s Theater Orchestra Members in Beethoven’s Time
Music historians have long lamented the death of Mozart in Vienna in 1791 at the age of only 35, and have lauded Haydn’s ripe old age when he died there in 1809 at the age of 77. Beethoven, who died in 1827 at age 56, falls somewhere in the middle. Napoleonic bombardment notwithstanding, Haydn died of natural causes. Salieri may have dreamed of poisoning Mozart, but an unidentified fever that was common in Vienna in 1791-1792 killed Mozart and, three months later, Emperor Leopold as well. Beethoven died of pneumonia, a complication of cirrhosis of the liver that came through his paternal grandmother’s side of the family.
So much for the much-studied “great” musicians of Vienna’s Classical period! What about the “little guys,” the often-anonymous orchestral musicians who played their works? Identifying hundreds of these musicians from various payrolls and personnel lists in various Viennese libraries and archives has occupied fifteen summers. Fortunately, the Wiener Stadt- und Landesarchiv preserves the Totenbeschauprotokolle, the records that list the cause of each person’s death.
In this context, we encounter archaic terminology such as Nervenfieber (nerve fever) and Schleimschlag (mucous attack), but also witness many musicians dying of strokes in their 40s and 50s. The greatest killer was Lungenschwindsucht (tuberculosis). It came from smoke, damp walls, dust in the streets, and it passed from one coughing musician to another in the crowded orchestra pits. No class was spared and musicians might succumb to it in their 20s.
And then there was trombonist Clemens Messerer, who died in 1816 at age 92, and whose young widow survived him by 40 years!
Influence and Inspiration
Antonella Di Giulio (University at Buffalo)
From a “noyau” to an Invention: Following the Needs of the Imagination in Petrassi’s Invenzione #1
Emblematic figure for his profound musical knowledge and spirit of exploration as well as for his dissociation from the fundamentalist currents of his time, Goffredo Petrassi is widely considered one of the most influential Italian composers of the 20th century. Although he belongs to the same generation of composers as Dallapiccola, who had extended his activities beyond the Italian borders and was well known, the evolution of Petrassi’s work remains mostly unknown and little studied. In his work he adapted freely elements taken from various periods of the history of music and translated them into his own language, highlighting the maieutic power of music not as revision or reinterpretation of the past, but as a celebration of the historical roots.
Even though Petrassi has been very reluctant to describe his composition techniques, an important witness has been left in an unpublished letter written by the Italian composer to Elliott Carter in 1960. Taking a cue from Petrassi’s detailed description of the characteristic elements of his compositions, in this lecture performance I will analyze how he translated what Schoenberg would call “Grundgestalt” into his own original system, which is based on the extrapolation, regeneration and transformation of motivic cells, created through the elaboration within a musical terrain of a simple and short initial “noyau”. The analysis of his first Invenzione for piano will show how the power and cohesiveness of his music stems from the fact that his noyau is the unit of action and evolves within an event containing the past and the future in a rhapsodic character of “ricercari”, which is defined by Petrassi as “a series of musical events that are self-generated according to the needs of the imagination”.
Charles Perryman (Independent Scholar)
Bill Monroe, Arnold Shultz, and Travis Picking: The African-American Influence on Bluegrass Music
Bluegrass, perhaps more than any other popular music, is primarily associated with white Americans. But, like virtually all American music, bluegrass is the product of black and white musical interaction. Scholars like Robert Cantwell, Cecilia Conway, Bill Malone, and Anthony Farmelo have proven that African-American musicians have had a significant and lasting impact on Appalachian folk music, country music, and bluegrass.
Bill Monroe, the father of bluegrass, stated that one of his most significant influences was the black guitarist Arnold Shultz. Understanding the specific musical influence that Shultz had on Monroe is critical because it is the starting point of the African-American influence on bluegrass. However, so little is known about Shultz that almost no research has been done to explore this crucial moment in bluegrass history.
William E. Lightfoot, however, has shown that Shultz was the progenitor of a style of guitar playing known as Travis picking. Lightfoot concluded that by 1918, five years before Monroe met him, Shultz’s guitar playing included four elements: an alternating bass line, accompanying off-beat chord, syncopated melody, and a variety of repertoire adapted to fit the style. These musical characteristics also exist in bluegrass: the guitar and bass play an alternating bass line, there is a constant off-beat chord, bluegrass melodies are syncopated, and a bluegrass band plays a variety of repertoire. It was these characteristics that Shultz passed along to Monroe.
I intend to demonstrate the connection between Shultz and Monroe by playing and analyzing musical recordings and by examining Lightfoot’s research in detail. Because there are no recordings of Shultz, I will instead use recordings of other guitarists like Mose Rager and Ike Everly, whose styles were an intermediate step between Shultz and Merle Travis. It is my hope that this presentation will spark interest for more research in this area.
5:00 p.m. ADJOURNMENT