October 2013

AMERICAN MUSICOLOGICAL SOCIETY

A CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES ALLEGHENY CHAPTER

October 19, 2013

Indiana University of Pennsylvania                                                           Indiana, Pennsylvania

8:30 a.m.            REGISTRATION AND COFFEE

9:00 a.m.            MORNING PRESENTATIONS–I

Daniel Rosen, University of Western Ontario

“Producing Contemporary Electronic Dance Music: Exploring the Musical Creativity of Digital Signal Processing Plug-ins in Mixing and Mastering”

In this paper I explore the musical creativity exhibited using specific Digital Signal Processing (DSP) plug-ins in the mixing and mastering stages of contemporary Electronic Dance Music (EDM) production. I comprehensively demonstrate how several common practice EDM processing techniques in this stage produce straightforwardly musical consequences, using examples from commercially available EDM recordings produced after 2011. I conclude with a brief consideration of the challenge my argument presents to traditional academic modes of music analysis, specifically, that recording practice can be understood as musical practice rather than a technical support for musical practice.

Jürgen Thym, Eastman School of Music, University of Rochester

“Between Stockhausen/Zimmermann and Eisler/Dessau: Luca Lombardi’s Balancing Act between the Two Germanies”

Luca Lombardi (*1945 in Rome) is a wanderer between different worlds and cultures; his creativity seems to prosper in the tensions brought on by the most divergent, even contradictory, influences: Italy and Germany, avant-garde music and music of political engagement.  Cologne and East Berlin were the locales that nurtured his political and musical perspectives around 1970.  The paper will shed light on the career of a composer, who lived, studied, and was performed in both Germanies; who, courageously, went against the grain and stood up for his political and aesthetic ideals in East and West; and who liberated himself from orthodoxies and dogmas by “constructing his freedom.”

10:15 a.m.            COFFEE

10: 45 a.m.            MORNING PRESENTATIONS—II

Kyle Masson, Pennsylvania State University

“A Lament for Homer’s Heroine: The Characterization of Penelope in Il ritorno d’Ulisse in patria

In this paper, I analyze the character Penelope in Monteverdi’s Il ritorno d’Ulisse in patria, demonstrating how she serves as a conduit for the glorification of Venice’s patriarchal society. Characterized as an object of desire and censure, Monteverdi’s Penelope contrasts starkly with her Homeric counterpart, providing a unique lens through which to observe gender constructions in Monteverdi’s Venice.  I do not aim to present an alternative reading of Penelope from that of existing interpretations.  Rather, I seek to add another layer of meaning to her character in attempting to discover how period audiences might have perceived this operatic “heroine.”

Christopher Culp, University of Buffalo

“I am the Very Model of a Modernist Postmodernist: The Case of Musical Theatre”

American Musical Theatre is often neglected from serious musicological study due to its connection with popular music, commercial constraints, and undefined ontological status as a ‘”work of art.”  As Musical Studies develops, these factors demonstrate that Musicals do not fit into pre-established categories of Modernist and Postmodernist ideologies of understanding history.  To date, few attempts at Musical Theatre categorization exist in musicology, primarily focused on the works of Stephen Sondheim.  This paper addresses that Musicals have a more complex relationship to Modernism/ Postmodernism and have a role in rescripting and refining our current musicological conceptions of Modernist/Postmodernist discourse.

12:00 noon            LUNCH AND BUSINESS MEETING

2:00 p.m.            AFTERNOON PRESENTATIONS–I

Erica Rumbley, University of Kentucky

“Ornamental Music and Southern Belles at the Nashville Female Academy, 1816-1861”

During the nineteenth century women in the American South occupied a restricted place within society, and were taught the social graces and “Ornamental” topics such as music in order to become genteel and accomplished Southern ladies. The Nashville Female Academy was a leading institution in the region and a large part of its attraction was the strength of its “ornamental” program, which employed prestigious faculty and served as a center of civic culture. This presentation will reconstruct the curriculum, repertoire, and faculty of the school and demonstrate how its music program produced a generation of southern belles.

Nathan Miller, University of Kentucky

“Onward!: Christian Soldier Songs in Late Nineteenth-Century American Culture.”

When the last shots of the Civil War faded into silence, warfare did not stop in America. Instead of brother pitted against brother in bloody battle, the re-unified nation engaged in a spiritual skirmish against Satan and sin. The sound of combat was no longer the deafening roar of canon and rifle, but rather the harmony of thousands of voices, gathered in song, resolutely marching as to war. Militarism became progressively more pervasive throughout civilian society and created a metaphor that increasingly became embedded in hymns and gospel songs through emulation of the martial style of Civil War brass bands.

3:15 p.m.            A BRIEF INTERMISSION

3:45 p.m.            AFTERNOON PRESENTATIONS—II

Carl Rahkonen, Indiana University of Pennsylvania

“Music in the Drawing Room: What We Learn from the Vernacular Tune Book Collection of Samuel Bayard”

Samuel P. Bayard (1908-1997), a folk music scholar from Penn State University, amassed a collection of vernacular tune books from the eighteenth to the early twentieth centuries in order to document the possible origins of folk tunes he collected in Western Pennsylvania.   Most of these tune books were published in England, Scotland, Ireland and Wales.  They show the nature of the music performed in salons and drawing rooms, which was a complex mixture of folk music, popular music and simplified arrangements of art music.  This music was newly composed, taken from earlier written sources and transcribed from aural tradition.

Grant William Cook III, University of Mount Union

“Alexander Wheelock Thayer, Searching for Beethoven in Paris and London”

The focus of this study is the Paris and London residencies (October 1860-May 1861) of the distinguished American Beethoven scholar Alexander Wheelock Thayer (1817-1897).  From Thayer’s numerous articles in Dwight’s Journal of Music, specifically those published under the “Diarist” pseudonym, it is possible to place his whereabouts—at times even daily—during this roughly seven-month period. In addition, this study brings to light valuable Thayeriana mined from contemporary periodicals, census records and from the personal letters and journals of Thayer’s intimates.  Collectively, this new documentary evidence helps construct a hitherto unwritten chapter in the “Life of Thayer,” Beethoven’s most important biographer.

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