October 2016 – Fall Meeting

Allegheny Chapter of the American Musicological Society
Saturday, October 15, 2016 • University of Pittsburgh, Pittsburgh, Pennsylvania

Program Fall Meeting

8:30 AM Registration and Refreshments
9:00 AM Opening Remarks by Chapter President, Christopher Wilkinson

Gender Studies in Popular Music and Jazz
Chair: Michael Boyd (Chatham University)
• Brian F. Wright (Fairmont State University)
Writing the History of Motown: The James Jamerson / Carol Kaye Controversy
• Andrea Marie Keil (Columbus, OH)
Finding the Erotic in the History of Women-in-Jazz: Audre Lorde’s “Uses of the Erotic” and the Writings of Sherrie Tucker
• Steven Moon (University of Pittsburgh)
“Building a Home for Ourselves”: Hip Hop, Queer Expression, and Our Place in Musicology

Music and Environment
Chair: Michael Baumgartner (Cleveland State University)
• Emilie Coakley (University of Pittsburgh)
For Whom the Bells Toll: Nostalgia, Memory, and Change in a City Soundscape

12:00 PM Lunch Break
2:00 PM Business Meeting

Music and Media
Chair: Michael Baumgartner (Cleveland State University)
• Rebecca Fülöp (Oberlin, OH)
A “most authentic American folk music”: Nostalgia and Colonialism in the Soundtrack of The Man in the High Castle

Opera in Paris and Naples in the Eighteenth and Nineteenth Century
Chair: Christopher Wilkinson (West Virginia University)
• Devin Burke (University of Louisville)
Musical Idolatry: The Monuments of Louis XIV and the Living Statues of the Opéra
• John Romey (Case Western Reserve University)
Parody Chaconnes as a Subversive Discourse at the Comédie-Italienne
• Jonathan Shold (University of Pittsburgh)
Lenten Opera and Theater Fasts in Naples, 1818–1830

4:45 PM Informal Get-Together



• Brian F. Wright: Writing the History of Motown: The James Jamerson / Carol Kaye Controversy
L.A. session bassist Carol Kaye claims to have played on numerous well-known Motown hits. Historians and critics fiercely dispute these claims, suggesting either that she played solely on re-recorded versions or that she is simply lying. Drawing on never-before-seen LA session contracts, I document that Kaye played on over 150 songs for Motown, including as many as seven hit singles. These contracts demonstrate that Kaye’s place in Motown history is larger than her critics would have us believe; however, they also complicate many of Kaye’s own claims.

• Andrea Marie Keil: Finding the Erotic in the History of Women-in-Jazz: Audre Lorde’s “Uses of the Erotic” and the Writings of Sherrie Tucker
Audre Lorde redefined the erotic as an untapped and often suppressed source of power available to all women, stating: “When I speak of the erotic, then, I speak of it as an assertion of the lifeforce of women; of that creative energy empowered, the knowledge and use of which we are now reclaiming…” In recent decades, a reclamation of the history of women-in-jazz has occurred through the works of Sherrie Tucker and other historical ethnographers. I will show how Lorde’s conception of the erotic can be a powerful theoretical framework for understanding both Tucker’s writings and the history of women-in-jazz.

• Steven Moon: “Building a Home for Ourselves”: Hip Hop, Queer Expression, and Our Place in Musicology
At a glance, hip-hop culture and rap music seem referential solely to an essentialized Black masculinity, replete with queerphobia and misogyny. For queer listeners or artists, this draws significant boundaries guarding participation and association. In order to create room in the genre and the field alike, I examine queerness as not only an identity, but also a process of listening and analysis. Joining queer methodology and hip-hop studies, this paper interrogates the ways in which musicological research can engage with queerness and corporeal hermeneutics as a performative practice, even in the musical mainstream.

• Emilie Coakley: For Whom the Bells Toll: Nostalgia, Memory, and Change in a City Soundscape
This paper will interrogate a contemporary shift in the public perception of religiously coded sounds through a case study of bells at St. Paul Cathedral in Oakland, PA. Through on-the-street interviews, conversations with local liturgical specialists and scholars, and archival research, I posit that public perception of this sound has become increasingly personalized and secularized. Following Marita Sturken’s work on historical memory and Michael Bull’s ideas of auditory nostalgia, I will track how the ringing bells have come to occupy a contested sound-space, shifting from a hegemonically coded aural presence to a site of optional and individualized association.

• Rebecca Fülöp: A “most authentic American folk music”: Nostalgia and Colonialism in the Soundtrack of The Man in the High Castle
The Man in the High Castle (Philip K. Dick, 1962), an alternate history in which the Nazis and Japanese won WWII, parodies American colonialism by showing America colonized by a caricature of itself (Cassie Carter, 1995). The 2015 Amazon Studios show, however, translates the novel’s representation of imperialism within the context of present day anxieties about race, nostalgia, and post-colonialism, portraying a past alternate reality rather than a Cold War parable. Drawing on Svetlana Boym (2001), and Caryl Flinn (1992), this paper explores how the show’s musical choices help to undermine Dick’s deconstruction of American imperialism and “authentic” American culture.

• Devin Burke: Musical Idolatry: The Monuments of Louis XIV and the Living Statues of the Opéra
At the turn of the eighteenth century, statues that spring musically to life suddenly became remarkably prevalent at the Paris Opéra. In the Opéra’s first twenty-seven years (1669-1696), living statues appeared in only four works, but between 1697 and 1707 they appeared in new works almost yearly. Musically, the later productions featured strikingly new treatments of the trope. In this paper, I argue that the recurring use of animated statues can be understood as commentary on the controversies surrounding Louis XIV’s monument construction projects of the 1680s and 1690s, which were widely criticized as idolatrous and blasphemous monstrosities.

• John Romey: Parody Chaconnes as a Subversive Discourse at the Comédie-Italienne
The Comédie-Italienne, the Parisian commedia-dell’arte troupe, parodied several chaconnes from Lully’s operas in the years before 1692. In this presentation, I will discuss how Fatouville’s Arlequin Jason—a parody of both Corneille’s La Toison d’or and the chaconne from Lully’s Amadis—deconstructs the official royal image of Louis XIV as formed through the tragédie en musique and the classical French spoken tragedy at the Comédie-Française. I will then contrast representations of the King in official almanacs with the iconography of Arlequin Jason from Bonnart’s calendar-almanac to further illuminate how complex political allusions subverted the official propaganda of heroism.

• Jonathan Shold: Lenten Opera and Theater Fasts in Naples, 1818–1830
This paper explores theater-based fasting as a meaningful Lenten observance for opera-goers in early nineteenth-century Naples. While musicologists have often equated Lenten opera with sacred drama and oratorio, archival evidence reveals that these musical genres represented only a small fraction of Lenten operatic performances in Naples between 1818 and 1830. Opera in general was instead framed as “Lenten” by abstaining from dancing and gambling within Naples’ theaters, as well as by occasionally closing the theaters themselves. Viewing these abstinences as fasts situates Lenten opera as a dynamic Neapolitan social practice, rather than as a static “sacred” musical genre.


Spring Meeting 2016

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

CFP: Fall Meeting of the AMS Allegheny Chapter

Allegheny Chapter of the American Musicological Society
Fall Meeting 2015
Saturday, October 17, 2015
Submission Deadline: September 14, 2015
West Virginia University
Morgantown, West Virginia

The Fall Meeting 2015 of the AMS Allegheny Chapter will be held on Saturday, October 17, 2015 at West Virginia University (School of Music).  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, September 14, 2015.  Presentations in all forms shall last no longer than 25 minutes. Please send your abstract to m.baumgartner29@csuohio.edu

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.

Michael Baumgartner
Chair, Program Committee
Cleveland State University
Department of Music