Conference Program

2013 Stony Brook Graduate Music Symposium: Program

The program for the 2013 Stony Brook Graduate Music Symposium is below. Information about getting to Stony Brook can be found here, and campus maps are available here. We hope to see you at the conference!

Music of the Spectacle

Friday, February 22 (1006 Humanities Building)

11:30 Coffee and Registration, Light refreshments

12:15 Opening Remarks

Professor Judith Lochhead, Director of Graduate Studies

Benjamin Downs, Symposium Chair

12:30-1:30 Popular Combinatorics

David Blake, chair

Lindsay Wright (University of Chicago)

 “Collage, Montage, and Meaning in Popular Music”

Olivia Benware (University of New Hampshire)

 “Live-Looping, Andrew Bird, and the Spectacle of the Modern One Man Band”

1:45-2:45 Spectacle, Out of Doors

Kassie Hartford, chair

Glenda Bates (Stony Brook University)

 “Pomp, Performance, and Palio: Music’s Role in Ceremony and Spectacle as a Construct of Cultural Identity and Civic Pride in the Sienese Republic, 1260–1555”

Antonette Adiova (University of Michigan)

 “Street Dancing in Hybrid Space: Religiosity and Commercialism in the Feast of Our Lady of Peñafrancia”

3:00-4:00 Spectacle across Media

Bethany Cencer, chair

 Michael Boerner (Pennsylvania State University)

 “Erik Satie and the Influence of Parisian Dadaism”

 Monica Chieffo (Tufts University)

 “Maria’s Veils, Salome’s Machinery: The Dance Scene in Metropolis  and Salome”

4:15-5:30 Keynote Address

Professor Ryan Minor, chair

 Professor David Levin (University of Chicago)

Reception to follow

Staller Center, Music Wing

8:00-9:00pm Humperdink’s Hansel and Gretel

Staller Center for the Arts

Saturday, February 23 (Tabler Conference Room)

8:30-9:00 Coffee and Bagels

9:00-10:30 Reconstructed Voices

Carlo Lanfossi, chair

 Katherine Kaiser (Stony Brook University)

 “Music Without Spectale?: Intimate Auralities in Ruth Crawford Seeger’s Rissolty Rossilty”

 John Romey (Case Western Reserve University)

 “Dancourt’s Early Divertissements: Musical Theater At The Comédie-Français (1685–1699)”

 Amanda L. C. Fontaine (University of New Hampshire)

 “’O Friends, Not These Strains:’ An Analysis of the Use of Text and Textual Symbolism in Beethoven’s Ninth Symphony”

11:00-12:00 Sonic Spaces

Benjamin Downs, chair

Nathan Friedman (Wesleyan University)

 “Modifying the Demeanor of the Galaxies: Spectacle and Utopia in the Music of Iannis Xenakis”

Orit Hilewicz (Columbia University)

 “Morton Feldman’s Rothko Chapel Transforming the Boundaries of Individuality: A Study in Musical Ekphrasis”

Deadline extended

Deadline extended

The deadline for the Third Stony Brook Graduate Music Symposium has been extended until December 29th. Please submit 250-word abstracts for 20-minute papers or 40-minute lecture recitals on the topic, "Music of the Spectacle" to musicgradsymposium@stonybrook.edu.

CFP: Music of the Spectacle

Third Annual Stony Brook Graduate Music Symposium

CFP:  “Music of the Spectacle” 

The Stony Brook Music Department announces its third annual Graduate Music Symposium, to be held February 22-23, 2013. We welcome graduate students from all disciplines to submit paper proposals on aspects of music and spectatorship, broadly conceived. The symposium will feature a keynote address by David J. Levin (University of Chicago), as well as a performance of a new chamber adaptation of Humperdinck's Hansel and Gretel. 

In The Emancipated Spectator (2009), philosopher Jacques Rancière presents what he calls the "paradox of the spectator." Without the spectator, the theater (auditorium, concert hall) would not exist; but the spectator's gaze is a bad thing. On the one hand, without the spectator-listener, the performance would remain unheard. On the other, the gaze is construed as othering or irresponsibly passive. Scholars often oscillate between these two poles––the first celebrating, the second denouncing. We invite papers that critically explore the space between these two poles.

Musical spectacles have assumed many guises from the earliest examples to modern practices. What strategies have compositions, performances, and stagings used to connect or disconnect the gaze? A musical spectacle addresses itself to both the ear and the eye. How can we understand the relation between these two senses? What is the relationship between the bodies on display in performance and the spectator-listener? How are identities of performers and audiences created or dissolved? How does technological mediation enable or short-circuit spectatorship?

Possible topics for our symposium include:

            Ethics of spectatorship

            Critical readings of spectacular works/productions

            Technological mediation  

            Emancipated spectating/listening

            Visual texts vis-a-vis audible or other texts

            Musical ekphrasis

            Depictive musical works

            Visual musical practices

            Visible production of identities

We invite submissions of 250-word abstracts for 20-minute papers and 40-minute lecture recitals. Please submit proposals to  musicgradsymposium@stonybrook.edu  by Friday, December 29. Stony Brook is accessible via JFK and MacArthur Airport, the Long Island Rail Road, and the Bridgeport/Port Jefferson ferry. Housing with Stony Brook graduate students may be available for presenters staying overnight. For more information, please visit http://sbugradsymposium.blogspot.com

2012 Stony Brook Graduate Music Symposium: Program

The program for the 2012 Stony Brook Graduate Music Symposium is below. Information about getting to Stony Brook can be found here, and campus maps are available here. We hope to see you at the conference!

Between Indifference and Engagement: Music and Politics

Friday, February 17 (1006 Humanities Building)

9:00 Coffee and Registration

9:45 Opening Remarks
Professor Judith Lochhead, Chair, Department of Music
David Blake, Symposium Chair

10:00-12:00 Occupying, Protesting, Transgressing
David Blake, chair

Heather Buffington Anderson (University of Texas, Austin)

“‘Just Who Do You Think I Am?’: The Politics of Categorizing Nina Simone's Protest Music”

Travis Holloway (Stony Brook University)

“A Democracy of Music: Polyphony and the Athenian Revolution of 507 BCE”

Patrick Nickleson (University of Toronto)

“#Occupy Satyagraha: The Politics of an Aesthetic Work/The Aesthetics of a Political Movement”

Timothy Cuffman (Stony Brook University)

“Punk Music and the Transgressive Ethos”

12:00 Lunch break

1:30-2:30 Gender and Blackness
Sarah Feltham, chair

Stephanie Gunst (Tufts University)

“‘Don't Let Him Down’: Considering Gender Norms and Disidentification in Foxy Brown”

Sarah Geller (University of California, Davis)

“‘Behind Bars but the Bars Don't Stop’: Performing the Penitentiary in the Music of Lil Wayne”

2:45-4:15 Fashioning the European State
Bethany Cencer, chair

Danielle Sofer (Stony Brook University)

“History under the Rubric of ‘Soviet Music’”

Giulia Giovani (Università di Roma)

“Italian Printed Cantatas in the Habsburg Court”

Anna Parkitna (Stony Brook University)

“Renaissance Music as a Tool for Communist Propaganda in Poland”

4:30-5:45 Keynote Address

Professor Judith Lochhead, chair

Professor James Currie (SUNY, Buffalo)

“Forgetting in a Troubled Time: Music and Politics at the End of Modernity”

Reception to follow

Staller Center, Music Wing

Saturday, February 18 (2322 Staller Center, Music Wing)

8:30 Coffee

9:00-11:00 Music in Divided Germany
Katherine Kaiser, chair

Martha Sprigge (University of Chicago)

“Performing Dresden: Rudolf Mauersberger's Dresdner Requiem (1947/48) and the (Re-)Construction of an East German City”

Daniel Cooperman (McGill University)

“The Politics of Politics: Hans Werner Henze's Der Junge Lord”

Andrew Kohler (University of Michigan)

“‘They Have Brought an Innocent to Death’: Carl Orff’s Crisis of Conscience in Die Bernauerin” (Lecture-Recital)

11:15-12:15 Denaturalizing Modernism
Benjamin Downs, chair

Andrew Moylan (University of Massachusetts, Amherst)

“Post-Tonality and the ‘Evolutionary’ Reading of Music History”

Michael Lupo (CUNY-Graduate Center)

“Luigi Nono’s Promoteo: Listening for the ‘Organic Intellectual’”

12:15 Lunch break

1:30-3:00 Race and Class in the Americas

Kassandra Hartford, chair

Chelsea Burns (University of Chicago)

“Children’s Songs and Brazilian Dolls: Villa-Lobos’s Racial Politics”

Krystal J. Grant (Stony Brook University)

“‘A Felicidade’: Musical Genres and the Pursuit of Happiness in Black Orpheus and Orfeu”

Lauren Eldridge (University of Chicago)

“The Gift of Music: A Community Music School in a Culture of Aid”

3:15-4:45 Music Across Borders
Alecia Barbour, chair

Jack Blaskeiwicz (Stony Brook University)

“Belgium's La Muette de Portici”

Karin Heim (Northeastern University)

“Beats not Bombs: Hip-Hop to Create Peace in the Israeli-Palestinian Conflict”

Woo Chan Lee (University of Chicago)

“Exercising the Korean Self, Exorcizing the Western Other”

8:00 Tragédie de Carmen (Peter Brook's adaptation of Bizet's Carmen)

Recital Hall, Staller Center for the Arts

Deadline extended

The deadline for the Stony Brook Graduate Music Symposium has been extended until December 15th at 5 PM. Please submit 250-word abstracts for 20-minute papers or 40-minute lecture recitals on the topic, "Between Engagement and Indifference: Music and Politics" to musicgradsymposium@stonybrook.edu.

Stony Brook Graduate Music Symposium February, 2012

CFP: “Between Indifference and Engagement: Music and Politics”

The Stony Brook Music Department announces its second annual Graduate Music Symposium, to be held February 17-18, 2012. We welcome graduate students from all disciplines to submit paper proposals on aspects of music and politics, broadly conceived. The symposium will feature a keynote address by James Currie (SUNY-Buffalo), as well as a performance of George Bizet’s Carmen as adapted by Peter Brook. Suggested topics for our symposium include:

• Politics of musical practices
• Patrons, states, nations, and communities
• Ideology and musical discourse
• Resistance and complicity
• Identity politics
• Censorship
• Music as political resource
• Political readings of music

We invite submissions of 250-word abstracts for 20-minute papers or 40-minute lecture recitals. Please submit proposals to musicgradsymposium@stonybrook.edu by Friday, December 9. Stony Brook is accessible via MacArthur Airport, the Long Island Rail Road, and the Bridgeport/Port Jefferson ferry. Housing with Stony Brook graduate students will be available for presenters staying overnight.

Stony Brook Graduate Music Symposium Program

The program for the Stony Brook Graduate Music Symposium is below. Information about getting to Stony Brook can be found here, and campus maps are available here. We hope to see you at the conference!

Perspectives on Performance

Friday, February 11 (1006 Humanities Building)

10:00   Coffee and Registration

10:45   Opening Remarks
Professor Judith Lochhead, Chair, Department of Music
Bethany Cencer, Symposium Chair

11:00-1:00       Changing Receptions, Changing Histories
Jon Fessenden, chair

Jonathan Waxman (New York University)

“Performing Ives: The Premiere and Reception of Ives’s Second Symphony”

Isadora Miranda (Western Illinois University)

“Child’s Play: Performance and Reception History of Hans Krása’s Brundibár”

Ryan Weber (University of Connecticut)

“Beethoven as Christian Socialist? Tracing Transatlantic Identities”

Michael Richardson (Stony Brook University)

“Rereading the Past: Towards an Historically Informed Performance Practice of Notre Dame Polyphony”

1:00     Lunch break

2:00-3:30         Feminist Theory and Popular Music
Sarah Feltham, chair

Joelle Meniktos-Nolting (University of Michigan)

“Last Night I Heard the Screaming: ‘Kinesthetic Empathy’ and Tracy Chapman’s Behind the Wall”

Zerrin Martin (Westminster Choir College)

“‘Don’t Tell Me What to Do’: The Supremes and the Ronettes: Issues of Feminine Archetypes, Race, Sexuality, and Girl Groups

Amanda Cannata (Stanford University)

“‘Look at Me…’: Sarah Vaughan’s Musical Performance of Gender in the 1950s

3:45-5:45         Aesthetics and Mediation
Nicholas Tochka, chair

Michael D’Errico (Tufts University)

 “‘Keepin’ it Real’: ‘Liveness’ and the Externalization of the Digital Interface in Instrumental Hip-Hop Production” (Lecture-Recital)

Robert D. Pearson (Brandeis University)

“‘Severe Diet?’ Tovey’s Renaissance

Lynda Paul (Yale University)

“Immediately Mediated: Musical ‘Liveness’ in Cirque du Soleil”

5:45     Dinner break

7:00                 Pre-Concert Talk (Recital Hall, Staller Center for the Arts)

Professor Mauro Calcagno (Stony Brook University)

8:00                 Handel, Acis and Galatea (Recital Hall, Staller Center for the Arts) 

Stony Brook Opera Workshop and Baroque Players, directed by Professor David Lawton and Professor Arthur Haas

Reception immediately following concert (2^nd Floor Lobby, Music Wing, Staller Center)

Saturday, February 12 (Recital Hall, Staller Center for the Arts)

8:30     Coffee

9:00-11:00       Fashioning the Baroque
Kelly Savage, chair

Elizabeth Weinfeld (CUNY-Graduate Center)

“Performance, or Self-Promotion? Giorgione, Watteau, and the Politics of Music Making”

Andy Greenwood (University of Chicago)

“Performance of Contagion: Conceiving Sympathy as a Musical Idea in the Scottish Enlightenment”

Christopher Wilke (Eastman School of Music)

 “Fortunate Love: Timbre, Texture and Tessitura in Sylvius Leopold Weiss’s Parodies of Gallot’s L’Amant Malheureux” (Lecture-Recital)

11:15-12:45     Performing Politics/Politicizing Performance
Kassandra Hartford, chair

Eduardo López-Dabdoub (CUNY-Graduate Center)

“‘Oh Lord, Don’t Let Them Shoot Us:’ Charles Mingus and the Performance of Race and Politics during the Civil Rights Movement

David McCarthy (CUNY-Graduate Center)

“Performing Affective Imaginaries in Copá Ruinas, Honduras”

John Gabriel (Harvard University)

“Exodus and Homecoming: Rudolf Kolisch’s 1953 and 1955 Amerika Haus Tours”

12:45   Lunch break

2:00-3:15         Keynote Address

Professor Mauro Calcagno, chair

Professor Ellen Rosand (Yale University)
"Poppea's Progress"

3:30-6:00         Modernist Techné
Katherine Kaiser, chair

Giacomo Fiore (University of California-Santa Cruz)

“Reflections, Resonance, Reminiscence: The Just Intonation Resophonic Guitar and Lou Harrison’s Scenes from Nek Chand” (Lecture-Recital)

Ian Power (Harvard University)

“Performance and Invention of Difficulty in the Work of Anthony Braxton”

Jocelyn Ho (Stony Brook University)

“Debussy and Late-Romantic Performing Practices: An Investigation of Debussy’s Piano Rolls of 1913”

Carmel Raz (Yale University)

“Putting the Cart(er) Before the Horse: Performing and Perceiving Metric Modulations”