2014 Austin B. Caswell Award Winners

Congratulations to this year’s Austin B. Caswell Award winners, Jessica MacLean and Katie Minion.

The awards, which honor the best papers written during the previous calendar year for a Jacobs undergraduate music history class, were presented by Distinguished Professor J. Peter Burkholder, representing the Musicology Department, during the May commencement ceremony in the Musical Arts Center.

Each prize consists of a certificate and $250. The committee that chose the winners this year was composed of Musicology Professors Michael Long, Judah Cohen, and Ayana Smith.

Jessica MacLean receives the Austin B. Caswell Award from Distinguished Professor J. Peter Burkholder.

Jessica MacLean receives the Austin B. Caswell Award from Distinguished Professor J. Peter Burkholder.

The award to Jessica MacLean honors her paper titled “Spanish Missionary Music: A Method for New World Christianization.” Drawing on original sources and recent scholarship, she chronicled a fascinating musical encounter between European missionaries and the local Nahua population in sixteenth-century Mexico. In the paper, she convincingly argues that music became a common language between the two groups where other approaches failed, easing the Spaniards’ efforts at conversion. Just as significantly, however, she shows that the Nahuas maintained a measure of autonomy in the face of these activities by making Western notation and polyphony “their own” within the religious structures imposed on them.

Katie Minion receives the Austin B. Caswell Award from Distinguished Professor J. Peter Burkholder.

Katie Minion receives the Austin B. Caswell Award from Distinguished Professor J. Peter Burkholder.

The award to Katie Minion honors her paper titled “To Be European: Toward an Understanding of National Style in 17th- and 18th-Century French and German Organs.” Using sources that range from seventeenth-century organ manuals to modern histories of the instrument, she demonstrates that while French organ-builders and organists promoted similarity in instruments, creating a “national” identity through sound, their German counterparts exhibited diversity. The paper suggests historical, religious, and political factors that influenced the different approaches to organ building in France and Germany, and considers how those differences affected performance traditions and composition for the organ through the twentieth century.

The awards were established in honor of Professor Caswell on the occasion of his retirement from the Jacobs Musicology Department in 1996—after 30 years. He continued to teach in the Honors College until just before his death in 2006.

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‘Who the Hell are the Beatles?’

By Brandon Cook


The legendary Beatles (from left) Paul McCartney, Ringo Starr, John Lennon and George Harrison made their American debut on the Ed Sullivan Show 50 years ago.

The legendary Beatles (from left) Paul McCartney, Ringo Starr, John Lennon and George Harrison made their American debut on the Ed Sullivan Show 50 years ago.

On Oct. 31, 1963, the renowned variety show host Ed Sullivan made this remark in London Heathrow Airport.

He had never heard of the group before and was stunned to see Beatlemania well underway in Great Britain.

More than 1,500 ecstatic teenagers congregated at the airport to welcome the band home from a tour in Sweden. When Sullivan asked what all the commotion was, he was told it was because of the Beatles. Sullivan’s curiosity was struck.

Fifty years ago Sunday —  Feb. 9, 1964 — marks the day he introduced the Beatles
to the United States.

But before the Beatles’ now-infamous debut on the Ed Sullivan Show, the group performed at the Royal Variety Performance in London, an event that drew performance artists to entertain British royalty.

The Beatles were billed as the seventh act out of 19 and would be playing for none other than Queen Elizabeth and Princess Margaret.

They were nervous, but had not lost any of the charm or cheeky humor that had already made them popular. Earlier that night, John Lennon had told Brian Epstein, the group’s manager, he was planning to crack a joke with the upscale audience.

This came just before the band launched into “Twist and Shout,” their rousing closer.
“For our last number I’d like to ask your help,” John said to the audience.

“Would the people in the cheaper seats clap your hands? And the rest of you, if you’ll just rattle your jewelry.”

With those words and a quick thumbs-up to the Queen Mother, John launched the song.

The gesture of playful defiance and bold whimsy found its American audience a short time later.

Peter Prichard, a London theatrical agent who worked for Sullivan, contacted Epstein soon after about “spreading the gospel of the Beatles in the U.S.A.” on the Ed Sullivan Show.

Sullivan had been curious about the Beatles back in Heathrow, and he was curious now. But he still didn’t know how he was going to promote the group until Prichard mentioned they were the first “long-haired boys” to perform for the Queen Mother.

Aspects of their American debut, from Sullivan’s introductory statement being drowned out by the hysterical audience to the length of the Beatles’ hair, are now infamous.

“They looked so different, and the music sounded so different,” said Mike Conway, who teaches a history of journalism course. “I don’t know what today we would compare it to.”

This is due, in no small part, to the state of the media 50 years ago. A majority of Americans owned a television in 1964, but there were only three channels.

One of the channels was CBS, the network that hosted the Ed Sullivan Show.
Sullivan achieved national acclaim for his abilities to scout young talent, playing host to Elvis Presley eight years before the Beatles and pioneering a young Itzhak Perlman in 1958.

He was recognized as an enduring media presence.

“Ed Sullivan’s just became — from how long it lasted — the most important variety show,” Conway said.

Sullivan was able to pull off unconventional acts, including Elvis’s controversial hips, without sacrificing the reputation he maintained with his older, more conservative followers.

“He was a risk taker,” Conway said, “but he wasn’t going to risk his reputation.”
Few would deny to recognize the foresight Sullivan displayed to premiere the Beatles. More than 73 million viewers tuned in to watch the four youngsters sing “All My Loving.”

The instant and overwhelming popularity made the harsh, critical backlash the group originally received seem culturally quaint. Lesser known to the public is the fact that CBS had completed a film report on the Beatles back in November, which was filed by Alexander Kendrick.

“Besides being merely the latest objects of adolescent adulation and culturally the modern manifestation of compulsive tribal singing and dancing, the Beatles are said by sociologists to have a deeper meaning,” Kendrick said. “They symbolize the 20th century non-hero, as they make non-music, wear non-haircuts.”

The Beatles’ story, originally aired Nov. 22, was re-released.

Jacobs School of Music professor Glenn Gass, who teaches “The Music of the Beatles,” said the band’s popularity marked a change in American culture.

“We could finally exhale,” Gass said. “Suddenly, it was OK to have fun.”

Gass described the Beatles in their early years as the leaders of a bold, new generation that so many would come to see them as later.

He said the band was like America’s hip older brothers.

Gass’ course, taught for more than 30 years, is the longest-running Beatles appreciation course in the nation.

He said his appreciation for the band began when he saw them on the Ed
Sullivan Show.

“That was the moment my life rebooted,” Gass said. “Rock ’n’ roll really defined the teenager as something more than a transition between childhood and adult.”

Elvis may have been responsible for bringing rock ’n’ roll into the public’s focus, but the controversy he created did not make him a well-received public figure in the eyes of adults concerned for the well-being of their children.

But the Beatles kept youth culture a priority in songs like “I Want to Hold Your Hand.”

“They were fun and buoyant and cheery enough to be very child-friendly,”
Gass said.

Gass maintains his intense personal and emotional connection with the Beatles.
When he attended the band’s 1966 performance at the Washington Coliseum — a performance picketed by the Ku Klux Klan angered by John’s famous claim that the band was “more popular than Jesus” — the event left an indelible impression
on him.

“It was like seeing the pope from a mile away,” Gass said.

Many Beatles’ fans have expressed a similar, personal relationship.

“There’s something real about it,” said Douglas Babb, a professor of class about the Beatles and Pink Floyd. “There’s something true about it.”

Babb has a weekly radio show as “Dr. Spin, The World’s Only All Vinyl D.J.” His Friday performance at Smee’s Place in Indianapolis will feature a 12-album homage to the Beatles.

Still touring hot off their television debut in 1964, the Beatles arrived at the Indiana State Fairgrounds in Indianapolis for a 10,000-person show that sold out so quickly, another show was booked later that night.

Ringo Starr, awake and wandering around the fairgrounds at four in the morning, was approached by a policeman and asked if he wanted to take a ride around the town. The two eventually ended up at the policeman’s home in Carmel, where the officer’s unlikely breakfast guest astonished his daughters.

“There’s a lot of folklore behind the Beatles,” Babb said. “But more people are familiar with the music, and far fewer with the story behind it — the friendship and the story that these four guys took together.”

The Grammy award-winning music writer and critic Anthony DeCurtis has spent more than 30 years writing for Rolling Stone and getting to the heart of that story. He has conducted interviews with the Beatles, including George Harrison, in an experience he described as amazing.

“I was really just trying to absorb it,” DeCurtis said. “There were a few moments. The first was when he asked me how Paul was doing. I thought, ‘This is what’s become of the Beatles. George Harrison having to ask me how Paul McCartney was

DeCurtis’ experience also reveals a level of complexity to the Beatles’ relationships with one another after the 1970 breakup. When DeCurtis answered, he thought McCartney was a little controlling.

DeCurtis recalled George responded with a smile.

“There was a kind of intimacy to it,” he said. “It was a complicated moment.”

During seven years of recording, the Beatles marked the transition from simple, fine-crafted pop songs of “Please Please Me” to the symphonic explosions in “Sgt. Pepper’s Lonely Hearts Club Band.”

They took pop music to something greater.

“They dared to say ‘we are high art,’” Gass said. “And it didn’t feel that different to go between the Beatles and Beethoven.”

Fifty years after their appearance on the Ed Sullivan Show, listeners will certainly return to the Beatles canon or perhaps experience it for the first time.

“It’s a generation celebrating the momentous change that took place,” Gass said.

The nostalgia and the feelings surrounding the Beatles remain powerfully tangible and elusively delicate. The feeling is perhaps like a Beatles song covered by a later band. It veils aspects of the original, and yet the original song remains with clarity. With it comes the unmistakable presence of the Fab Four, as close to listeners as they were 50 years ago.

“It’s a passage for a new generation,” Babb said.

The generation that was not born when Ed Sullivan revealed his four mop tops, that never followed the Beatles in real-time through their rapid-fire career, will have to decide for itself how it will interpret the Beatles’ narrative.

Fifty years spent celebrating the Beatles’ legacy may be an attempt to create such a happy ending. For many, however, the day will pass into obscurity.

The Beatles’ music — the love and spirituality it inspires, the companionship it celebrates and the youth it eternalized — will be neither more nor less significant on this anniversary than on any other day.

Still, others will celebrate the times that were and not bother with the narrative at all.

“It was a great pop culture phenomenon, whatever it was,” DeCurtis said. “It
was fun.”

© Indiana Daily Student 2014


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IU experts available to discuss Beatles anniversary, British invasion

The Beatles wave to fans after arriving at Kennedy Airport in February 1964. Image courtesy of the U.S. Library of Congress.

The Beatles wave to fans after arriving at Kennedy Airport in February 1964. Image courtesy of the U.S. Library of Congress.

BLOOMINGTON, Ind. — As the 50th anniversary of the Fab Four’s iconic performance on “The Ed Sullivan Show” approaches, Indiana University has several faculty experts who can provide insight into the Beatles’ explosion into popular culture, the subsequent “British Invasion” that followed the introduction of the band to the nation, and their lasting popularity.The following themes are addressed:

Performance marked true arrival of the ’60s An unlikely television star, Ed Sullivan, fueled Beatlemania Fab Four’s mark on American music outlasts the screams

Performance marked true arrival of the ’60s The Beatles’ appearance on “The Ed Sullivan Show” on Feb. 9, 1964, marked the true arrival of the ’60s, as the Beatle-boomers rumbled to life and began the transformation into the Woodstock Nation.

That journey was driven in no small part by a generation’s emulation of the Beatles at every step, beginning with hairstyles and ending with a nonconformist worldview in complete opposition to the values of their parents, the government and most other symbols of authority, said IU Jacobs School of Music professor Glenn Gass, who teaches what is believed to be the longest-running course on the Beatles in existence.

Glenn Gass

Glenn Gass

“The Beatles, on that Sunday night 50 years ago, were the first thing that truly united us — the first thing that gave ‘us’ a meaning — and they remained a constant through the ever-changing ’60s, the beating heart of the counterculture,” he said.

“We couldn’t have imagined the Beatles in our wildest dreams, and then, suddenly, there they were, right in front of us, perfect and astonishing. We took one look and shouted a collective ‘Yes!’  It was Elvis all over again, the second great rock moment. An entire generation snapped into focus, nodded its collective assent — and the ’60s were on.”

Glenn Gass is a Provost Professor of Music at the Indiana University Jacobs School of Music, where he teaches courses that he developed on the history of rock music, including a course on the Beatles he has offered since 1982 that is believed to be the longest-running course on the Beatles in existence. Gass can be reached at gass@indiana.edu.

© IUPUI Newsroom 2014


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Guest professor lectures on Japanese music

By Claire Waggoner

Hiroshi Ninomiya of the Tokai University School of Music in Tokyo was at IU Oct. 12 to give a lecture on the origins of contemporary Japanese music.

The evolution of Japanese music began, he said, after World War II when there was a greater push for individuality in music. Before the war, many Japanese composers had gone to Europe to study music, and over time they gradually passed down what they had learned abroad to the next generation. Ninomiya was one of these protégés himself.

Ninomiya said it is because of the previous generation’s education in Europe that contemporary Japanese music is so similar to French compositions.

A similarity can also be seen between the two countries in that both were heavily influenced by neighboring countries. French music developed largely out of Italian influence, and Japanese music drew inspiration from its Chinese counterpart.

Because of these similarities, Ninomiya said he was able to feel a connection to the music students in Paris when he lived there from 1994 to 1995. However, most Japanese music today expresses a distinct Asian identity, which separates it from French works, even if the composers did not consciously express this identity.

Throughout the lecture, Ninomiya discussed several pieces of music that showed different sounds and use of silence. From these works, Ninomiya explained the core elements of Japanese music.

The use of silence, space between sounds, lingering and stops in the songs mark Japanese contemporary music as distinct.

“Sound is represented as meaning,” Ninomiya said. “When the actual time stops, the time for imagination begins.”

Following the lecture, there was a recital at the IU Art Museum which included a tenor recorder solo by retired professor of music at the Jacobs School of Music Eva Legêne of Ninomiya’s “Tirade,” originally written for the oboe.

Legêne also performed “Daydream for Recorder,” composed by Don Freund, professor of composition at the Jacobs School.

The recital also included performances by Tatsuya Muraishi, Masayuki Maki, and Anne Legêne, playing the violin, harpsichord, and viola de gamba, respectively.

“We all got together for the first time on Thursday,” Anne Legêne said. “And then for a few hours on Friday and a few more on (Saturday).”

The recital drew an audience of about 50 people, all of whom listened intently throughout the entire performance.

After the recital, Ninomiya, Freund, and and the performers took their bows to a large round of applause.

“Everything was beautifully played,” Michael McCraw, professor of music at the Jacobs School, said. “The solo recorder pieces in particular were fabulous.”

© Indiana Daily Student 2013

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Colleagues, friends, students honor Rowell in 80th birthday concert

By Peter Jacobi

Lewis Rowell’s distinguished career in music centered on teaching and scholarship, with many of his professional years spent at Indiana University’s Jacobs School of Music. Students acknowledged him for his profound knowledge of music theory and musicology. Experts acknowledged him for his research and thought, which led him to write books considered significant to the field, such as “An Introduction to the Philosophy of Music” and “Music and Musical Thought in Early India.”

But the good Professor Rowell studied trombone and voice as an undergraduate a long while ago, and he tried his hand at composition, this after studying with none less than the influential Alan Hovhaness at the Eastman School. Those studies, he says, “lit a spark that has sputtered on and off during the many years when I gave priority to research and publication but which has encouraged me during my retirement years.”

So Lewis Rowell professes in program notes he wrote for Sunday afternoon’s concert in Auer Hall, one celebrating his 80th birthday. The concert consisted of works, all his. They were composed between 1956 and just months ago. Colleagues, friends and students performed as he, his wife, Unni, and many more friends and colleagues watched and listened.

What one heard, as the honored musician put it, was “admittedly mid-20th century music.” That seemed so, even with his most recent piece, the 2013-conceived Variations on Themes by Alban Berg and Gustav Mahler, in which he cleverly fondled and manipulated well-known passages by two of his “favorite” early 20th century composers. The music was scored for piano (Angela Park) and three woodwinds: oboe (Jeremy Curtis), bassoon (Christina Feigel), and bass clarinet (faculty colleague Howard Klug). The parenthesized players treated the music with obvious respect.

Organ department chair Janette Fishell took to the organ loft twice, first for a performance of “Tombeau,” a tribute once more to the genius of Berg, along with Igor Stravinsky and Erik Satie. She ended the concert with a full-scale test of the organ, the 1966-composed Recitative and Variations on an Ayre by Jeremiah Clarke, built expansively and colorfully on music by that 17th century English composer. Fishell, as she usually does, gave it her all.

Rowell had planned to participate actively in the concert at the piano, but health issues caused him to turn those duties over to Julian Hook, a fellow music theorist and now chair of that department in the Jacobs School. Hook was an excellent substitute. He also happens to be a skilled pianist; as grad student here he won the piano concerto competition. On Sunday, Hook first teamed with Annette Johansson, a mezzo-soprano for whom Rowell in 1956 wrote his “Songs of Autumn” while the two were fellow students at Eastman. Here, amazingly, Annette Johansson was 57 years later, singing her “Songs of Autumn” once again, with the composer looking on, a smile on his face.

Hook then teamed with two former Rowell colleagues, now also retired, violist Allen Winold and cellist Helga Winold, for a performance of “Three Elegies,” written in 2012 “in memoriam” to Stravinsky, Witold Lutoslawski and Olivier Messiaen. The music captured musical flavors of those composers. The performance, in turn, transmitted those flavors and, thereby, Lewis Rowell’s admiration for the remembered.

© Herald Times 2013


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Jacobs School of Music Lecture Series presents “Queering the Spiritual” Sept. 25

The Indiana University Jacobs School of Music Lecture Series and the Jacobs Musicology Department Lecture Series present “Queering the Spiritual: Gendered Readings of ‘Sometimes I Feel Like a Motherless Child’” by Felicia M. Miyakawa from 6 p.m. to 7:30 p.m. on Wednesday, Sept. 25, in Ford-Crawford Recital Hall at the Jacobs School.

Felicia MiyakawaMiyakawa, a Jacobs alumna, is associate professor of musicology and director of graduate studies at the Middle Tennessee State University School of Music.

About “Queering the Spiritual”

Late in life, African American composer Harry T. Burleigh boldly asserted “Spirituals were not meant for the colored people, but for all people.” One particular spiritual, “Sometimes I Feel Like a Motherless Child” gives proof to Burleigh’s claim. Modern performers, composers, and audiences continue to actively engage this song, constructing new meanings filtered through issues of identity, time, place, and technology.

Just as performers have long turned to “Motherless Child” to voice racial and cultural politics, so, too, have performers adopted this song to negotiate gender identity and express a specific kind of grief and longing. In this presentation, drawing from the recent history of gay choruses, queer theory, and studies of race and vocal timbre, Miyakawa will consider ways in which performers “queer” this spiritual, adding new layers to “Motherless Child’s” already rich performance history.

About Felicia M. Miyakawa

Miyakawa received her Ph.D. and M.A. in musicology from Indiana University and completed B.A. degrees in both music and French at Linfield College (McMinnville, Ore.). Her research areas include Hip-hop music and culture, Black Nationalism, American Popular Music, African American music and literature, spirituals and folk traditions, gender and pedagogy, and queer studies.

Her first book, Five Percenter Rap: God Hop’s Music, Message, and Black Muslim Mission, was published in spring 2005 by Indiana University Press. She is currently working on her second book, Sometimes I Feel Like a Motherless Child: The Transformative Journey of an American Song.

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2013 Austin B. Caswell Award winners

Congratulations to this year’s Austin B. Caswell Award winners, Evita Jovic and Charles D. Helge.

Caswell 2The awards, which honor the best papers written during the previous calendar year for a Jacobs undergraduate music history class, were presented by Distinguished Professor J. Peter Burkholder, chair of the Musicology Department, during the May 4 commencement ceremony in the Musical Arts Center.

Two prizes are awarded annually, one for best paper on a topic before 1750 and one for best paper on a topic after 1750. Each prize consists of a certificate and $250.

Evita Jovic won the 2013 prize for best paper on a topic before 1750, with her study of a musical tradition associated with a single city and church.

Set against a rich cultural backdrop, her historical essay explores the repertoire of polychoral music composed for the iconic Venetian church of St. Mark in the sixteenth and seventeenth centuries.

Caswell 1This year’s prize for best paper on a topic after 1750 went to Charles D. Helge for his essay about performers.

The opening sentence sets the stage for the rest of the piece: “The infinitesimal silence between the final notes of a piece and the roaring wave of applause that takes its place, while no more than a millisecond, is the dividing line between a performer’s statement and the persona that is created by the forces surrounding him or her.”

The committee that chose the winners this year was composed of musicology professors Michael Long and Kristina Muxfeldt.

The awards were established in honor of Professor Caswell on the occasion of his retirement from the Jacobs Musicology Department in 1996—after 30 years. He continued to teach in the Honors College until just before his death in 2006.

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The Jacobs School welcomes Renaissance musicologist Katelijne Schiltz for residency and a public lecture

KatelijneSchiltz-220The Indiana University Jacobs School of Music Lecture Committee—along with the musicology, music theory, and early music departments—will welcome Katelijne Schiltz, postdoctoral researcher at the Ludwig-Maximilians-Universität München for a series of activities in early April. During the visit, Schiltz will serve as guest instructor, lead a workshop with the Early Music Institute, and deliver a public lecture.

“Katelijne Schiltz is rapidly becoming one of the most influential Renaissance musicologists of her generation,” says Giovanni Zanovello, assistant professor of musicology at the Jacobs School of Music. “In a number of thought-provoking presentations, she has managed to reveal that canons and enigmatic notation were central features of the Western tradition, embedded into the pervasive culture of riddle. Her work has reshaped our understanding of the ideology surrounding Renaissance notation.”

On Monday, April 8 at 1:00 p.m. in MA 007, Schiltz will take part in a meeting of the Renaissance Music (M652) class. At 4:05 p.m. that day in MU 205, she will host an Early Music Institute workshop on the topic “Cracking Codes: Performing Musical Riddles from the Renaissance.” Visitors to both the class and the EMI session are welcome.

On Wednesday April 10 at 5:30 p.m. in room M267 (inside the Music Library) Schiltz will deliver a public lecture entitled, “What You See is What You Get? Some Thoughts on Renaissance Musical Riddles.” In her lecture Schiltz will emphasize transformation as a key concept when dealing with musical riddles. The performer can be prompted to change the reading direction (in the horizontal [retrograde] or vertical [inversion] sense), to drop, pick out, substitute or add notes because of rhythmic and/or melodic reasons, to treat the note values in hierarchical order etc. As a result, the notation and the solution are intrinsically linked on a conceptual level, but drift apart in performance.

Katelijne Schiltz studied Musicology at the University of Leuven (Belgium) and Early Vocal Music at Tilburg Conservatory. Her dissertation on Adrian Willaert’s motets was published in 2003. Together with Bonnie J. Blackburn, she edited Canons and Canonic Techniques, 14th-16th Centuries: Theory, Practice, and Reception History (Leuven, 2007), which was awarded a Citation of Special Merit by the Society for Music Theory. She is attached to the Musicology Department of the Ludwig-Maximilians-Universität Munich and is completing a monograph on Music and Riddle Culture in the Renaissance. Together with Cristle Collins Judd, she is editing Gioseffo Zarlino: Motets from the 1560s for the series Recent Researches in the Music of the Renaissance (A-R Editions).

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Faculty and students participate extensively in combined American Musicological Society, Society for Ethnomusicology, and Society for Music Theory Conference

Many faculty and students from the Music Theory Department and the Musicology Department attended the combined conference of the American Musicological Society, Society for Ethnomusicology, and the Society for Music Theory (AMS/SEM/SMT), which was held in New Orleans on November 1–4, 2012.

Professor Roman Ivanovitch of the Music Theory Department was named the winner of the 2012 Marjorie Weston Emerson Award of the Mozart Society of America, for his article “Mozart’s Art of Retransition,” which was published in the journal Music Analysis in 2011. The award, honoring the outstanding scholarly article on Mozart published in English during the years 2010–11, was presented at a meeting of the Mozart Society during the New Orleans conference.

Several faculty and students presented papers at the conference:

Representing the Musicology Department:

Professor J. Peter Burkholder participated as a panelist on “Charles Ives’s Fourth Symphony and the Past, Present, and Future of Ives Scholarship.”

Professor Judah Cohen served as a moderator at the combined meeting of the AMS Jewish Studies and Music Study Group and Society for Ethnomusicology Study Interest Group for Jewish Music.

Professor Halina Goldberg presented “Nationalizing the Kujawiak and Constructions of Nostalgia in Chopin’s Mazurkas.”

Professor Lynn Hooker served as the chair at the Music and National Identities discussion.

Jonathan Yaeger, Ph.D. candidate in Musicology, presented “The Challenges and Opportunities of the Stasi Archives.”

Travis Yaeger, Ph.D. candidate in Musicology, presented “The Quaestiones in musica, Rudolph of St. Truiden, and the Medieval Classroom.”

At the conference, Laura Youens, IU Musicology alumna, was awarded the Palisca Award (best edition or translation) for: Thomasii Crequillonis Opera omnia. Vol. 18: Cantiones Quatuor Vocum, and Vol. 20: Cantiones Trium, Sex, Septem, et Duodecim Vocum, Corpus mensurabilis musicae 63, American Institute of Musicology, 2011.

On the evening of Saturday, November 3rd a combined Indiana University reception was well attended by an estimated 250-300 faculty, students, alumni, prospective students, and friends of three IU departments: the Departments of Music Theory and Musicology in the Jacobs School of Music, and the Department of Folklore and Ethnomusicology in the College of Arts and Sciences.

Representing the Music Theory Department:

Professor Kyle Adams presented “A Preliminary Study of Articulation and Affect in Rap.”

Professor Frank Samarotto presented “The Trope of Expectancy/Infinity in the Music of the Beatles and Others.”

Diego Cubero, Ph.D. student in music theory, presented “The Fifth-Third-Root Paradigm and Its Prolongational Implications.”

Stephen Grazzini, Ph.D. candidate in music theory, presented “Hearing Improvisation in the French Baroque Harpsichord Prelude.”

William Guerin, Ph.D. candidate in music theory, presented “The Aesthetics of Fragility in Stylistic Signification: A ‘Gnostic’ Encounter with Beethoven’s ‘Heiliger Dankgesang.’”

John Reef, Ph.D. candidate in music theory, presented “The Two F-Major Fugues from The Well-Tempered Clavier: Dance Subjects and Their Phrase-Rhythmic Implications.”

Two music theory faculty served as session chairs for SMT: Professor Julian Hook chaired a session titled “Twentieth-Century Modernisms,” and Professor Marianne Kielian-Gilbert chaired a session on “Rhythm and Dance.”

Three students participated in Graduate Student Workshops at the conference. Devin Chaloux, Ph.D. student in music theory, participated in the workshop “A Corpus-Based Approach to Tonal Theory,” led by Ian Quinn of Yale University. Ruthie Chase, Ph.D. student in music theory, participated in the workshop “Harmony and Voice Leading in Rock and Pop Music,” led by Professor Walter Everett of the University of Michigan. Sara Bakker, Ph.D. candidate in music theory, was unable to attend the conference due to hurricane-related travel problems, but joined Professor Everett’s workshop by video.

Professor Eric Isaacson serves as Treasurer of SMT, and Professor Gretchen Horlacher is a member of the society’s Executive Board.

Enjoy pictures from the reception

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Katherine Baber (B.M. ’03 & D.M. ’11) accepts position at the University of Redlands

recently announced the hiring of eight new members for its College of Arts and Sciences, School of Education, and School of Music faculties with the start of the 2012-13 academic year.

Congratulations to Jacob School’s Alumna Katherine Baber as she has accepted the position of Assistant Professor of Music with the University of Redlands!

Read more here.

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