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AMS/SMT Milwaukee 2014 Abstracts Thursday Afternoon AMS/SMT American Musicological Society Society for Music Theory Program & Abstracts & Abstracts Program 2014 Milwaukee Milwaukee 6-9 November 2014 Abstracts g Abstracts of Papers Read at the American Musicological Society Eightieth Annual Meeting and the Society for Music Theory Thirty-seventh Annual Meeting 6–9 November 14 Hilton Hotel and Wisconsin Center Milwaukee, Wisconsin g AMS/SMT 2014 Annual Meeting Edited by Judy Lochhead and Richard Will Chairs, 14 SMT and AMS Program Committee Local Arrangements Committee Mitchell Brauner, Chair, Judith Kuhn, Rebecca Littman, Timothy Miller, Timothy Noonan, Gillian Rodger Performance Committee Catherine Gordon-Seifert, Chair, Mitchell Brauner, ex officio, David Dolata, Steve Swayne Program Committees AMS: Richard Will, Chair, Suzanne Cusick, Daniel Goldmark, Heather Hadlock, Beth E. Levy, Ryan Minor, Alejandro Planchart SMT: Judy Lochhead, Chair, Poundie Burstein, ex officio, Michael Klein, Sherry Lee, Alexander Rehding, Adam Ricci, Leigh VanHandel The AMS would like to thank the following people and organizations for their generous support: Calvary Presbyterian Church, Milwaukee Joan Parsley Charles Sullivan and Early Music Now Milwaukee Symphony Orchestra University of Wisconsin-Milwaukee Program and Abstracts of Papers Read (ISSN 9-1) is published annually for the An- nual Meeting of the American Musicological Society and the Society for Music Theory, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological Society for $1. per copy plus $. U.S. shipping and handling (add $. shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 61 College Station, Brunswick ME 411-41 (e-mail [email protected]). Copyright © 14 by the American Musicological Society, Inc. All rights reserved. Cover design: Gabriel Sim-Laramee Contents Thursday Afternoon 4 Ballet (AMS) 4 Britten’s Texts (AMS) 44 Chant (AMS) 47 Eastern Borders (AMS) 51 Eighteenth-Century Opera and Dance (AMS) 54 The Final Frontier (SMT) 56 Interactive Presentations: A Poster Session on Empirical Approaches to Music Theory and Musicology (AMS/SMT) 58 Musical Responses to World War I (AMS) 61 Nineteenth-Century Form (SMT) 64 Producing Classic Recordings (AMS) 67 Racialized Boundaries (AMS) 7 Rocky Relationships (SMT) 7 Source Studies (AMS) 74 Theorists vs. Theorists (SMT) Thursday afternoon, : p.m. 7 AMS President’s Endowed Plenary Lecture Thursday evening 79 After the Post (SMT) 81 Digital Musicology: New Cooperative Initiatives (AMS) 84 Ecomusicology and Listening Beyond Categorical Limits 85 Main Title Music (SMT) 87 Music and Mexicanidad as Post-National Imaginary 9 New Approaches to Introducing Jewish Music 9 New Ontologies of Sound and Music 94 Partimenti (SMT) 96 Pop without Tech 99 Romantic Aesthetics (SMT) 11 Sense and Sensibility (SMT) 1 Teaching Writing as a Music Theorist (SMT) 1 Toward a Theory of usicM Patronage Post-1900 (AMS) iv AMS/SMT Milwaukee 2014 Friday morning 1 Affect and Collaboration at the Fin de siècle (AMS) 17 American Indianism (AMS) 1 American Modernisms (AMS) 11 Cinematic Sounds (AMS) 11 Cycles (AMS) 11 The End of the Undergraduate Music History Sequence? (AMS) 116 Exile (AMS) 117 Experimentalism in Practice: Perspectives from Latin America (AMS) 1 France Making a Spectacle of Itself (AMS) 1 Jazz Transformations (SMT) 1 Mashups and Borrowings (SMT) 16 Music and Activism (AMS) 19 Music in World War I-Era France (AMS) 11 Ornamentation (SMT) 1 Performing Nineteenth-Century Opera (AMS) 14 Queer Music Theory: Interrogating Notes of Sexuality (AMS/SMT) 16 Schenker (SMT) 1 Virtuosity (AMS) 14 Visions and Revisions in the Seventeenth and Eighteenth Centuries (AMS) 14 Without . (SMT) Friday noontime concert 146 Carissimi to Croft: The Influence of the Italianolo S Motet in English Sacred Solo Music of the Restoration Friday afternoon 14 American Mythopoetics (AMS) 11 Composers Responding (SMT) 1 Corporate or Neoliberal Musics (AMS) 17 Cross-Dressed Performance, Gender, and Sexuality in Cross-Cultural Perspective (AMS) 16 The Early Music Renaissance (AMS) 16 Harmonic Function in Chromatic Music at Twenty (SMT) 166 Knowledge Made Easel (SMT) 171 Listening Practices (AMS) Contents v 174 Music and Performance in Nineteenth-Century Germany (AMS) 177 New Theatricality (AMS) 179 Opera at the Fin de siècle (AMS) 11 Pleasures of Space, Speech, Song (AMS) 14 Religion and Enlightenment in Germany (AMS) 17 Timbre Rocks! (SMT) Friday evening 191 After Orfeo: Music History Pedagogy in the Seventeenth Century (AMS) 19 Analytical Approaches to Time Cycles in World Music (SMT) 19 Assessing Student Learning in the Online Environment (AMS) 194 Dancing Undisciplined 197 Eighteenth Century (SMT) 19 Hammered (SMT) 201 Interdisciplinarity Today: Five Perspectives (AMS) 202 Looking Back at 199: A Critical Reassessment of the Cold War’s End (AMS) 203 Negotiation and Self-Advocacy Skills for Women (SMT) 204 New Work in LGBTQ Music Scholarship (AMS) 205 Psychoanalysis and Music: A (Sexual) Relationship? (AMS) 206 Timbreland (SMT) 208 World War I and the Music of Conciliation Saturday morning 211 Bodies (AMS) 214 Inventing American Music (AMS) 217 Meaning (SMT) 220 Mid-century Technologies of Wonder and Horror (AMS) 221 Motets (AMS) 223 Music and the Sacred (AMS) 226 Music, Violence, and Order (AMS) 229 New Instruments (AMS) 231 Notation, Improvisation, Secrecy (AMS) 233 Performativity in France (AMS) 236 Performing Digitally (SMT) 239 The Persistence of Surrealism: Thomas Adès’s Music and Its Reception (AMS/SMT) vi AMS/SMT Milwaukee 2014 241 Postmodern Creative Processes (SMT) 24 Remaking Operas (AMS) 246 Singing and Dancing (SMT) 24 Why Voice Now? (AMS/SMT) Saturday noontime 251 Lecture-Recital: C. P. E. Bach and the Changing Idiom of Keyboard Music Saturday afternoon 253 America Making a Spectacle of Itself (AMS) 256 Arts Efficacy (AMS) 259 Beyond Discipline Envy (AMS) 26 Early Modern Song (AMS) 26 Hearing Ecologies (AMS) 267 Hemispheric Dialogues (AMS) 27 Performing, Learning, Citizenship (AMS) 27 Singing, Memory, and Gender (AMS) 276 Who Owns Music? (AMS) Saturday evening 280 Confronting the “Live”: The Idea of erformanceP in the Twenty-First Century (AMS) 281 Recasting Music: Body, Mind, and Ability 282 A Thousand Tongues to Sing: Current Projects in Hymnological Research (AMS) Sunday morning 284 Archaeology of the Modern (SMT) 286 Composers’ Philosophers (AMS) 288 Country (AMS) 29 Downtown Sounds (AMS) 291 Early Tonal Corpora (SMT) 294 Eighteenth-Century Music Theory (SMT) 297 Eighteenth-Century Reading, Experimental Writing (AMS) 29 French Modernisms (AMS) 302 Italian Fascism (AMS) Contents vii 304 Kindertotenlieder (AMS) 305 Moving Lines in Popular Music Studies (AMS) 309 Music and the State (AMS) 31 Music in/as Politics (AMS) 314 Orientalisms (AMS) 317 Performing Theory (SMT) 319 Wagner (AMS) 389 Index of Participants 397 Maps AMS/SMT Milwaukee 2014 Abstracts Thursday Afternoon Ballet (AMS) Davinia Caddy (University of Auckland), Chair Vaughan Williams and the Reformation of Ballet in Britain Erica Siegel (University of California, Riverside) After the death of impresario Serge Diaghilev in 199 and the disbanding of his Ballets Russes, the Camargo Society was established as a means not only to promote dance in Britain, encouraging native choreographers and dance composers, but also to reform ballet’s louche and suspect public image. Included in the Camargo Society’s ambitious first season was a staging of Vaughan Williams’s Job, A Masque for Dancing, choreographed by Ninette de Valois, who had danced with the Ballets Russes. In spite of the composer’s insistence that the score be titled a “masque” as opposed to a “bal- let,” and despite his often contentious relationship with de Valois, Job was hailed as a critical success and considered a crowning achievement in the emergence of a new style of ballet whose idiom could be characterized as distinctly British. This paper examines Vaughan Williams’s tempestuous relationship with choreogra- phers and professional dance companies, and his aversion to certain aspects of ballet, through an examination of a selection of the composer’s works for dance. This inves- tigation also traces his involvement with the English Folk Dance and Song Society. Vaughan Williams was an advocate for the preservation of folk dancing and a vocal critic of ballet. Old King Cole, Job, and The Bridal Day, works in the genre he dis- dained, reveal a much more complex vision through which he negotiated these con- flicting views, which were ultimately reconciled through the construction of “British ballet.” A Cold War Welcome: The American Reception of Prokofiev and His Choreographic Collaborators during the Bolshoi Ballet’s 199 Tour Anne Searcy (Harvard University) Thunderous applause, screaming, whistling, flowers and shredded paper filling the air. Such was the tumult that greeted the Soviet Union’s Bolshoi Ballet when it ap- peared in the United States in 199 for its first ever engagement in the western hemi- sphere. While on tour, the Bolshoi Ballet highlighted the music of Sergei Prokofiev, hoping that the composer’s international fame would help make Soviet aesthetics palatable to western viewers. While public reception was enthusiastic, critical reviews labeled the ballets conservative, a critique that has continued to reverberate in Pro- kofiev’s western reception to this day. Using choreographic and musical sources from Abstracts 41 the Bolshoi’s archive
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