GOEHR 1
CURRICULUM VITAE.
Professor LYDIA GOEHR Department of Philosophy, Columbia University, 1150 Amsterdam Ave, New York, NY 10027, USA [email protected]
EMPLOYMENT
1995-present. Professor of Philosophy, Columbia University. 1989-95 Associate Professor of Philosophy, Wesleyan University (tenured 1993). 1987-89 Assistant Professor of Philosophy, Boston University (tenure-track). 1986-87 Visiting Assistant Professor of Philosophy, University of Nevada at Reno. 1985-86 Lecturer, Department of Philosophy, University of Maryland at College Park.
EDUCATION AND DEGREES
1982-85 King’s College, Cambridge University, PhD in Philosophy, Advisor: Bernard Williams, Dissertation: The Work of Music (awarded 1987). 1980-82 Manchester University; 1st Class Honors, BA in philosophy. 1979-80 Exeter University; 1st yr. BA in philosophy; minor in Psychology.
FELLOWSHIPS, HONORS, VISITING PROFESSORSHIPS, etc.
1981 Michael Polanyi Scholarship in Philosophy (Manchester University). 1982 Manchester University (Graduate) Research Studentship in the Faculty of the Arts (declined). 1982 Michael Polanyi Memorial Prize in Philosophy (Manchester University). 1982-85 Dept. of Education and Science Major State Studentship to read for PhD at King’s College, Cambridge. 1983 Bursary from the Austrian Government to study German language in Graz, Austria. 1988 Summer Salary Grant, Boston University. 1989 Boston University Humanities Fellowship (declined). 1990-91 Mellon Fellowship, Harvard University. 1992 Faculty Fellowship at Center for the Humanities, Wesleyan University. 1992 Special Projects Grant from Wesleyan University in support of Aesthetics: Past and Present [see Publications]. 1995 NEH Summer Institute Grant, University of Rochester: Music and Modernism. 1997-8 Visiting Ernest Bloch Professor of Music, University of California at Berkeley [Ernest Bloch Lectures]. 1999-2000 Getty Senior Research Scholar, Getty Research Institute, Los Angeles. 2001 [Spring] Visiting Professor, Music Dept., New York University. 2002 [May – August] Visiting Aby Warburg Professor, Hamburg. 2002-3 Fellow, Wissenschaftskolleg zu Berlin. 2002-3 Guggenheim Fellowship (awarded 1999). 2005-6 Distinguished Visiting Lecturer, Royal Holloway College/British Library, London [5 lectures]. 2005-6 Visiting Professor, Cambridge University, Wort Lectures Cambridge [4 lectures]. 2005 Columbia University, Presidential Award for Excellence in Teaching. 2008 Faculty Mentoring Award (for supervision of doctoral students), Columbia University [1 award offered each year]. 2005 [Fall] Visiting Professor, Music Department, Humboldt University, Berlin. 2008 [Summer] Visiting Professor, (Excellence-cluster, The Languages of Emotion) Freie Universität, Berlin. 2009 [Spring] Visiting Professor, Theater/Fest/Oper, SFB Projekt, Freie Universität, Berlin. 2010 [Spring] Silverman Professor, Cohn Institute for History and Philosophy of Science and Ideas, Tel Aviv University, Israel [cancelled due to economic crisis]. GOEHR 2
2010 – 2011 IAS Visiting Fellow, Warwick University, and the Elizabeth and Vincent Meyer Visiting Professor in the Philosophy of Music, Warwick University. 2009-2010 Lenfest Distinguished Faculty Award, Columbia University2011, 2012 Spring semesters. Visiting Professor, Depts. of Philosophy and Music, Tel Aviv University. 2012 Prize Awarded by American Musicological Society, The (Colin) Slim Award for “best article by scholar beyond early stages,” for “’—wie ihn uns Meister Dürer gemalt!’ Contest, Myth, and Prophecy in Wagner’s Die Meistersinger von Nürnberg,“ JAMS 64/1, (2011) 51-118. 2013. Highlighted Philosopher, Committee on the Status of Women, APA: http://www.apaonlinecsw.org/ home/woman_philosopher/lydiagoehrnovember 2019. Visiting Professor, University of Torino, Summer semester, 2020 4 month Fellowship, Tate, London. "Reshaping the collectible: When Artworks Live in the Museum."
SOCIETIES
New York Institute of the Humanities. International Academy of the Philosophy of Art. American Society for Aesthetics American Philosophical Association British Society of Aesthetics International Musicological Society American Musicological Association International Society of Aesthetics Hanns Eisler Gesellschaft
PUBLICATIONS
Series co-editor with Gregg Horowitz, Columbia Themes in Philosophy, Social Criticism and the Arts, Columbia University Press.
BOOKS AND EDITED VOLUMES (reviews not included)
1992 The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Clarendon Press, Oxford; pbk 1994; translations into Greek [2005], Chinese [2009], Japanese (partial) [2013], Italian [2016], French [2018, Spanish [2019]. Polish [2020]; 2007 second edition with new Introduction “His Master’s Choice” by Lydia Goehr and preface by Richard Taruskin.
1993 editor, Aesthetics: Past and Present. A Commemorative Issue Celebrating 50 Years of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics, Special Issue, JAAC, 51:1.
1998 The Quest for Voice: Music, Politics, and the Limits of Philosophy, Clarendon Press, Oxford UK and U. of California Press, pbk 2002. Translation French [2016]; Chinese [2015].
2006 with Daniel Herwitz, eds. The Don Giovanni Moment. Essays on the Legacy of an Opera Columbia University Press; pbk 2008.
2008 Elective Affinities: Musical Essays on the History of Aesthetic Theory, Columbia University Press; pbk 2011. Several essays translated; book translation with other essays into French [forth.]
In preparation: RED SEA. RED SQUARE. PICTURING FREEDOM. LIBERATING WIT
In preparation: Co-editor, Handbook on Arthur C. Danto, coedited with Jonathan Gilmore. Wiley-Blackwell (contracted)
ARTICLES AND REVIEW ESSAYS (essays with same titles were often written, from first to final printed versions; permissions for reprint and rewriting was granted)
1989 GOEHR 3
“Being True to the Work,” Journal of Aesthetics and Art Criticism 47: 55-67 (JSTOR) Anthologized: 1996, Goldblatt and Brown, eds., A Reader in Philosophy of the Arts, Prentice Hall 2000 Derek B. Scott, ed., Music, Culture, and Society. A Reader, Oxford University Press.
1990
“Modernity: A World Without Eyebrows,” Human Studies, 13: 173-85.
“The Power of the Podium,” The Yale Review, 79/3: 365-381.
1991
“Concepts, Open” in Hans Burkhardt and Barry Smith, eds., Handbook of Metaphysics and Ontology, Munich: Philosophia Verlag.
1992
“Writing Music History,” History and Theory 31/2: 182-199 (JSTOR).
1993
“Music has no Meaning to Speak of: On the Politics of Musical Interpretation,” in Michael Krausz, ed., The Interpretation of Music: Philosophical Essays, Oxford: Clarendon Press: 177-190.
“The Institutionalization of a Discipline: A Retrospective of The Journal of Aesthetics and Art Criticism and The American Society for Aesthetics: 1939-1992,” in Goehr, ed., Aesthetics: Past and Present 51:2: 199-121 (JSTOR).
1994
“Political Music and the Politics of Music,” in Philip Alperson, ed. The Philosophy of Music, Special Issue, Journal of Aesthetics and Art Criticism 52:1: 99-112 (JSTOR).
1996
“Schopenhauer and the Musicians: An inquiry into the sounds of silence and the limits of philosophizing about music,” in Dale Jacquette, ed., Schopenhauer, Philosophy, and the Arts, Cambridge: Cambridge University Press: 200-228.
“The Perfect Performance of Music and the Perfect Musical Performance,” in Simon Frith, ed., New Formations 27. Performance Matters: 1-22.
“Die Meistersinger: Wagner’s Exemplary Lesson,” Special Issue ‘The Trial of Richard Wagner,’ Nexus (in Dutch).
“A conversation with Lydia Goehr,” (with William Day) Conference. A journal of philosophy and theory 7/1: 11-20.
1999
“Music and Musicians in Exile: The Romantic Legacy of a Double Life,” in R. Brinkmann and C. Wolff, eds., Driven into Paradise. The Musical Migration from Nazi Germany to the United States, Berkeley: University of California Press: 66-91.
“Wagnerian Endings: The Curse and Promise of Purely Musical Listening. A Metaphysical Reading of Tristan und Isolde,” Come to Your Senses! Yearbook, Amsterdam School of Cultural Analysis, Netherlands: 37-60. GOEHR 4
Review Essay of Roger Scruton’s The Aesthetics of Music, Journal of the American Musicological Society 52/2, 398-409.
2000
“On the Problems of Dating or Looking Backward and Forward with Strohm,” in M. Talbot, ed., The Musical Work: Reality or Invention, Liverpool University Press, 231-246 (a collection following a conference discussing my Imaginary Museum of Musical Works).
2001
“Philosophy of Music,” The New Grove Dictionary of Music and Musicians, ed. S. Sadie (also part-entry on musicology).
“Radical Modernism and the Failure of Style: Philosophical Reflections on Maeterlinck-Debussy’s Pelléas et Mélisande,” Representations 74: Philosophies in Time: 55-82 (JSTOR).
“Jewish Life and Culture, c.1912,” Schoenberg, Pierrot Lunaire Project, Ian Bent, ed. (website) Columbia University.
2002
“In the Shadow of the Canon,” Musical Quarterly 86/2: 307-328 (JSTOR).
“The Dangers of Satisfaction. On Songs, Rehearsals, and Repetition in Wagner’s Die Meistersinger,” in N. Vazsonyi, ed., Wagner’s Meistersinger. Performance, History, Representation, University of Rochester Press, 56-70; also in Otto Kolleritsch, ed. Die Musik als Medium von Beziehungsbefindlichkeiten. Mozarts und Wagners Musiktheater im aktuellen Deutungsgeschehen, Studien zur Wertungsforschung 40, Wien/Graz: Universal Edition, 128-145.
“Art and Politics,” in J. Levinson, ed., The Oxford Handbook of Aesthetics, Oxford University Press: 471-485.
2003
“Adorno, Schoenberg, and the Totentanz der Prinzipien. In 13 Steps,” Journal of the American Musicological Society 56/3: 595-636 (JSTOR).
“Juliette fährt nach Mahagonny oder eine Kritische Betrachtung der surrealistischen Oper,” Vorträge aus dem Warburg Haus, Bd. 7, hrsg. Wolfgang Kemp, u.a., Berlin: Akademie Verlag: 167-212.
“On Music, Humor and Exile in Wittgenstein and Adorno” in Riccardo Dottori, ed., The Legitimacy of Truth, Proceedings of the III Meeting Italian-American Philosophy–Rome 2001, Münster: Lit Verlag: 79-110.
“Abgebrühte Desillusioniertheit. Mahagonny als die letzte kulinarische Oper,” Ästhetik und Allgemeine Kunstwissenschaft 48/2: 251-272.
“Gegen die Vögel. Theodor W. Adorno über Musik, Konzept und dialektische Bewegung,” hrsg. Christoph Metzger, Conceptualisms in Musik, Kunst, und Film, Berlin: Akademie der Künste: 97-114.
“Im Schatten des Kanons,” Kunst - Fest - Feier, eds. Hermann Danuser und Herfried Münkler, Schliengen: Edition Argus: 125-146.
“Music and Politics,” A conversation between Johannes C. Gall and Lydia Goehr, Eisler Mitteilungen, 32, Hanns Eisler Society, Berlin.
“Honour Displaced,” Alison Latham, ed., Sing Ariel. Essays and Thoughts for Alexander Goehr’s Seventieth Birthday, Aldershot: Ashgate. GOEHR 5
2004
“Dissonant Works and the Listening Public,” T. Huhn, ed., Cambridge Companion to Adorno, Cambridge University Press: 222-247.
“Adorno, Schoenberg, und der Totentanz der Prinzipien. In 13 Stufe,” Wolfram Ette, et. al, eds. Adorno in Widerstreit. Zur Präsenz seines Denkens Frankfurt: Karl Alber: 256-288.
Program note, “Walter Goehr” for performance of Malpopita, Komische Oper, Berlin.
“Music and Movement,” ed. M. Paddison, Musicae Scientiae. ESCOM: 111-123.
2005
“Understanding the Engaged Philosopher,” T. Carman and Mark B. N. Hansen, eds. Cambridge Companion on Merleau-Ponty, Cambridge University Press: 318-51.
“Philosophical exercises in repetition: on music, humor, and exile in Wittgenstein and Adorno,” Karol Berger and Anthony Newcomb, eds., Music and the Aesthetics of Modernity, Harvard University Press: 311-340. ANTHOLOGIZED in Routledge companion to Adorno 2015.
“Doppelbewegung. Die musikalische Bewegung der Philosophie und die philosophische Bewegung der Musik,” Axel Honneth, ed. Dialektik der Freiheit, Frankfurt: Suhrkamp: 279-317.
“Reviewing Adorno. Public Opinion and Critique,” an introductory essay for revised edition of Adorno’s Critical Models. Interventions and Catchwords, Columbia University Press: xiii-lvi.
“Para los pájaros/Contra los pájaros. Las narrativas de Danto y Adorno (y Cage) sobre el arte moderno”, en F. Pérez Carreño (ed.): Estética después del fin del arte. Ensayos sobre Arthur Danto, Madrid: Machado Libros: 147-184.
“Undoing the Discourse of Fate. The Case of Der Fliegende Holländer,” Opera Quarterly 21/3: 1-22.
“Juliette fährt nach Mahagonny Or A Critical Reading of Surrealist Opera,” Opera Quarterly, 21/4: 647-674.
“Il concetto di musica dopo il 1800,” for J.-J.-Nattiez, et. al., eds, Enciclopedia della musica 5. L’unita della musica, Torino: Einaudi: 699-716.
2006
“Explosive Experimente und die Fragilität des Experimentellen. Adorno, Bacon, und Cage,” Spektakuläre Experimente, Praktiken der Evidenzproduktion im 17. Jahrhundert, eds. Helmar Schramm, Ludger Schwarte, and Jan Lazardzig, Berlin/ New York: De Gruyter: 477-506.
“Doppelbewegung: The Musical Movement of Philosophy and the Philosophical Movement of Music,” in J. Hermand and G. Richter, eds., Sound Figures of Modernity: German Music and Philosophy, Madison: University of Wisconsin Press: 19-63.
“The Ode to Joy. Music and Musicality in Tragic Culture,” Internationales Jahrbuch des Deutschen Idealismus /International Yearbook of German Idealism 4, 57-90. Aesthetics and Philosophy of Art, eds. Karl Ameriks, Jürgen Stolzenberg.
“The Ode to Joy. Music and Musicality in Tragic Culture,” Frederik Schiller und der Weg in die Moderne, ed. Walter Hinderer (Würzburg: Königshausen und Neumann, 2007): 559-590.
Entries on “Adorno” and “Benjamin” for the revised edition Encyclopedia of Philosophy.
“Film Music: Doubling, Dissonance, and Displacement,” Das Double, ed. Victor I. Stoichita, Wiesbaden: GOEHR 6
Harrassowitz Verlag: 319-44.
“As narrativas modernistas de Danto e Adorno (e Cage)”: Ensaios sobre musica e filosofia, eds. Rodrigo Duarte e Vladimir Safatle, Associacao Editorial Humanitas (Portugese).
“Über Fortschritt und den musikalischen Werkbegriff. Bemerkungen zu Claus-Steffen Mahnkopf’s ‚Über Zeit und Geschichte in der Musik,’“ in Kunst, Fortschritt, Geschichte, eds. C. Menke and J. Rebentisch, Berlin: Kulturverlag Kadmos: 107-119.
“The Curse and Promise of the Absolutely Musical. Tristan and Isolde and Don Giovanni,” in Gerhard Seel, ed., End of Art, Endings in Art, Basel: Schwabe Verlag: 264-95.
2007
‘“Confessions of the Commonplace,” Internet Conference on Danto’s Transfiguration of the Commonplace, organized by B. Soucek, J. Neufeld, M. Gal.
“Afterwords,” Introductory essay to Arthur Danto’s Narration and Knowledge (including his Analytical Philosophy of History), Columbia University Press: xix-lxii.
“Afterwords, An Introduction to Arthur Danto’s Philosophies of History and Art” History and Theory 46: 1-28 (JSTOR).
“For the Birds/Against the Birds: The Modernist Narratives of Danto, Adorno (and Cage),” Daniel Herwitz and Michael Kelly, eds. Action, Art, History: Engagement with Arthur Danto, New York, Columbia University Press: 43-73.
“Per gli uccelli/contro gli uccelli: narrazioni moderniste sulla fine dell’arte,” Revisita di Estetic, 35/2: 189-222.
Notes for M. Kowalski, ed. The Graphics, Music, and Writings of Herbert Brün, Kentler International Drawing Space.
“‘Three Blind Mice’. Goodman, McLuhan und Adorno über die Kunst der Musik und des Hörens im Zeitalter der globalen Transmission,” in C. Wulf, et. al. ed., Die Künste im Dialog der Kulturen. Europa und seine muslimischen Nachbarn, Berlin, Akademie Verlag: 220-246.
2008
“Hardboiled Disillusionment. Mahagonny as the last culinary opera,” Cultural Critique 68: 3-37 (JSTOR).
“Amerikamüde/Europamüde. On the Very Idea of American Opera,” Opera Quarterly 22 (3-4): 398-432.
“Musikdrama,” S. L. Sorgner, et. al. eds. Wagner und Nietzsche. Kultur-Werk-Wirkung. Ein Handbuch. Reinbek b. Hamburg: Rowohlt (German): 215-248
“‘Three Blind Mice’. Goodman, McLuhan and Adorno on the Art of Music and Listening in the Age of Global Transmission,” New German Critique, 35/2: 1-31 (JSTOR).
“Heil wem? Katharina: Wasted Art or the Art of Waste,” Angst vor der Zerstörung : der Meister Künste zwischen Archiv und Erneuerung. Berlin: Theater der Zeit, Recherchen 52, eds. Stephan Jöris, Sebastian Reus, Clemens Risi, Robert Sollich: 247-259.
2009
“From Opera to Music drama: Nominal Loss, Titular Gain,” Andreas Dorschel, ed., Studien zur Wertungsforschung, Vienna/Graz; also in Wagner and His World, ed. Thomas S. Grey, NJ: Princeton University Press: 87-122. GOEHR 7
“Kunst und Politik,” Handbuch der politischen Philosophie und Sozialphilosophie, hrsg. S. Gosepath, W. Hinsch, & B. Rössler, Berlin: De Gruyter: 692-97.
“Aida and the Empire of Emotions. On Adorno, Said, and Kluge,” Current Musicology 87: 133-160.
“Normativity without Norms,” Review Essay of Andrew Bowie’s Music, Philosophy and Modernity, European Journal of Philosophy 17: 597–607.
“Agon und Hybris in Politik und Kunst,” in Erziehung und Demokratie Europäische, muslimisch und arabische Länder im Dialog, eds. Christoph Wulf, Jacques Poulain, Fathi Triki: 99-118.
“Aida and the Empire of Emotions (Theodor W. Adorno, Edward Said, and Alexander Kluge) Current Musicology, 87, 133-159.
2009/2010
“Perspectivism without Perspective or Philosophy without Art. Standing on the Stage with Nietzsche's Gay Science,” retitled by editor as “Philosophy without Art,” New Nietzsche Studies 8:1/2: 34-57.
2010
“Canned Laughter. Response to Daniel Leech Wilkinson,” Journal of Royal Musicological Association 135/1: 63-66.
“Perspektivismus ohne Perspektive oder: Philosophie ohne Kunst. Mit Nietzsches fröhlicher Wissenschaft auf der Bühne stehen,” Gertrud Koch, ed. Perspektive - Die Spaltung der Standpunkte, Fink: 29-48.
“How to do more with words. Two views of (musical) ekphrasis,” British Journal of Aesthetics, 50 (4), 389-410.
2011
“’—wie ihn uns Meister Dürer gemalt!’ Contest, Myth, and Prophecy in Wagner’s Die Meistersinger von Nürnberg,’ Journal of the American Musicological Society 61/1, 51-118 (JSTOR). Repr. 2014, Stefan Börnchen, Georg Mein, Elisabeth Strowick (Hg.): Jenseits von Bayreuth. Richard Wagner heute: neue kulturwissenschaftliche Lektüren, München: Wilhelm Fink.
Разорванные струны, расчлененные тела. Примерные тезисы по поводу воплощения и развоплощения музыки. (Broken Strings, Dismembered Bodies. Paragonal Theses on the Embodiment and Disembodiment of Music) in Beiträge in Paragrana, ed. Christoph Wulf: 164-198.
2012
’Other pictures we look at,—his prints we read.’ Danto reading Lamb reading Hogarth on the Art of the Commonplace,” for Danto and his Critics, ed. Mark Rollins. Revised edition, Oxford: Wiley-Blackwell: 84-108.
“How To Do More With Words . Zwei Konzeptionen musikalischer Ekphrasis,” Die Sinnlichkeit der Künste: Beiträge zur ästhetischen Reflexivität, usw. Georg Bertram, Daniel Martin Feige and Frank Ruda: 87-114.
“Tres ratones ciegos: Goodman, McLuhan y Adorno sobre el arte de la música y del escuchar en la época de la transmisión global Enrahonar.” Quaderns de filosofia 49: 121-154.
Diotimin koutek/Performing Philosophy. Interviewed by Robert Roreitner for Nomádva Slovo (Czech republic): 48-57. GOEHR 8
“Oper: Agon und Paragone,” Basler Jahrbuch für Historische Musikpraxis 33: 21-37.
2013
“Opern für Auge und Ohr. Versuch einer bürgerlichen Geschichte des Telefons,“ in Georg Möhr and Johann Kreuzer, eds., Vom Sinn des Hörens. Beiträge zur Philosophie der Musik, Königshausen & Neumann: 153-181; also forth as “The Diva on the Telephone“in Karen Hansen, ed., Technologies of the Diva. Cambridge University Press [2016].
With Boris Gasparov: “The Music of Language and the Language of Music,” for Colloquy on Jean-Jacques Rousseau, Journal of the American Musicological Association 66/1: 256-261.
“Der Agon des Improvisierens – auf Gerissenen Saiten. Zu einer Theorie von Passung und Witz,” Konturen des Kunstwerks. Zur Frage von Relevanz und Kontingenz, eds. Frédéric Döhl, Daniel Martin Feige, Thomas Hilgers, Fiona McGovern, Wilhelm Fink Verlag, München, 125-58.
“The Pastness of the Work,” Arthur Danto, Library of Living Philosophers, La Salle, Open Court Press, 345-381, with reply by Arthur Danto.
With Daniel Herwitz, Fred Rush, Michael Kelly, and Jonathan Gilmore, “Five Pieces for Arthur Danto,” in memoriam. Various places and postings
How to do more with words. Two views“= ] איך לעשות עוד עם מילים: שתי תפיסות של אֶקפְרסיס מוזיקלי“ ,ed. Yael Kadudi = אוזן רואה, עין שומעת: על הקשרים בין צליל לתמונה באמנות of (musical) ekphrasis,” in Ear Sees, Eye Hears: On the Interconnections among Sound and Picture in Art, Jerusalem: Magnes.
2014
“The Concept of Opera,” Oxford Handbook of Opera, ed. Helen Greenwald, OUP, 92-133.
Goehr, Lydia. “Improvising Impromptu, Or, What to Do with a Broken String." In The Oxford Handbook of Critical Improvisation Studies, ed. George E. Lewis and Benjamin Piekut. New York: Oxford University Press.
“At the still point of the turning world. Two Quartets by Tom de Freston,” in Damien Freeman, Damien Freeman and Derek Matravers (eds.), Figuring Out Figurative Art (Durham: Acumen, 2014).
Foreword in reprint of Danto, After the End of Art. Contemporary Art and The Pale of History. Princeton University Press.
2015-16
“Does it matter where we begin? Or, On the Art of Preparation and Preluding,” Music Theory Online
“Wagner Through Other Eyes, Or the Wit of Brevity (Thinking through parody with Mark Twain and Theodor W. Adorno), New German Critique.
“Explosive Experiments and the Fragility of the Experimental (On Adorno, Bacon, and Cage),” republished in Experimental Affinities, Orpheus Institute (Belgium).
2017
“All art constantly aspires to the condition of music,’ except the art of music,” in Paul Kottman, ed. The Claim of Art, Fordham University Press.
Translation, “Amerikamüde/Europamüde. On the Very Idea of American Opera,” Dobnow Inst. Leipzig. Volume "Dialektik der Aufklärung in Amerika". GOEHR 9 "Les Lumières à Manhattan ou « cela devait arriver"" Transposition. Musique et Sciences Sociales. http:// transposition.revues.org/1649.
2018
Republication of “Afterwords,” Introductory essay to Arthur Danto’s Narration and Knowledge (including his Analytical Philosophy of History), in María Antonia González Valerio y Gustavo Ortiz-Millán, La filosofía del arte después de Danto e-book (Mexico).
“What anyway is a ‘Music Discomposed’. Reading Cavell through the Dark Glasses of Adorno,” in volume with two commentaries on the essay, in Virtual Works - Actual Things, edited by Paulo de Assis. Leuven: Leuven University Press.
“Painting in Waiting. Prelude to a Critical Philosophy of History and Art” for Proceedings of conference on The Future of Critical Theory and for European Society for Aesthetics. also in German “Bilder in Warterstand”, in Thomas Khurana, Dirk Quadflieg, Francesca Raimondi, Juliane Rebentisch, Dirk Setton, eds. Negativität Kunst, Recht, Politik Festschrift for Christoph Menke. Suhrkamp. Frankfurt-am-Main.
“A Program note about Programs and Notes, for Beethoven program booklet, Centre for Fine Arts (BOZAR) in Brussels.
2019 and Forthcoming:
“August Sander’s Composer: Estrangement and Eerie Resonances.” The August Sander Project, MOMA/ Columbia.
Did Bach compose musical works? The case as made by T. W. Adorno, in Peter Gordon ed. Critical Inquiry (special issue). Revised for contribution to Anne Eusterschulte & Sebastian Tränkle, ed. 50th anniversary of Adorno's Aesthetic Theory, in series Klassiker Auslegen. De Gruyter, Berlin.
“Form and Line in Adorno’s Aesthetic Theory” tr. “Form und Satz in Adornos Ästhetischer Theorie” in Martin Endres, Axel Pichler und Claus Zittel, eds. Eros und Erkenntnis. 50 Jahre Ästhetische Theorie.
Antonia Hofstätter: “Die Zeit auf ihren Begriff bringen.” A conversation with Lydia Goehr, Helena Esther Grass, Martin Jay, Douglas Kellner, Stefan Müller-Doohm, and Sven-Olov Wallenstein. Goethe Institute, Stockholm. Södertörn University Press.
“The Many and the One: Or, how the arts have fallen under the Concept of Art” (On Danto, Adorno, and James) For FU-Berlin project “Plurality of the Arts.”
“Exemplary sentences and one-liners. Reading Adorno and Ionesco on humans, artworks, and animals” in Antonia Hofstaetter, ed. Adorno's Rhinoceros: Art, Nature, Critique.
“Adorno on Bourgeois Opera,” for Henry Pickford and Martin Shuster, eds. Oxford Handbook on Adorno.
“Instruments, Itinerants, and Immigrants” Rethinking music and opera for the film. For Routledge Volume.
REVIEWS
2019 Hanslick On the Musically Beautiful, JAAC. 2018. Adorno. Aesthetics. Notre Dame Philosophical Reviews. 2014 The Routledge Companion to Music and Visual Culture, eds. Tim Shephard and Anne Leonard, JAAC 2011 Sporting Sounds. Relationships between Sport and Music. eds. Anthony Bateman and John Bale, JAAC. 2011 Freddie Rokem, Philosophers and Thespians. Thinking Performance. Comparative Drama 45/2. 2010 Peter Kivy. Antithetical Arts: On the Ancient Quarrel Between Literature and Music in British Journal of Aesthetics. GOEHR 10
2010 “Die Macht des Bösen, Über Richard Raatzsch: The Apologetics of Evil. The Case of Iago. Deutsche Zeitschrift für Philosophie 58/5. 2007 Michael Spitzer, Music as Philosophy. Adorno and Beethoven’s Late Style, Notes. 2002 Peter Kivy, New Essays on Musical Meaning and Larry Kramer, Musical Understanding. Towards a Critical History. Current Musicology 74. 2002 Susan McClary, Conventional Wisdom, JAAC. 2001 Naomi Cumming, The Sonic Self, Musicology Australia 24. 1996 Siegfried Kracauer, The Mass Ornament: Weimar Essays, trs. and ed. by Thomas Y. Levin and Dagmar Barnouw, Critical Realism: History, Photography, and the Work of Siegfried Kracauer, JAAC. 1996 John C. Crawford and Dorothy L. Crawford, Expressionism in Twentieth-Century Music, Indiana University Press, JAAC. 1995 Marjorie Perloff and Charles Junkermann, eds., John Cage: Composed in America, JAAC. 1995 John Butt, Music Education and the Art of Performance in the German Baroque, Journal of Aesthetic Education. 1995 T. W. Adorno, Notes to Literature 2 vols., tr., S. W. Nicholsen, JAAC. 1994 Marcia Citron, Gender and the Musical Canon, Music and Letters. 1994 Paul Thom, For an Audience: A Philosophy of the Performing Arts, Notes. 1994 Review essay, John Shepherd, Music as Social Text, Textual Practice. 1993 Umberto Eco, Interpretation and Overinterpretation, for JAAC. 1992 Josef Chytry, The Aesthetic State: A Quest in Modern German Thought, JAAC. 1990 Lucy Green, Music on Deaf Ears: Musical Meaning, Ideology and Education, British Journal of Aesthetics. 1990 Peter Kivy, Osmin’s Rage: Philosophical Reflections on Opera, Drama, and Text, Canadian Philosophical Review. 1989 J. J. Winckelmann, Reflections on the Imitation of Greek Works in Painting and Sculpture, trs. Heyer and Norton, Teaching Philosophy. 1989 Herbert Schueller, The Idea of Music, for Journal of Aesthetics and Art Criticism. 1987 Eduard Hanslick, On the Musically Beautiful, tr. G. Payzant, Teaching Philosophy. 1994 Richard Wagner, The Art-Work of the Future and Other Works, tr. W. Ashton Ellis.
Book-notes/short reviews for Journal of Aesthetics and Art Criticism.
1991 Nicholas Kenyon, ed., Authenticity and Early Music. 1990 Carl Dahlhaus, The Idea of Absolute Music. 1990 Harry Haskell, The Early Music Revival: A History. 1989 Peter Le Huray and James Day, eds., Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries. 1989 Bojan Bujic, ed., Music in European Thought 1851-1912. GOEHR 11
TALKS, COMMENTS, CONFERENCES, ETC. [job-interview talks not included]
1982-5 Seminar papers, Cambridge Graduate Philosophical Society and King’s College ‘Philosopher Kings’.
1986 ‘What is Music?’ Music Department, University of Nevada-Reno.
1988
‘The Violating Sneeze: Compliance, Conditions and Ideals,’ Conference on Tradition and Innovation, International Congress of Aesthetics, Nottingham, UK.
‘The Violating Sneeze: Musical Performance and Identity,’ Philosophy, SUNY Purchase.
Comment on Jerrold Levinson’s ‘Authentic Performance and Performance Means,’ American Society for Aesthetics, Annual Meeting, Vancouver, Canada.
Seventh Annual Michigan Colloquium in Philosophy, ‘Emotions in Art and Life,’ University of Michigan, Ann Arbor.
‘Being True to the Work,’ American Society for Aesthetics, Pacific Division, Monterey, CA.
‘Ways of Seeing: An Overview,’ Vermont Council of the Humanities, Brattleboro, Vermont.
1989
Comment on Guy Sircello’s and Douglas Dempster’s papers based on Peggy Brand’s prints inspired by Mahler’s Symphony No. 3, American Society for Aesthetics, Pacific Division, Monterey, CA.
‘The Power of the Podium,’ American Society for Aesthetics, Annual Meeting, NY.
Chair and commentator. Frances Berenson’s ‘Music and the Emotions,’ Conference on Tradition and Innovation, International Congress of Aesthetics, Nottingham, UK.
1990
‘The Power of the Podium,’ Music dept, Wesleyan University.
Comment on Richard Shusterman’s ‘The Fine Art of Rap,’ American Society for Aesthetics, Annual Meeting, Austin TX.
Comment on Mary Devereaux’s ‘Oppressive Texts, Resisting Readers and the Gendered Spectator’ and Renee Cox’s ‘Recovering Jouissance: Feminist Musical Aesthetics,’ American Society for Aesthetics, Eastern Division, College Park PA.
1991
Comment on Paul Mattick’s ‘On the Historical Character of Aesthetics,’ American Society for Aesthetics, Annual Meeting, Portland OR.
Panel on censorship and obscenity, American Society for Aesthetics, Annual Meeting, Portland, OR.
‘Music has no meaning to speak of,’ N.E.H. Summer Inst. on Aesthetics and the Histories of the Arts, San Francisco CA.
1992
Comment. Roger Shiner’s ‘Methods of History/Criticism/Philosophy,’ American Society for Aesthetics, Pacific Division, Monterey CA. GOEHR 12
Panel at Past Presidents’ Reception, American Society for Aesthetics, Annual Meeting, Philadelphia, PA.
‘Music has no Meaning to Speak of,’ Annual Conference, British Society of Aesthetics, London, UK.
‘Political Music and the Politics of Music,’ Center for the Humanities, Wesleyan University.
1993
Comment. Garry Hagberg’s ‘Reconsidering Reductionism: Wittgenstein and ‘The Figure in the Carpet,’’ American Society for Aesthetics, Eastern Division, Providence, RI.
Comment. Jennifer Robinson, et. al., ‘Shostakovich’s Tenth Symphony and the Musical Expression of Cognitively Complex Emotions,’ American Society for Aesthetics, Annual Meeting, Santa Barbara, CA.
1994
Chair/commentator. Daniel Herwitz, Making Theory/Constructing Art, American Society of Aesthetics, Pacific Division, Monterey CA.
Graduate Seminar. ‘The Perfect Performance of Music and the Perfect Musical Performance,’ and The Imaginary Museum of Musical Works, Music, Cambridge University, UK.
On The Imaginary Museum of Musical Works, Music, University of California at Berkeley.
‘The Perfect Performance of Music and the Perfect Musical Performance,’ and ‘Political Music and the Politics of Music’ at conference: ‘Retheorizing Music,’ University of California at Irvine.
‘Political Music and the Politics of Music,’ and seminar on The Imaginary Museum of Musical Works, Music, Stanford University, CA.
‘Political Music and the Politics of Music,’ Philosophy and Music, Clark University, MA.
‘Schopenhauer and the Musicians: An inquiry into the sounds of silence and the limits of philosophizing about music,’ Music, University of Southern California.
‘Schopenhauer and the Musicians: An inquiry into the sounds of silence and the limits of philosophizing about music,’ Philosophy, Williams College, MA.
‘Schopenhauer and the Musicians: An inquiry into the sounds of silence and the limits of philosophizing about music,’ Music, Yale University, CT.
‘The Perfect Performance,’ in Music dept. and Public Affairs Center, Wesleyan University.
1995
Comment. John Fisher, ‘Muzak and Museums,’ American Society of Aesthetics, Pacific Division, Monterey, CA.
‘The Double Life of Music and Musicians,’ Hungarian Association for Aesthetics, Budapest.
‘The Perfect Performance of Music and the Perfect Musical Performance,’ Music Dept., Harvard University.
1996
‘The Double Life of Music and Musicians’
Bard College, NY GOEHR 13
SUNY Buffalo (philosophy) SUNY Oneonta (philosophy) Cornell University (music)
1997
The Ernest Bloch Lectures, University of California at Berkeley.
Comment. Richard Taruskin’s ‘Stravinsky and Us,’ Lionel Trilling Seminar, Columbia University.
‘Wagner and the Quest for the Autonomous Musical Voice,’ Philosophy, University of Richmond, Virginia.
‘The Trial of Richard Wagner,’ Nexus Institute, Amsterdam, Netherlands.
‘Wagner and the Quest for the Autonomous Musical Voice,’ Society of Fellows, Columbia.
‘Wagner and the Quest for the Autonomous Musical Voice,’ British Society for Aesthetics, Oxford.
“On the musical canon,” International Musicological Society, London.
The Leonard Lecture: ‘Music and Musicians in Exile,’ Philosophy, University of Nevada-Reno.
‘Music and Musicians in Exile’ at UC Davis (music) and Stanford University (music).
Seminar on Wagner and Die Meistersinger, Stanford University, opera group.
1998
‘The Musical Work: Reality or invention,’ Liverpool, UK.
Respondent to Marc Weiner and Garry Hagberg’s papers on my The Quest for Voice (ASA, Bloomington).
‘Wagnerian Endings’ and round-table discussion: ‘How should we think about meaning in music?’ Nineteenth-Century Conference on Music, Bristol, UK.
‘Wagnerian Endings’ International Academy of the Arts, Bern, Switzerland.
Interview with Peter Sellars, ‘Art and Idolatry,’ Nexus Institute, Netherlands.
‘Wagnerian Endings’, ‘Come to Your Senses’ ASCA, Amsterdam.
Panel on Bach’s St. Matthew Passion and Anti-Semitism, Mount Holyoke.
‘Wagnerian Endings,’ Deutsches Haus, Columbia.
‘Wagnerian Endings,’ Conference on Tristan und Isolde, Wagner Society, San Francisco.
‘Wagner and the Quest for the Autonomous Musical Voice’ and ‘Wagner’s exemplary lesson: Die Meistersinger,’ Music, King’s College, London.
‘Wagner and the Quest for the Autonomous Musical Voice,’ Philosophy, U of Essex, UK.
‘Wagner and the Quest for the Autonomous Musical Voice,’ Music, U of Southampton, UK.
1999 with Joseph Raz, co-organizer of conference at Columbia University Law School on Autonomy in the Arts and Law. GOEHR 14
Chair, AMS panel ‘Musical visions’, Kansas City.
Commentator, ASA panel, ‘Music: Emotion and Meaning’, Washington D. C. (talks by N. Zangwill and C. Nussbaum).
‘Wagner’s Quest for the Autonomous Musical Voice’, Wagner Society of NY and Vassar College, Philosophy department.
Seminar on Unresolved Endings, Getty Seminars.
(-2001) Different versions of ‘Atonal Music and the Listening Public. A Talk on Adorno and Schoenberg,’ at
1999 panel on the aesthetics of modernism, Bard Festival on Schoenberg. 2000 UC San Diego (music). UC Santa Barbara (music). Princeton U (music). UCLA (music). Harvard University (Humanities Seminar). 2001 U. of Chicago (music). Vanderbilt University (phil).
(-2001) Different versions of ‘Radical Modernism and the Failure of Style. On Maeterlinck /Debussy’s Pelléas et Mélisande’ at Columbia (music). Yale (music). CUNY (philosophy). Chicago, ‘After the Beautiful’ Committee on Social Thought. Berlin, conference on aesthetics, Freie Universität. Duke (music). U. Penn (music). Stanford U (music).
2000
Invited Lecture, The Stieren Arts Enrichment Series Lecture, Trinity University, University of Texas, Austin. The New School (philosophy).
Invited plenary lecture. ‘Good Timing in Music, Wit, and Wisdom,’ International Congress for the History of Art. London UK.
Panel on Adorno and Panel for the Outreach Committee, AMS, Toronto 2000 ‘Musical Intersections.’
Radio Talk, BBC, Radio 3. ‘The Perfect Joke’ (also given as ‘Turning Pages talk’ at Getty, CA).
‘The Problem of Interdisciplinarity,’ MOMA, NY CAA panel.
Music and Conscience, Los Angeles Philharmonic and pre-concert talk for Michael Tippett’s A Child of Our Time.
2001
Bucknell University Humanities Institute colloquium series on ‘Opera: Interdisciplinary Critiques’.
The Eunice Belgum Lectures, ‘Listening, Laughing, and Learning’, St. Olaf’s, Minnesota.
Panel, ‘Music of the Spheres’, Society of Fellows, Columbia. GOEHR 15
Participation in Film on Hanns Eisler, Stretta. The History and Times of the Film Music Profect made by Breixo Viejo.
‘Philosophical exercises in repetition: on music, humor, and exile in Wittgenstein and Adorno,’ Conference in Honor of Reinhold Brinkmann, Harvard U.
Panel. Schoenberg’s piano music, Miller Theater, Columbia University.
‘The Dangers of Satisfaction in Wagner’s Die Meistersinger,’ Society of Fellows, Columbia.
‘Wagnerism and Symbolism,’ Bard College Music Festival on Debussy.
Teaching and Lecturing in ‘Historical Present, Aesthetic Past: Methoden und Modelle der Musikgeschichtsschreibung,’ Graduiertenkurs, Blonay, Switzerland.
‘Songs, Rehearsals, and Repetition in Wagner’s Die Meistersinger,’ ‘Institut für Wertungsforschung’, University of Music and Dramatic Arts, Graz; Konferenz: Die Musik als Medium von Beziehungsbefindlichkeiten. Mozarts und Wagners Musiktheater im aktuellen Deutungsgeschehen.
‘Philosophical exercises in repetition: on music, humor, and exile in Wittgenstein and Adorno,’ Meeting of Italian-American Philosophy, The Legitimacy of Truth, University of Rome.
Chair and Commentator at Conference on David Tudor, Getty Research Institute, LA.
‘Philosophical exercises in repetition: on music, humor, and exile in Wittgenstein and Adorno,’ Conference on Adorno, Department of Comparative Literature, Berkeley, CA.
Co-organizer of conference ‘No Happy Ending,’ on German-American exile, Bard College. Lecture (brief version of) ‘Philosophical exercises in repetition: on music, humor, and exile in Wittgenstein and Adorno.’
2002
Co-organiser of conference and lecture ‘Adorno’s Mahler,’ No Happy End no 2, Bard College.
Seminar on Adorno with Albrecht Wellmer, Music, University of Cremona, Italy.
‘Adorno, Schoenberg und ‘der Totentanz der Prinzipien’,’ WIKO, Berlin.
‘Adorno, Schoenberg und ‘der Totentanz der Prinzipien,’ Gender and Polycultural Issues in Schoenberg and Nono, Fondazione Giorgio Cini, Venice.
‘Juliette fährt nach Mahagonny,’ King’s College London (music).
‘What’s race got to do with it?,’ Music and Racial Discourses, King’s College, London.
A lecture on Mahler, ‘Viennese Ghosts,’ Clark Institute, Mass.
‘Juliette fährt nach Mahagonny,’ Conference on the work of Arthur Danto, Columbia.
‘Noten zur Juliette or The Commodification of Desire’at the congress ‘Der französische Surrealismus im Musiktheater des 20. Jahrhunderts’’ Bregenz Opera, Austria.
‘Juliette fährt nach Mahagonny,’ Warburg Haus, Hamburg.
‘The Dangers of Satisfaction: On songs, rehearsals, and repetition in Wagner’s Die Meistersinger’, School of Comparative Arts, Ohio University.
‘In the shadow of the Canon,’ Humanities Center, SUNY Stonybrook. GOEHR 16
‘Im Schatten des Kanons,’ University of Hamburg (philosophy).
‘In the shadow of the canon,’ Cornell University (Music).
‘Im Schatten des Kanons’ at the Internationales Wissenschaftliches Symposium im Rahmen der Festtage 2002 der Staatsoper Unter den Linden, Berlins ‘Kunst-Fest-Feier’.
‘In the Shadow of the Canon,’ The New School (philosophy).
Two day seminar on my work, Orpheus Institut, Gent, Belgium.
2003
‘On Progress in New Music’, Kunst, Fortschritt, Geschichte, Berlin.
‘The Ghost in the Machine, on the movement of music in the movies.’ The Double, Herzog August Library, Wolfenbüttel, Germany.
‘Gestures of Hope and the Problem of Endings,’ Goethe Haus, Toronto; also preconcert talk.
‘Adorno, Danto, and the Operatic Birdcage,’ Musée d’art contemporain de Montréal Colloque international. Situations de l’esthétique contemporaine Héritage allemand et européen dans la philosophie de l’art. with Alex Ross on T. W. Adorno, Transatlantic Conversations, Goethe Haus, Boston. with Stefan Litwin, ‘The Double Act: Theodor W. Adorno on Philosophy and Music - A Conversation in Music and Words,’ Miller Theater, Columbia. with Stefan Litwin. ‘Theodor W. Adorno über Musik und Philosophie - Ein Gespräch in Wort und Ton,’ Konzerthaus, Berlin.
‘Adorno, Schoenberg, und ‘der Totentanz der Prinzipien,’ Kritik – Phänomenalität – Kunst, Freiburger Symposion zum 100. Geburtstag Theodor W. Adornos.
‘Adorno, Schoenberg und ‘der Totentanz der Prinzipien,’ Uhlhorn-Lecture (an invitation of the Gehard Uhlhorn-Studienkonvikt in cooperation with the Georg-August-University Göttingen).
‘Adorno, Schoenberg und ‘der Totentanz der Prinzipien’’ Humboldt Universität (music).
‘Adorno, Schoenberg und ‘der Totentanz der Prinzipien’ U. of Leipzig (philosophy).
‘Doppelbewegung: The Musical Movement of Philosophy and the Philosophical Movement of Music,’ Plenary Lecture, 36th annual Wisconsin Workshop, Madison (German Department).
‘Doppelbewegung,’ Internationale Theodor W. Adorno Konferenz, Frankfurt.
‘Doppelbewegung,’ Sociey of European Philosophy, U of Essex.
‘Doppelbewegung,’ U. of Postdam (philosophy).
‘Doppelbewegung.’ Freie Universität, Berlin (music).
‘Musik und Konzept,’ ‘Conceptualisms’ Festival, Berlin.
‘The problem of culinary taste,’ But I like it. Adorno und die Popkultur, Universität Münster.
‘On Culinary Opera and the Commodification of Pleasure,’ Conference on Mahagonny, 11. Symposium der GOEHR 17
Internationalen Brecht-Gesellschaft, Berlin.
Participant, Adorno Symposium, U. Of Texas, Austin.
2004
‘Adorno in Darmstadt,’ lecture series ‘Recent Pasts. An Exploration in New Music, Institute of Advanced Study, Princeton.
Comment on 2 lectures in the conference ‘Form has Potential,’ Poetics and Theory Program, Deutsches Haus, NYU.
‘The Musicality of Violence,’ seminar ‘Theorie und Geschichte der Avantgarde, Freie Universität, Berlin.
‘For the Birds/Against the Birds. The Modernist Narratives of Danto and Adorno (and Cage), Departament de Filosofia, Universitat Autonoma de Barcelona.
‘The Musicality of Violence,’ Conference: ‘La violencia y el estatuto de la imagen,’ Universidad Complutense, Madrid.
‘The Musicality of Violence: the aesthetics of terror,’ Hebrew Union College - Ethics Center and the Cincinnati Opera.
Lecture on Music and Politics for the Graphics, Music, and Writings of Herbert Brün, Kettler International Drawing Space, Brooklyn, NY.
‘The Musicality of Violence: on the art and politics of displacement,’ SUNY Buffalo, Dept of Comparative Literature.
‘The Experiment and the Experimental: Adorno, Bacon, and Cage,’ Spektakuläre Experimente – Praktiken der Evidenzproduktion im 17. Jahrhundert, Internationale Konferenz, Freie Universität, Berlin.
‘The New,’ Participation in panel, ‘RENEW,’ Columbia at 250.
Session Chair, American Society for Aesthetics annual meeting, Houston Texas.
Session Chair, ‘Luce Irigaray and ‘the Greeks’’ Program in Hellenic Studies and the Center for French and Francophone Studies, Columbia.
‘Aida’s War, Kluge, Adorno, and Said,’ for ‘The Public Spheres of Alexander Kluge,’ German Department, Princeton.
2005
‘The Musicality of Violence,’ Smith College, NY (Philosophy, Music and German).
‘Senta’s Sacrifice,’ in symposium on the Flying Dutchman (co-sponsored by the Boston Symphony Orchestra and the Harvard Music Department).
‘The Musicality of Violence,’ and ‘Movement in Music’ McGill University, Montreal.
‘For the Birds/Against the Birds,’ Plenary Lecture, Scandinavian Society for Aesthetics (Oslo) and at SCASS [Academy for advance research], Sweden.
‘For the Birds/Against the Birds,’ Oxford University, lecture series on aesthetics.
‘The Musicality of Violence,’ Gothenberg, Sweden (music and philosophy). GOEHR 18
‘Aida and the Empire of the Emotions,’ Columbia U (music).
‘The Pastness of the Work,’ keynote, BSA, Oxford, UK.
‘The Musicality of Violence, keynote in conference on music and war, Brno, The Czech Republic.
‘The Ode to Joy,’ Frederich Schiller and the Path to Modernity, Princeton.
‘The Pastness of the Work,’ International Conference on Musical Aesthetics, Strasbourg, France.
‘For the Birds/Against the Birds,’ University of Tel Aviv (philosophy).
‘The Musicality of Violence,’ Hebrew University (philosophy).
‘Knots and Labyrinths,’ jointly given with Alexander Goehr, University of Tel Aviv (music).
Two lectures on ‘The Imaginary Museum of Musical Works’ for the translation into Greek, Concert Hall, Athens and music department, University of Corfu.
2005-6
The Wort Lectures, Cambridge University, Music Department.
‘Notes to Adorno,’ British Library Lectures, London at British Library/Royal Holloway College.
2006
‘The Musicality of Violence,’ University of Bremen (philosophy).
‘Domestic Opera and Furniture Music. Toward a History of the Telephone,’ Conference, Sinn des Hörens, University of Oldenburg.
‘The Musicality of Violence,’ The Cramb Lecture, University of Glasgow.
‘Domestic Opera and Furniture Music. Toward a History of the Telephone,’ HARC lecture, Royal Holloway College.
‘Domestic Opera and Furniture Music. Toward a History of the Telephone,’ Keynote, The Annual Vanderbilt Conference on Politics, Criticism, and the Arts.
‘Productive Displacements or the Actuality of Opera,’ University of Michigan, Ann Arbor, Mythologies and Steroptypes in American Opera.
‘Three Global Concepts for the Art of Music and Listening,’ The Potential of Arts for Intercultural Dialogue / L’impact de l’art sur le dialogue intercultural, Alexandria, Egypt, Commission allemande pour l’UNESCO and Anna Lindh Foundation.
On Edward Said’s Late Style, Panel Discussion, Humanities Center, University of Chicago.
‘Music and Musicality in Tragic Culture,’ Temple University Music Studies Symposium, Philadelphia.
‘Amerikamüde/Europamüde: The Actuality of America Opera,’ Oper und Aufklärung, IFK, Vienna.
2007
Moderator, ‘Mozart Reflected in Wagner,’ The Wagner Society of New York.
‘The Diva on the Telephone,’ Technologies of the Diva, Columbia. GOEHR 19
‘“Three Blind Mice”: Three Global Concepts for the Art of Music and Listening (On Goodman, McLuhan, and Adorno),’ CCLS Interdisciplinary Conversations, Columbia.
‘From Opera to Music Drama: Gains and Losses,’ Symposium, Gain and Loss in Music History: In Search of Lost Options. Inst. f. Musikwissenschaft, Graz, Austria.
‘Three Global Concepts for the Art of Music and Listening,’ Aarhus, Denmark (Seminar on Aesthetics).
‘“Three Blind Mice.” Three Global Concepts for the Art of Music and Listening,’ Philosophy/Aesthetics Department, University of Helsinki.
‘Music as Transmission and Music as Travel,’ Séminaires de Philosophie et Musique 2007; Université de Paris 8/ MSH Paris-nord.’
‘Music as Work/Art as Act: On Music, Violence, and Displacement,’ Music and/as Right Action, University of East Anglia.
‘Standing on the Stage: perspectivism and conventions in the Concert Hall,’ IFK, Perspektive - Die Spaltung der Standpunkte, Vienna, Austria.
‘‘‘Three Blind Mice.” Three Global Concepts for the Art of Music and Listening,’ at ‘Ruptures: Music, Philosophy, Science, and Modernity,’ Max Planck Institute for the History of Science, Berlin.
‘‘Three Blind Mice’. Three Global Concepts for the Art of Music and Listening,’ Philosophy Department, University of Potsdam, Berlin.
‘Über die Benennung ‘Die Meistersinger,’: Namen und Namenlosigkeit in Wagners Oper,’ Angst vor der Zerstörung, Symposium, Bayreuth Festspielhaus.
‘Aida and the Empire of Emotions,’ Opera Seminar, Utstein Kloster, Norway.
‘Perspectivism without Perspective or Philosophy without Art,’ Georgetown University (Philosophy).
‘Film Music: On Doubling, Dissonance, and Displacement,’ Panel: California Dreamin’: Film, Music and Critical Theory Circa 1940, ASA Annual Meeting, Los Angeles.
2008
‘‘Must my skin be made the prize? This for a silly pipe?’, Wind and Strings in the Education of Humanity,’ Different versions at
Music Department, New York University. Music Department, Princeton University. Philosophy Department, Columbia University. Keynote lecture, Conference on Herder and Music, U. Penn. London Aesthetics Forum, UK. Languages of Emotion cluster, Freie Universität Berlin. U of Hildesheim (philosophy). U of Jena (philosophy).
Co-organizer of Merleau-Ponty conference, CU/Barnard College, NY.
Panel Participation, Wagner and Production, Brown University.
Comment, on Rachel Zuckert lecture on Herder, CUNY (Philosophy).
Discussion with Robert Hullot-Kentor on Adorno and biography, New York. GOEHR 20
‘Opera and Politics,’ Oslo, Norway.
‘Hume, Herder, and Adorno on the Standard and Standardizing of Taste,’ on Criticism, Institute of Aesthetics, Oslo.
‘Beckmesser’s Lute’ 50th. Plenary. Anniversary of the Music Institute, Oslo.
‘Beckmesser’s Lute,’ Freie Universität, Berlin (music).
‘Schopenhauer and Beethoven,’ Schopenhauer and Music, U of Mainz.
‘Staging Paragone, The Birth of Opera out of The Myth of Music,’ Keynote. Visualität und Theatralität in den Künsten der Frühen Neuzeit, FU-Berlin.
‘Musical Instruments and the Instrumentality of Painting,’ Music and Culture Lecture Series, Case-Western Reserve U.
‘Musical Instruments and the Instrumentality of Painting,’ Swedish Aesthetics Group, CUNY.
‘Democratic Art and the Instruments of Democracy,’ UNSESCO conference, Tunis.
Panel, Hanns Eisler Symposium, Berlin.
Panel, Improvisation, George Lewis Jazz Series, Columbia.
2009
With Klaus Krüger, organization of and participation in conference jointly sponsored between The Metropolitan Museum of Art, Columbia University, and the Freie Universität, Berlin: ‘The Instruments of Passion (On Music, Painting and the Contest of the Arts)’.
‘The Ring of Gyges: Transparency and Concealment in Politics and Art,’ School of Education, Columbia.
‘Musical Instruments and the Instrumentality of Painting,’ Music, Peabody Conservatoire, Baltimore.
‘Beckmesser’s Lute. Musical Instruments and the Instrumentality of Painting,’ Music, SUNY Stonybrook.
Plenary, ASA eastern division meeting, Temple University, ‘Broken Strings, Dismembered Bodies. Paragonal Theses on the Embodiment and Disembodiment of Music.’ Also delivered in different versions at
University of Stockholm, University of Oslo Warwick University University of Saint Petersburg Contemporary Arts Museum in Lancaster.
‘Art, Agon, and Democracy,’ Richard Rorty and Hermeneutics, University of Bielefeld.
‘Esthétique et Ontologie de la musique: une rencontre avec Lydia Goehr.’ Le 28 avril 2009 Université Nancy 2 Campus ‘Lettres et Sciences Humaines.’
Conference in PARIS: Journées Lydia Goehr 25-26 Septembre 2009, Quelle autonomie de l’oeuvre? Réflexions autour de la philosophie de la musique de Lydia Goehr.
‘All About Eve: Ancient and Modern Thoughts on Agon, Mimesis, and Displacement,’ Perspectives on the Public Sphere. Cinematic Configurations of ‘I’ and ‘We’. Berlin. Conference in honor of Gertrud Koch. GOEHR 21
‘Opera and the Instruments of Power,’ Opera Conference, Oslo.
‘Opera and Paragone,’ FU workshop in Theater und Fest.
‘Beckmesser’s Lute and King David’s Harp,’ Munich (music).
‘Beckmesser’s Lute and King David’s Harp,’ Bard Festival: Wagner and his Times.
‘Ekphrasis,’ New York workshop on Aesthetic Experience.
‘Opera, Agon, and Paragone,’ keynote, Oper als "Gesamtkunstwerk" - Zum Verhältnis der Künste im barocken Musiktheater, Basel.
Chair, AMS session on ‘displacements.’
Chair, conference on John Dewey, School of Education, Columbia.
2010
3 lectures with conference on my work at University of Warwick.
Lecture with John Collins on Games and Game Theory, Philosophy, Columbia.
Aesthetics seminar in Stockholm and lecture in philosophy department, U of Stockholm.
Plenary on ekphrasis at conference on Visual Sounds, Jerusalem, Israel.
Lecture on music and painting, U of Tel Aviv and on Wagner and Dürer for music department.
Lecture on Wagner and Dürer at IGRK Interart Vorlesungen-Reihe, Mit Feuer und Flamme, FU-Berlin.
Two lectures on Music and Agon (on Raphael and on Plato). University of Corfu, conference on music and antiquity.
Lecture on Wagner’s Meistersinger, Music and Representation, Merton College, Oxford.
‘Marsyas’s Last Stand,’ Keynote, ‘Beyond the Centers,’ Thessaloniki, Greece.
Panel. What is CRITIQUE? Platypus. The New School.
Lecture on ekphrasis. SFB 626, ‘Sinnliche und symbolische Reflexivität in Medien ästhetischer Erfahrung,’ FU BERLIN (philosophy)
2 day workshop on ekphrasis at FU-Berlin Graduiertenkolleg Schriftbildlichkeit.
‘Broken Instruments and the Instrumentality of Painting,’ Music Iconography Study Day, Courtauld Institute of Art, London
‘Broken Instruments and the contest of the arts,’ University of Leuven (philosophy)
Lecture on ekphrasis and seminar on Adorno, German Department, University of Chicago
Lecture on ekphrasis, Conference on Poetry and Translation, French Department. Barnard College
2011 GOEHR 22
Lecture, and organizer. The Figure of Four. Music, Painting, Literature, and Poetry. A Symposium and Concert, sponsored by Elizabeth And Vincent Meyer And The Centre For Research In Philosophy, Literature, and The Arts, University of Warwick.
‘Pointing and Blaming: Punishing music and musicians in the painting and poetic arts.’ Art and Gesture. University of Tel Aviv (philosophy).
‘Just How Sisterly are the Sister Arts?’ Keynote. Soeurs Rivales: Art And Music At The Birth Of Modernism, 1815-1915, New York (in cooperation with SUNY).
‘Other pictures we look at,—his prints we read.’ Danto reading Lamb reading Hogarth on the Art of the Commonplace,’ University of Köln (philosophy).
‘Gesture and Articulation: The Silencing of Music in the Contest of the Arts,’ Forms of Articulation,’ International Research Institute, ‘Morphomata,’ University of Köln.
Comment, Seminar on William Egginton’s The Theater Of Truth: The Ideology Of (Neo)Baroque Aesthetics, Theatre Studies, Columbia.
3 seminars on Adorno, Wagner, and Nietzsche, University of Tel Aviv (philosophy and music).
‘Constesting art(s) at the Opera, or Painting the Red Sea Red’ (on Puccini’s La Bohème) delivered in developing versions at
Columbia Alumni Association Program, Chicago. Philomela Guest Speaker, Cornell (Music). Seniorenstudium, University of Munich. Conference on music and painting, University of Graz. The Mellon School of Theater and Performance Research, Harvard University. Keynote, Annual Conference of the Royal Musical Association Music and Philosophy Study Group (in association with the Music and Philosophy Study Group of the American Musicological Society), King's College London.
‘The Agon of Improvising—on Broken Strings,’ at
Keynote, Gothenberg, Sweden, in accord with a concert of Gothenburg Symphony and topic of Beethoven’s Fifth. University of Atlanta, Georgia (philosophy).
Conference, ‘Relevanz, Kontingenz, Werk,’ SFB Berlin 626, Berlin.
‘The Art of looking and Listening to Christian Marclay,’ Keynote. Colloquio Monumento, Universita Degli Studi Di Milano.
The Life And Death Of Bohème, Or Painting The Red Sea Red (An Genealogical Exercise In Gay Science), University Of Hong Kong (Music).
‘The rhetoric of resistance, or breaking up two concepts of improvisation,’ Rethinking Resistance, University of Macao (philosophy).
2012
Participant, Radio broadcast BBC, ‘The Devil in Music.’
‘Puccini after Freud: opera and the psychopathology of everyday life,’ Opera after Freud. Stanford Humanities Center. GOEHR 23
‘The Life and Death of Bohème, or Painting the Red Sea red,’ After the End of Music History, Conference in honor of Richard Taruskin, Princeton University.
‘The Life and Death of Bohème, or Painting the Red Sea red,’ at
APA, Chicago. University of Graz. University of Tel Aviv (music).
‘The Agon of Improvising—on Broken Strings. Toward a Theory of Wit and Fit, ’ at
Wesleyan University (philosophy). U of Penn State (philosophy). U o f Notre Dame (Philosophy). ASA Easter Division, in honor of Philip Alperson, Philadelphia. European Society of Aesthetics, Guimarães, Portugal. Conference on Improvisation, Oxford University. Annual Conference of the Royal Musical Association Music and Philosophy Study Group (in association with the Music and Philosophy Study Group of the American Musicological Society), King's College London.
Panel participation, Performative Languages of Emotion. A Dialogue between Arts and Inquiry. Excellence Cluster “Languages of Emotion” and the Center for Movement Research of the Freie Universität Berlin, in cooperation with the Staatsoper im Schillertheater, the journal “Opera Quarterly” (Oxford University Press), the University of Chicago, and the CIC (Center for International Cooperation) of the Freie Universität Berlin. Staatsoper im Schillertheater.
‘Critical Theory and the Matter of Discipline(s),’ CONGRESSO INTERNACIONAL TEORIA CRÍTICA REVISITADA 21 E 22 DE JUNHO 2012, UNIVERSIDADE DO MINHO.
‘Listening to Music Made Visible: Thoughts on the Arts of Christian Marclay,’ The Art of Listening – Trends und Perspektiven einer Geschichte des Musikhörens, University of Potsdam, Berlin.
‘Why Music has Nothing to Say to Poetry and Painting, Union College (philosophy).
SEMINAR, Benjamin's "Unpacking my Library," ECLA. BERLIN.
Chair. “Danto’s Philosophy of Art,’ ASA, Annual Meeting, St Louis.
‘Adorno, Art, and Critical Theory,’ Columbia University's MFA Visual Arts Program.
2013
“Music has nothing to say to Poetry and Painting,’ University of Pennsylvania (philosophy).
‘Two Concepts of Improvisation,’ Cali School of Music, Montclair State University (College of Humanities and Social Sciences).
‘Improvisation Impromptu or what to do with a broken string,’ Uppsala, Sweden (music).
‘’All art aspires to the condition of music,’ except the art of music,’ Södertörn, Sweden (School of Culture and Education).
‘Copyright, Copying, and Censorship. The Work and Wit of Art.’ Keynote, Rethinking Censorship: Aesthetic and Conceptual Solvents,’ Copenhagen.
‘Improvisation Impromptu or what to do with a broken string,’ and ‘’All art aspires to the condition of music,’ except the art of music,’ Orpheus Academy, Ghent, Belgium. GOEHR 24
‘’All art aspires to the condition of music,’ except the art of music,’ Dubrovnik Conference on the Philosophy of Art.
“White Noise/Red Blood: Hearing and Seeing Music without Sound,” Einstein Forum, Potsdam.
‘Parody and Satire in Wagner’s Operas,’ Beyond Bayreuth: Richard Wagner Today – New Theoretical Readings, Institut Pierre Werner in Luxembourg.
Lecture for Study Day on Continental Approaches to the Philosophy of Music, King’s College, London. Music and Philosophy Conference.
‘Aversion and Diversion: How Parody and Satire Have Influenced the Reception of the Ring Cycle,’ Seattle Opera.
‘Wagner Through Other Eyes. Parodies of Self-Reflection,’ Villnius Lithuania, International Musicology conference and Chair of Jury for Musicology Competition.
‘Wagner Through Other Eyes. Parodies of Self-Reflection,’ SFB ‘Der Wert der Kunst,’ FU-Berlin.
‘’All art aspires to the condition of music,’ except the art of music,’ Studium Kahlmeyer-Mertens, VI Congresso Internacional “ Questoes fundamentais da hermeneutica filosfica,” Rio de Janiero, Brazil
‘Wagner Through Other Eyes. Parodies of Self-Reflection,’ Adorno: Music and Modernity, Harvard University.
Parody and Satire in Wagner, Royal Opera House, Wagner/Verdi Insights. London.
‘Art and its Social Theory: Rethinking the Philosophical Significance of Red Square Paintings.’ APA, Annual Meeting.
2014
INVITED LECTURE - DUKE, MUSIC DEPARTMENT, and HUMANITIES DEPARTMENT “Music and Painting: Reviewing the Mediums of Voice, Ear, and Instrument”
DUBLIN, 3rd Annual Meeting of the Association for Adorno Studies, “Mark Twain and T. W. Adorno on Wagner Parody”
KEYNOTE. DURHAM UNIVERSITY, RAM POSTGRADUATE STUDY DAY, “ENVISIONING MODERNITY” “’ALL ART CONSTANTLY ASPIRES TO THE CONDITION OF MUSIC,’ EXCEPT THE ART OF MUSIC.”
2 Lectures on my recent work, Orpheus Institute, Ghent
INVITED LECTURE: Collège international de philosophie, “Comment effacer un peuple du tableau. Une conférence sur la traversée de la mer Rouge vers la bohème.”
COLLOQUIUM, University of Sorbonne, Paris, Music Department, ’All art aspires to the condition of music,’ except the art of music.”
KEYNOTE, Stony Brook University, Sound and Affect: Voice, Music, World, International Conference. “Red squares: blank scores: affektive images and thought experiments” CANCELLED due to illness
INVITED LECTURE, Conference, Force of Aesthetics, The New School for Social Research, “Equal Before the Law. Thinking through pressure and prejudice.”
INVITED TALK, Joseph Margolis’s 90th birthday. “The stakes of making mistakes in aesthetics” CANCELLED due to illness GOEHR 25
2014 LECTURE, APA Annual meeting, Baltimore. “Reading Danto’s Red Squares as a Political Thought Experiment, Or, “Catching the Conscience of our Kings.”
2014 MALA KAMM LECTURE, NYU, “Reading Danto’s Red Squares as a Political Thought Experiment, Or, “Catching the Conscience of our Kings.”
INVITED LECTURE, Literary Studies at Eugene Lang College, Faculty in the Liberal Arts, The New School for Social Research, “Wagner Through Other Eyes. Parodies of Self-Reflection.” Cancelled due to illness
PANEL TALK ON MUSIC AND TRANSCENDENCE, Hay Festival, England. KEYNOTE, How to paint a people out of the picture: From the passage of the Red Sea to La Bohème,” UNIVERSITY OF LEEDS CONFERENCE, “Continuities and Ruptures: Artistic Responses to Jewish Migration, Internment and Exile in the Long Twentieth Century.” KEYNOTE , “Reading Danto’s Red Squares as a Political Thought Experiment, Or, “Catching the Conscience of our Kings.” At MEMORIAL DANTO CONFERENCE, Spanish-Protugese Society for Aesthetics, Valladolid, SPAIN
KEYNOTE, Society of Music Theory, Annual Meeting (with AMS) MILWAUKEE “Does it matter where we begin? Or, On the Art of Preparation and Preluding”
Chair and participant in conference honoring Etienne Balibar, French Department, Columbia
Lecture on improvisation at QUESTIONING AESTHETICS, Pratt Institute NY.
Invited lecture and seminar on IMPROVISATION IMPROMPTU, Philosophy, Charleston College NC
Invited Lecture “Reading Danto’s Red Squares as a Political Thought Experiment, Or, “Catching the Conscience of our Kings.” CLOSING CONFERENCE of SFB 626 on Aesthetic Experiments, FU-BERLIN.
Invited Lecture. “Reading Danto’s Red Squares as a Political Thought Experiment, Or, “Catching the Conscience of our Kings.” Philosophy Department, University of Antwerp, Belgium
2015
Invited lecture and seminar. “The use and abuse of beauty in everyday life, or, philosophical thoughts on the concept of boheme.” Pembroke Center, Brown University
Lecture. “The concept of Exodus”. Political Concepts conference, Columbia University
Keynote, “On the high and low roads of bohème,” New Jersey Musicological Society, Graduate students conference. Rutgers University.
Participant in panel “The future of music studies,” Current Musicology 50th anniversary conference, Columbia University
Lecture “The concept of Exodus,” “Night of philosophy,” New York City
Colloquium, On my recent thinking on a political philosophy of music. Sorbonne, Paris
Preconcert Lecture for Ensemble intercontemporain: “Americans in Paris.” Or, “un demi-siècle après.” Paris
Lecture “Works decomposed and music untuned. On Stanley Cavell,” Conference on Dissonance and Dissidence, University of Toronto.
Keynote, On the concept of discompsition, For conference “f(r)ictions of Art,” Freie Universität, Berlin
Lecture "Upper West Side enlightenment. Reading Dewey, Danto, and Adorno, Conference "The Dialectic of Enlightenment in America” University of Leipzig GOEHR 26
Keynote, “The work-concept: the question of its contemporary relevance across the different arts,” Wiederkehr des Werks? Symposium zur Gegenwart des literarischen Werkbegriffs. Schloss Herrenhausen, Hannover
Lecture, “What anyway is a ‘Music Discomposed’. Reading Cavell through the Dark Glasses of Adorno,” Adorno Studies Group Conference, The New School, New York
Lecture. “The Tendency to Prose: From New Music to Laconic Wit,” Conference “Speech Unbound’Ungebundene Rede: On Prose and the Prosaic,” NYU, German Department, NY
Panel participation. "Changes in the discipline: building upon the 1993 commemorative issue of JAAC and the history of the ASA”, Feminist group, ASA annual meeting, Savannah Georgia
2016
Lecture, “What anyway is a ‘Music Discomposed’. Reading Cavell through the Dark Glasses of Adorno,” Orpheus Insititute, Belgium. Conference on Philosophy of Music
Spring Faculty Seminar with Lydia Goehr: "Emancipation Narratives in the Arts" Humanities Center, University of Pittsburgh
Keynote, "Reading Danto's Red Squares as a Political Thought Experiment, Or, How to open up the Mind to Art” “The Nordic Society of Aesthetics Annual Conference” Uppsala, Sweden
Lecture on Discomposition, Music Department, University of Uppsala
Keynote “All art aspires to the Condition of Music—except the Art of Music,” International Musicological Society Conference, Norway. “Music as Art, Artefact and Fact”
Keynote, “All art aspires to the Condition of Music—except the Art of Music,” Annual Meeting of the Dutch Society for Aesthetics. University of Antwerp, Belgium
Lecture. ‘Monochromy and Monotony: On the Colour and Tone of the Absolute in Hegel’s Aesthetics,’ Conference “Hegelian Philosophy and the Perspectives of Art” History, King’s College, London
Lecture, Reading Danto's Red Squares as a Political Thought Experiment, Summer School. The Hermeneutics of Suspicion, University of Bonn
Commentator in panel. Adorno's Negative Dialectics at 50, Center for European Studies, Harvard
The MARX WARTOFSKY LECTURE. "Black, White, and Gray: Thoughts about monochromatic formalism from Hegel to modern art." CUNY PHILOSOPHY, NYC
Invited Lecture. What was Beauty. Interdisciplinary Conference. University of Indiana. Bloomington
Colloquium. "Black, White, and Gray: Thoughts about monochromatic formalism from Hegel to modern art." Philosophy Dept. Vanderbilt.
2017
Keynote. “Expressing what exists is an endless task': On instruments of the arts and instruments of thought” "Vocality/Instrumentality 2017." University of Huddersfield Department of Music and Drama.
Colloquium. "Expressing what exists is an endless task': On instruments of the arts and instruments of thought." Music Department, Cambridge.
Colloquium. "Expressing what exists is an endless task: On instruments of the arts and instruments of thought" Music Department, Oxford. GOEHR 27
Participation. "The Missing Shade of You: A Dance Dialog between L.A. Paul and Marcel Proust" New York. The Tank.
Chair and Participant, "Fluxus Here and There, with Toshi Ichiyanagi, Toshie Kakinuma, Mitsuko Ono, Dörte Schmidt, Branden W. Joseph." IMS, Tokyo.
Chair for Panel in "Music and the Body Between Revolutions: Paris, 1789-1848," Music Department, Columbia University.
Colloquium and Seminar, "Danto’s Red Squares," and “Black, White, Gray: Monochromatic Formalism in Philosophy and the Arts," Philosophy Department,” Emory University.
Lecture. "'Above literature? Who is above literature?'’: Creativity and Appropriation in writing and reading" for conference "Particular, Possible, Universal," Boston University.
Book tour for translated Imaginary Museum of Music Works in Rome, Naples, and Turin; seminar also on the work of Arthur Danto, at University of Turin. And interview for Rai Radio 3; interview for Il Manifesto.
Lecture on the history of the concept of music for Music and Cosmos conference, Cambridge University.
Day-long seminar on my work, Philosophy Department, U of Basel.
Lecture on La Bohème and the Red Sea, Music Department, U of Luzerne.
Lecture "Picture this!" Using opera and the arts to experiment with thought / Using thought to experiment with opera and the arts, for "Sound and Story"conference, WIKO Berlin.
Lecture. "Picture this. Or how to think through the arts of opera," Stockholm conference "Opera and Performance."
Chair, European Society for Aesthetics Conference, Berlin
Panel Participant. "Are we all philosophers now?, for ’Critical Theory for Musicology Study Group’, RMA Music and Philosophy Conference 2017, King’s College, London.
Organizer of and participant in Panel, "Art in Times of Crisis: Then, 75 years ago, and Now" ASA, New Orleans.
Lecture "Blank Paintings in Waiting: the future of critical theory or how critical theory thinks about the future." Conference on The Future of Critical Theory, Goethe Institute, Stockholm.
Keynote. "Cognitive Aesthetics or Conceptual Aesthetics" Aesthetics Conference, Tampere, Finland.
Participation in 'Musical Aesthetics in Britain' Symposium, Music Department, King’s College, London.
Comment on papers, Sound Studies Workshop, Music Department, Columbia University.
Talk. On Sally Potter’s Thriller. Feminist to the Core, Puccini’s La Bohème. Columbia University.
2018
Podcast on my work, Christian Sears Investigates.
Commentator for award of Arthur Danto Prize, APA, Savannah Georgia. cancelled due to storm. [Rescheduled October 2019 ASA meeting]
Keynote. Painting in Waiting. Prelude to a Critical Philosophy of History and Art. Annual German Aesthetics conference DGAE, Offenbach, Germany. GOEHR 28
Invited Lecture. Sally Potter’s Thriller; Panel discussion for translation of two of my books, École des Hautes Études en Sciences Sociales, Paris. Radio Interview France Culture “Les chemins de la philosophie.”
Lecture. Painting in Waiting. Prelude to a Critical Philosophy of History and Art. German Idealism Workshop. New York.
With Gregg Horowitz, Workshop. Waiting, Watching, Acting: Immediate and Deferred Responses to Political Crisis. Philosophy Department, Columbia University.
Invited Lecture: "Two concepts of pluralism. One for art and one for the arts," Tagung: Pluralität der Kunst, FU-Berlin.
Panel contribution "One-liners of critical theory: from the Estrucan vases in Rome to the cows of the Ku’damm in Berlin." Adorno Conference, Rome Center of Loyola University Chicago, Rome Italy.
Keynote, "Reading Danto’s Red Squares as a political thought experiment." Danto Conference, University of Calabria, Cosenza, Italy
Invited Lecture and music festival, Bergen Norway.
Workshops in Barcelona and Salamanca
Seminar on Philosophy and Music. Humboldt U. Berlin.
Invited Lecture. "Picture this!" Using opera and the arts to experiment with thought" Creativity, Symbol, and Aesthetic Sense. International Philosophy Congress, China. [Cancelled due to medical]
Invited Lecture. "Work esthetics and the Pastiche" in conference. PASTICCIO. Ways of Arranging Attractive Operas,“ Mainz, Germany. [cancelled due to medical]
Invited lecture: JIGSAW PUZZLES OF MUSICAL CLASSICISM: SITUATING BACH IN ADORNO’S AESTHETIC THEORY, Harvard University [Cancelled due to medical]
2019
Conversation LAB The Kitchen with Keren Cytter and Jill Magid.
“Painting in Waiting. Prelude to a Critical Philosophy of History and Art.” As keynote lecture for European Society for Aesthetics in Warsaw; for “A Night of Philosophy” at the New School; for lecture, Dept. of Philosophy, University of Milan; as lecture for University of Torino.
Martinu’s Julietta symposium, org. Michael Beckerman. Bohemian Hall, NYC.
“Did Bach compose musical works? The case as made by T. W. Adorno” as Keynote for UMASS Bach. Symposium; as Keynote (with additional panel discussion) for International Musicological Society, Luzern Switzerland;
Commentator. “Making Musical Works.” Senate House, University of London.
Panel participation in Beethoven Series, Camerata Pacifica, CA in Spring and in Fall.
“August Sander’s Composer: Estrangement and Eerie Resonances.” The August Sander Project, MOMA/ Columbia.
TBD Colloquium, Music Department, University of Rochester. GOEHR 29
Walden/Danto Prize talk/commentator. American Society of Aesthetics, Arizona.
“Instruments, Itinerants, and Immigrants” Rethinking music and opera for the film. Conference: The Mediations of Music: Theodor W. Adorno's Critical Musicology today. Siena, Italy.
2020
Tate Workshop
Adorno conference, Berlin
KCL symposium
“Enraged Musicians, Distressed Poets, and Harassed Painters: How the arts make us laugh and cry.” Royal Institute of Philosophy Lecture, Tate, Liverpool.
Warwick conference keynote.
Lecture, University of Canterbury
Abu Dahbi NYUAD Music Program-Institute Distinguished Lecture Series and Residency.
Etc etc.
ACADEMIC-PROFESSIONAL SERVICES
2019. Book Prize Committee 2018- Editorial Board, Music and Visual Culture 2016- Job Placement Officer 2015 Joint chair of colloquium committee 2015-Advisory Board, Estetika 2009- Faculty Member, Theater Program, CU. 2007- Faculty Member, ICLS, CU 2014- editorial board, New German Critique 2014 member, advisory board for the Center for the Study of Music and Philosophy at Duquesne University 2014- Guggenheim advisor for Music Competition 2013- member, Canada Research Chairs Interdisciplinary Adjudication Committee (IAC). 2013- board member, for book series Performance Philosophy 2013- board member, for book series Philosophy and Cultural Identity. 2011-15 present Job Placement Officer, Philosophy, Columbia. 2012 member of committee for grants applications, CU 2012- Member of Advisory Board, Adorno Studies 2012 – Member of Advisory Board, Revista Musica (Brazil) 2011- Member of Advisory Board, Nineteenth-Century Music Review. 2010-15 DFG Gutachterin, Interarts Program, FU-Berlin and SFB Aesthetische Erfarhrung, FU-Berlin. 2010-11 Senator, Columbia University. 2010-11 Prize committee, CU. 2010 CU Philosophy Dept. Committee for Grad. Applications and Fifth Year Review. 2010 Board, for program at School of Visual Arts. 2010-15 Board, Encyclopedia of Aesthetics (new edition)). 2009- Member of Consulting Editors Board for The International Literary Quarterly. 2009- 13 Member of Scientific Council of Research Training Group associated with 'the Graduiertenkolleg' on 'Schriftbildlichkeit. Materialität, Wahrnehmbarkeit und Operativität von Notationen.' 2009- Member of Advisory Board, Sound Effects. An Interdisciplinary Journal of Sound and Sound Experience. 2009- Member of Editorial Board, Aura: Journal of Culture and Aesthetics (Sweden)). 2008- Member of Advisory Board, Musica Humana (Hong Kong)). 2008- Member of Advisory Board, British Journal of Aesthetics. GOEHR 30
2004- Coeditor, Columbia Themes on Philosophy, Social Criticism and the Arts. 2000- Aesthetic Reading and Discussion Group for Advanced Graduate Students interested in Aesthetics, Columbia University. 2008 Peer Review, DFG, Bonn Germany. 2007- Board Member, Journal of Interdisciplinary Music Studies. 2007- International Advisory Board Member, The Nordic Journal of Aesthetics. 2007- Referee ACLS applications and Radcliff Society of Fellows. 2007-8 Committee, Political Philosophy Search, CU. 2007–10 Board member, CLEX, CU. 2007- 10 PhD Dissertation Committee, U. of Notre Dame, Philosophy Department. 2007 Chair, Ad Hoc committee, CU. 2007 on and off- Committee for Incoming Graduate Students, CU, Philosophy Department. 2006 Advisor, Center for Black Music Research (Chicago)). 2006- Referee for applications for American Academy in Berlin. 2006-7 ARC, Columbia University, Chair of Art-History Department Review Committee. 2006 – Advisory Board Member, Opera Quarterly. 2006- Advisory Board Member, Studien zur Wertungsforschung (Graz)). 2005- Advisory Board Member, Journal of Musicological Research. 2005-8 Advisory Committee, APA on Aesthetics. 2005- Member of Scholarly Papers Committee, Lyrica Society. 2004 –09 Co-organizer of Columbia University Seminar in Romanticism. 2004-5 External Member of Spanish Department. 2004-5 Philosophy Department Advisor for Students of General Studies. 2004- Fellowship board member, Internationales Forschungszentrum Kulturwissenschaften. 2004-10 Advisory Board Member, Wagner Spectrum. 2004-Advisory Board Member, Nineteenth-Century Music Review. 2001-4 CU Society of Fellows, Interview board. 2002 ACLS Scholarships Committee. 2000-2 CU University Senate. 2000-3 Advisory Committee Member, Program Committee, APA. 1999-2006 Board of Trilling seminar, CU. 1999 Spring, Director of Graduate Studies, CU. 1996 Search Committee Member, Professor of Composition, Music Department. 1994-95 Chairperson, Philosophy Department, Wesleyan University. 1994-97 Advisory Board, History and Theory. 1994-5 Atticus (bookstore) Faculty Advisory Committee. 1989- Manuscripts read for many presses. 1990- Articles refereed for many journals. 1991-2, 1992-3, and 1993-4: Program Committee Member for the Annual Meeting of the American Society for Aesthetics. 1994-5 Program co-chair, Annual Meeting of the American Society for Aesthetics. 1993-6 Elected Trustee in the American Society for Aesthetics. 1992-4 Committee member of the American Society for Aesthetics Feminist Caucus. Member of Advisory Board, for Michael Kelly, ed., The Encyclopedia of Aesthetics (Garland Pubs).