AMS Program & Abstracts

A MS Program & Abstracts MS Program Essential new scholarship from Ashgate... AMS Program & Abstracts The Music and Art WASHINGTON, D.C., OCTOBER 27–30 2005 of Radiohead Edited by Joseph Tate,ate,ate, Oregon State University ASHGATE POPULAR AND FOLK MUSIC SERIES May 2005 232 pages Perspectives Hardback 0 7546 3979 7 on Gustav Mahler Paperback 0 7546 3980 0 Edited by Jeremy Barham, University of Surrey, UK ‘Speak to Me’: August 2005 628 pages Hardback 0 7546 0709 7 The Legacy of Pink Floyd’s The Dark Side Thomas Tomkins: of the Moon Edited by RRRussellussell RRussell eising,eising,eising, The Last Elizabethan University of Toledo Edited by Anthony Boden,,, with Denis Stevens, David R.A. Evans,Evans,.A. ASHGATE POPULAR AND FOLK MUSIC SERIES September 2005 246 pages PPPetereter James and Bernard RRBernard oseoseose Hardback 0 7546 4018 3 June 2005 387 pages Paperback 0 7546 4019 1 Hardback 0 7546 5118 5 From Renaissance Giacomo Meyerbeer to Baroque and Music Drama in Change in Instruments Nineteenth-Century Paris and Instrumental Music Mark Everist, University in the Seventeenth Century of Southampton, UK Edited by Jonathan Wainwright,ainwright,ainwright, VARIORUM COLLECTED STUDIES SERIES: CS805 University of York, UK and July 2005 460 pages Hardback 0 86078 915 2 PPPetereter Holman,,, University of Leeds, UK July 2005 342 pages Timba: The Sound Hardback 0 7546 0403 9 of the Cuban Crisis VVVincenzoincenzo PPincenzo ernaernaerna D.C. 2005 Washington, Musical Voices of Early SOAS MUSICOLOGY SERIES Modern Women April 2005 370 pages Many-Headed Melodies Hardback 0 7546 3941 X Edited by Thomasin LaMay,,, Goucher College A Briefe Introduction WOMEN AND GENDER IN THE EARLY to the Skill of Song MODERN WORLD April 2005 470 pages by William Bathe Hardback 0 7546 3742 5 Edited by Kevin C. Karnes, Emory University MUSIC THEORY IN BRITAIN, 1500–1700: Valuing Musical CRITICAL EDITIONS Participation April 2005 148 pages Hardback 0 7546 3544 9 Stephanie Pitts,itts,itts, University of Sheffield, UK October 2004 184 pages Hardback 0 7546 3280 6 Visit Ashgate at booth B13/B14 and receive 50% off all www.ashgate.com display copies! �� Contents Thursday afternoon, October The American Style: Two Separate Paths Between Classic and Romantic: Analysis and Interpretation Chant and Chorale in the Eighteenth and Nineteenth Centuries Medieval and Renaissance Topics Seventeenth- and Eighteenth-century Opera Twentieth-Century Topics Thursday evening, October (Mis)Appropriations of History: Constructions of “The English Musical Renaissance” Reconstructing Nations, Re-imagining Communities: Music and Post- Socialist Transition Friday morning, October Chant as an Expression of Identity Music in American Cultures Music and Painting Performance, Politics, and the Problem of “Italian Style” in Old Regime France Revisions, Sketches, and the Work Concept Romantic Reception and Historiography Friday afternoon, October The New York Victorian Consort Collaboration and Authorship in Popular Music Medieval Theory Music and Society in Modern France Music, Theater, and Women in the Eighteenth Century Representing Politics and Religion in the Seventeenth Century Twentieth-Century Sketches Friday evening, October Culture at the Crossroads: Interactions Between European and American Music From the Gilded Age to the Jazz Age AMS Hispanic Music Interest Group:Current Research on Mexican Music by Mexican Scholars: Carrillo, Revueltas and the “Black” Villancico Saturday Morning, October Church and Theater in Mozart’s Vienna Cultural Politics in the Twentieth Century Jazz topics Music, Culture, and Politics in Vienna: Dvorák to Mahler New Light on the “Caput” Masses Rachmaninoff and Ravel Technologies of the Diva Wagner’s Parsifal Saturday afternoon, October An Italian Composer in Eighteenth-Century China: The Sonatas and Letters of Teodorico Pedrini art songs of latin america American Musics Fifteenth-Century Topics Haydn Topics National Identities Nineteenth-Century Opera Russian Modernism Saturday evening, October The Cold War and Changing Ideologies of New Music Current Copyright Issues in Scholarly Editions of Music A Sense of Place: Music and Regional Environments, Musicology, and Ecocriticism Sunday Morning, October Authors and Authority in the Renaissance Convention, Gender, and Memory in the Music of Brahms Music and Politics in the Twentieth Century Orlando di Lasso Performance and/as History Popular Music Troubadour and Trouvère Chansons Index of Participants Abstracts Thursday afternoon, October THE AMERICAN STYLE: TWO SEPARATE PATHS Alan Mandel, piano Piano Sonata No. in C major Alexander Reinagle (–) Allegro con brio Ballad, Op. Amy Marcy Cheney Beach (–) Sonata No. (Keltic Sonata), Opus Edward MacDowell (–) With great power and dignity With naive tenderness Very swift and fierce Cosmic Voyage and DevilDance Alan Mandel (– ) Study No. Charles Ives (–) Sonata No. Elie Siegmeister (–) Moderato—Allegro The Banjo, Op. Louis Moreau Gottschalk ( – ) There have always been two distinct conceptions of American musical style. Virgil Thomson believed that “Americans [write] music in every known style . the way to write American music is very simple. All you have to do is be an American and then write any kind of music you wish.” Conversely, Elie Siegmeister recognized in American music “blues, jazz, and folk elements . a musical vernacular, vitality, rhythmic drive, melodic freshness, and an ‘open air’ sound.” The music chosen for this concert represents these two conceptions. Alexander Reinagle was a close friend, by correspondence, of C.P.E. Bach; he also corre- sponded with Haydn. His sonata resembles their music both stylistically and formally. Amy Beach’s music is distinguished by a natural melodic gift and an eclectic style, which contains rich textures, chromaticism, complex harmonies, frequent and startling modulations, inten- sity, and restlessness. Her early Ballad exhibits all of these characteristics. MacDowell’s music is fully Romantic in the tradition of Grieg, Raff, and Liszt. Rhapsodic, dramatic, lyrical, and often programmatic, it rejects narrow nationalism in favor of broad lineage. The “Keltic” sonata favors rich melodic lines, adventurous harmonies, and impressive climaxes. Alan Mandel’s Cosmic Voyage and DevilDance is a phantasmagoric work that employs the piano’s percussive resources and lyrical qualities. In this work, jazz and ragtime idioms coexist with a mystical, very late romanticism and contemporary techniques. Ives’s Study No. , which Alan Mandel found among Ives’s papers at Yale, utilizes familiar Ivesian quotation techniques. Beginning with a trumpet-like section, it accelerates through a “marching band” song, into a rhythmic, dissonant rendition of “Hello, Ma Baby!” The tunes build in a wildly enthusiastic, surrealistic fashion. Among Siegmeister’s varied oeuvre, Sonata No. is especially effective, because of its enor- mous breadth of contrast within a ten-minute, one-movement work, its succinct sonata allegro form, its ingenious development of a four-note motif, and its explosive yet controlled emotion- al content. In Gottschalk’s The Banjo, insistantly repeated piano figures suggest sounds of that Thursday afternoon AMS Washington, D.C. instrument. The composer often placed this work last on his concert programs. Syncopated rhythms recall those of minstrel tunes, and the coda quotes Stephen Foster’s “Camptown Races.” BETWEEN CLASSIC AND ROMANTIC: ANALYSIS AND INTERPRETATION James Webster, Cornell University, Chair THEMATIC MARKERS IN THE LATE MUSIC OF MOZART Amy Holbrook Arizona State University When applied to the music of Haydn, the term “monothematicism” refers to his practice of initiating the secondary key area of a sonata-form exposition with a transposition of the main theme into that key. The term is in many cases a misnomer, because the second group commonly will continue on to a variety of new ideas after the start of the key area has been marked by the reappearance of the main theme. Although Mozart contributed only a handful of examples of the “monothematic” exposition à la Haydn (a prominent example is the first movement of the “Prague” Symphony, K. ), his use of transposed versions of the opening motive of a work at the start of the second group as well as in other parts of the form—transi- tions, retransitions, episodes, closing, development, secondary development, coda—is varied and extensive, particularly in the instrumental music of his last five years. The earliest work displaying such economy of thematic material is the Rondo in D Ma- jor for piano, K. , an odd little piece in sonata form, despite the title, in which versions of the opening theme appear throughout in a total of six different keys. Dated January , , K. is an extreme and abrupt departure from Mozart’s polythematicism, the wealth of melodic ideas for which he is noted, in favor of recurrences of the main theme or its head motive, transposed and manipulated so as to mark key areas, sectional divisions, and formal function or treated developmentally as a thread of continuity through modulating or tonally adventurous passages. After K. , this unifying device becomes a distinctive feature, perhaps even a style trait, of the instrumental works and movements in sonata form, rondo form, and their variants. Although any general description of the music of Mozart’s last five years will point out its increased thematic unity, this paper identifies specifically all of the

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