American Musicological Society Program & Abstracts 2011 g Program and Abstracts of Papers Read at the American Musicological Society Seventy-Seventh Annual Meeting 10–13 November 011 Hyatt Regency San Francisco, California g AMS 2011 Annual Meeting Edited by Caryl Clark Chair, 11 AMS Program Committee Local Arrangements Committee Alexandra Amati-Camperi, Chair, Kara Gardner, Joseph Sargent Performance Committee Jeffery Kite-Powell, Chair, Alexandra Amati-Camperi, ex officio, David Schulenberg, Steve Swayne Program Committee Caryl Clark, Chair, Emma Dillon, 2012 Chair, David Brackett, Andrew Dell’Antonio, Judith Lochhead, Michael Marissen, Roberta Marvin The AMS would like to thank the following organizations for their generous support: Grace Cathedral San Francisco Conservatory of Music San Francisco Opera San Francisco Symphony Sherman Clay Pianos Sherman Clay has been the exclusive representative of the Steinway & Sons piano since 1891 and is proud to support the 11 Annual Meeting of the American Musicological Society. Program and Abstracts of Papers Read (ISSN 89-1) is published annually for the Annual Meeting of the American Musicological Society, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological So- ciety 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 411-841 (e-mail [email protected]). Copyright © 11 by the American Musicological Society, Inc. All rights reserved. Cover design: Gabriel Sim-Laramee Contents Thursday afternoon, 10 November 34 Americans in Opera 37 Constructions of Devotion in the Sixteenth Century 40 Creating Opera 41 Echoes of Marx 43 French Echoes 46 Institutionalizing Music 49 Keyboards Around the World 52 The “Livre d’or” of Charlotte de Rothschild and Nineteenth-Century Autograph Albums 53 Revisiting History from Hip Hop to Honky Tonk 56 Sensible Number: Geometry, Mathematics, and Sound in the History of Musical Thought 59 Theosophy and Music Thursday evening, 10 November 61 The Beginnings of a Composer: The Early orksW of Carl Philipp Emanuel Bach 62 Composing Ecology: the Art of Soundscape and the Science of Field Recording 63 The Ethics of Musical Labor 66 “If you’re going to San Francisco”: Popular Music and the Bay Area 68 Interpreting TerEzín: Works, Contexts, Sources 69 Musicological Conformities Friday morning, 11 November 73 Cage and Friends 76 Chant across the Ages 79 Cold War Conflicts 82 Highbrow/Nobrow 85 Masculinities 88 Mourning and Purging in the Renaissance 91 Nature and Science 94 Simply Brahms 97 Thinking Through Performance: Operatic Production since 1960 Friday noon, 11 November 99 Teaching Western Music in China Today 101 Organ Works of Jehan Alain and Franz Liszt iv AMS San Francisco 2011 Friday afternoon, 11 November 103 Confraternity and Carnival in France and Florence, ca. 1500 104 Fin-de-siècle France 107 The Idea of Opera 110 Interrogating Swing 113 Late Twentieth-Century Avant-garde and Theory 116 Local Musics and Global Perspectives: Reimagining Eastern Europe in Post-Cold-War Musicology 117 Mad, Bad, and Lewd on the Seventeenth-Century Italian Stage 120 New Paradigms of Medieval Song 123 Sounds of Early Modern Germany 124 Twentieth-Century Nationalisms Friday evening, 11 November 128 Challenges in Latin American Music Research and Pedagogy 130 Jazz and Gender: The elbaM Liston Research Collective 131 Mushrooms in the Forest: Challenging Nationalist and Cold War-Era Models for Czech Musical Research 132 Music and the Future of Nostalgia 133 One Hundred-plus Years of Gilbert and Sullivan In recognition of the hundredth anniversary of the death of W. S. Gilbert 136 Reconsidering Narrative in the Music History Survey 137 Researching Broadway Legacies 138 Trans/gendering the Voice: Julia Serano in Conversation with Stephan Pennington Saturday morning, 12 November 139 Acoustic Imagination and Film 140 Also Sprach Weber und Riemann 142 Beethoven 145 Bounding Music of the Americas 148 Imagining New Sounds: The Invention of Electronic Instruments 149 Italian Traditions 152 Mass Cultural Appropriations 154 Music and the Law 155 The Myth of eniceV Revisited 157 Pedagogies 160 Sixteenth-Century Solmization in Practice: What use does it have in the Twenty-first century? 161 Text Settings and Adaptations 164 Workers Unite! Contents v Saturday noon, 12 November 166 “Music is the Continuation of Life:” The Post-War Songs of Hanns Eisler (1898–1962) and Paul Dessau (1894–1979) 168 TheGuitar omanie and its Performance Practice: The Interpretation of the Guitar in France between 1800 and 1830 Saturday afternoon, 12 November 169 Early Twentieth-Century Genealogies 172 Exoticism Revisited 175 German Opera: Future/Past 176 Histories of Mediation 179 Instruments as Social Forces 182 The Jewish Connection 185 Music and Philosophy 188 Opera and Oratory in Seventeenth-Century Rome 189 Pre-modern Materialities 192 Twenty-First-Century Methodologies for Teaching Music History: A Roundtable Discussion Sunday morning, 13 November 194 1811/1911 197 African American Migrations 200 Composition and Theory in the Fifteenth Century 203 Genre, Code, and Tradition in Film Music 205 Instruments from the Inside Out 208 Maps, Paths, and Temporalities: Music in the Twentieth and Twenty-first Centuries 211 The Operatic oiceV in the Age of Mechanical Reproduction 214 Power and Aesthetics in Eighteenth-Century France 217 Seeing the Body 271 Index of Participants 277 Maps Abstracts Thursday afternoon, 10 November AMERICANS IN OPERA Katherine K. Preston, College of William and Mary, Chair From Festivals to Organ GRINDERS: Race AND Opera IN NINETEENTH-Century Chicago Katherine Graber Worthington, Ohio Opera in nineteenth-century United States inhabited sound worlds across the spectrum of everyday life, including theaters, parlors, and streets. While scholars have addressed the social and class history of opera in U.S. theaters (e.g. Karen Ahlquist, Katherine Preston, Joseph Horowitz), musicologists have typically overlooked the intersection of race and classical music prior to the twentieth century (with a few exceptions such as Jann Pasler and Julie Brown et al.). I situate opera in the critical categories of race and nation by investigating opera’s perfor- mance by organ grinders and other street musicians. In this way, I analyze the complicated connections that nineteenth-century scholars and critics made between varieties of European races, issues of immigration, and the performance of European opera in the United States. In particular, I focus on Chicago in the last decades of the century, where immigrants and native-born Americans heard, performed, and lived with opera within a framework of debates about nationality and race. In writings on opera in this era, Italian-ness emerged as salient, a contradictory field en- compassing both refined professional singers (sometimes Americans with Italian stage names) and lowly street musicians vending opera arias on hand organs, accordions, fiddles, and harps. These musical performances were not only defined by language, their sounds also provided words with significance. That is, in addition to being physically located in a space, opera came to reside in language—so that the sounds of theaters and organ grinders endowed the mean- ing of “Italian” with a particular weight, an accent, which came to bear on its contradictory connotations. Music was formative in the understanding of race by occupying the linguistic, legal, social, and economic associations of the word Italian. Carolyn Abbate has argued that music can be made to speak in the service of a critic; Lawrence Kramer and others have argued that language attaches itself to music in a way that can create new meanings. This paper, by contrast, argues that music changed, enhanced, and contradicted the debates about opera and nationality by living in and animating language. “UPON THE YelloW BRICK Road”: Opera ON THE GOLD RUSH Circuit (SAN FRANCISCO to MELBOURNE, 1851–1861) Esmeralda Rocha University of Western Australia During the 1850s, two cities on either side of the Pacific Ocean, each gripped by gold fever, experienced unprecedented social and economic development. San Francisco and Melbourne, however, had more in common than their gold-driven boomtown economies. Between 1851 Abstracts Thursday afternoon 3 and 1861, each city grew from humble beginnings to become the leading cultural center in its region, largely due to the fervor with which each community supported and demanded opera. The operatic cultures of the two cities, moreover, were not discrete; no fewer than twenty- one opera singers, impresari, and conductors migrated between San Francisco and Melbourne, establishing a trans-Pacific touring circuit. This highway was effectively an extension of the existing South American circuit that had been facilitating the transplantation of opera in the Americas since the 1820s, and it became one of the busiest cultural routes in the world. The operatic entrepreneurs who toured the trans-Pacific circuit (including Anna Bishop, Catherine Hayes, Giovanna and Eugenio Bianchi, W. S. Lyster, Emile Coulon, and Clarisse Cailly) were responsible for more than the mere transplantation of opera. Their pioneering endeavours also established a sense of cultural authority in these cities, which persists to this day. Although San Francisco and Melbourne may have been eclipsed