1 CHRISTINE SUZANNE GETZ Associate Dean for Graduate Education and the Arts the University of Iowa Business Address

Total Page:16

File Type:pdf, Size:1020Kb

1 CHRISTINE SUZANNE GETZ Associate Dean for Graduate Education and the Arts the University of Iowa Business Address 1 CHRISTINE SUZANNE GETZ Associate Dean for Graduate Education and the Arts The University of Iowa Business Address: 240 Schaeffer Hall The University of Iowa Iowa City, Iowa 52242 USA Phone: 319-384-1856/cell: 319-400-7288 E-mail: [email protected] HIGHER EDUCATION Ph.D. in Musicology, University of North Texas, 1991. Dissertation: Music and Patronage in Milan 1535-1550 and Vincenzo Ruffo’s First Motet Book. M.M. in Voice Performance and Music History (double concentration), Southern Illinois University, 1982. Thesis: The Role of Manuel Garcia in the History of Vocal Pedagogy. B.M.E. (Voice), University of Evansville, 1979. PROFESSIONAL POSITIONS Administrative 2020-present, Associate Dean for Graduate Education and Outreach and Engagement, College of Liberal Arts and Sciences (CLAS), The University of Iowa. Slight shift in portfolio as described below from liaison to the Arts units to Outreach and Engagement. 2017-2019, Associate Dean for Graduate Education and the Arts, College of Liberal Arts and Sciences (CLAS), The University of Iowa. The Associate Dean for Graduate Education and the Arts supervises 47 graduate programs serving approximately 1,900 graduate students from 37 schools and departments in the arts, humanities, social sciences, and the natural and mathematical sciences by working closely with 40 Directors of Graduate Studies and CLAS Administrative, Finance, and Human Resources staff. In this capacity, she operationalizes a sizeable budget (approximately 19% of CLAS total) for graduate teaching assistants, fellowships, URM recruitment, and professional development, approves CLAS research assistant and postdoctoral fellow appointments, addresses graduate and postdoctoral grievances and disciplinary complaints, oversees the graduate curriculum, participates in CLAS long-term planning, reviews CLAS probationary tenure-track faculty for third-year contract renewal, reviews CLAS cases for tenure and promotion, reviews performance of department and school directors, participates in program reviews of CLAS departments and schools, interviews prospective faculty for positions, coordinates CLAS nominations for honorary degrees, and assists schools and departments with the nomination of faculty for external awards. She further collaborates with the Graduate College on initiatives affecting the funding and professional development of graduate students and postdoctoral fellows in CLAS and serves as the CLAS liaison to both the Graduate College and CLAS’s arts units. 2 2014-2016, Administrative Fellow, College of Liberal Arts and Sciences (CLAS), The University of Iowa. Participated in the caucus and planning meetings of the CLAS Deans, meetings of the Deans with CLAS Executive Committee, deliberations on CLAS faculty line allocations, and reviews of CLAS probationary tenure-track faculty for third-year contract renewal. Also assisted the Dean, Associate Dean for Faculty, and Associate Dean for Research and Infrastructure on projects related to faculty development and recognition. 2009-2016, Associate Director for Graduate Studies, School of Music, The University of Iowa. Oversaw all curricular, contractual, and disciplinary aspects of a graduate program in an accredited, comprehensive School of Music serving approximately 225 graduate students enrolled in MA, MFA, DMA, and PhD programs. Met regularly with the Director, Associate Director for Undergraduate Programs, Associate Director for Instructional Support, and professional staff to develop and implement initiatives and served as ex-officio chair of the Graduate Committee. Summer 2005-Summer 2014, Area Head, Musicology, School of Music, The University of Iowa. Coordinated musicology faculty meetings, graduate admissions, graduate student advising and qualifying examination assignments, TA assignments, curriculum, and course offerings. Consulted with the Director and Associate Directors on matters affecting the musicology area. Faculty Positions, Teaching Fellowships, and Teaching Assistantships 2012-present, Professor of Musicology, School of Music, The University of Iowa. 2005-2012, Associate Professor of Musicology, School of Music, The University of Iowa. 1999-2005, Assistant Professor of Musicology, School of Music, The University of Iowa. 1997-1999, Assistant Professor of Musicology and Director of Collegium Musicum, School of Music, Baylor University. 1990-1997, Lecturer in Musicology and Director of Collegium Musicum, School of Music, Baylor University. 1987-1990, Assistant Professor of Music, University of Maine at Presque Isle (on professional leave to accept Rotary Foundation Fellowship to Italy for dissertation research in 1988- 1989). Summer 1989; Summer 1988; 1986-1987, Teaching Fellow in Musicology, University of North Texas. 1985-1986, Adjunct Instructor of Voice, Tarrant County Junior College. 1983-1985, Teaching Assistant in Musicology, University of North Texas. 1982-1983, Instructor of Music, Moberly Area Junior College. 1980-1982, Teaching Assistant in Voice, Opera, and Music History, Southern Illinois University. AWARDS and FELLOWSHIPS (POST-DOCTORAL ONLY) Fall 2014, Career Development Award, The University of Iowa. 2012, American Musicological Society subvention to defray the costs of publication of Mary, Music, and Meditation: Sacred Conversations in Post-Tridentine Milan. Spring 2007, Career Development Award, The University of Iowa. 2005, Dean’s Scholar, The University of Iowa. 1999, Baylor University Teaching Award for a Tenure-Track Faculty Member. 1998, Fulbright Faculty Scholar, Italy. 3 1994, NEH Summer Seminar Fellowship for “Medieval Western Europe 1100-1500: The Latin Archival Sources," Newberry Library Summer Seminar 1994, Baylor University Young Investigator Award for Junior Faculty Achievement in Scholarship. 1993, NEH Summer Stipend for Independent Research. CURRENT PROFESSIONAL MEMBERSHIPS American Musicological Society International Musicological Society Società Italiana di Musicologia Society for Seventeenth-Century Music Renaissance Society of America LANGUAGES Italian: Reading, Speaking, Writing Latin: Reading Spanish: Reading French: Reading TEACHING AND MENTORING Teaching Assignments 2014-2019 Semester Undergrad Graduate Courses Taught # Enrolled # Credit Hours Advisees Advisees* Fall 2019 0 3 (2 regular, 1 co- MUS 7970: DMA Essay/Thesis 1 1 advisee) MUS 7950: Ph.D. Thesis 1 1 Spring 0 4 (2 regular, 1 co- MUS 6375: Music Editing 17 3 2019 advisee, 1 grad intern) MUS 3990: Special Studies 1 1 (Graduate Education Internship) MUS 7970: DMA Essay/Thesis 1 1 MUS 7950: Ph.D. Thesis 1 3 Fall 2018 0 3 (2 regular, 1 co- MUS 7970: DMA Essay/Thesis 1 1 advisee) MUS 7950: Ph.D. Thesis 1 3 Summer MUS 7950: Ph.D. Thesis 2 1 2018 Spring 0 6 (4 regular, 2 co- MUS 6330: Seventeenth-Century 12 3 2018 advisees) Music 4 MUS 7970: DMA Essay/Thesis 3 0-1 MUS 7950: Ph.D. Thesis 2 1-3 Fall 2017 6 (4 regular, 2 co- MUS 7970: DMA Essay/Thesis 4 1-4 advisees) MUS 7950: Ph.D. Thesis 2 1-3 Summer MUS 7950: Ph.D. Thesis 1 1 2017 Spring 0 6 (5 regular, 1 co- MUS 6375: Music Editing 15 3 2017 advisee) MUS 7970: DMA Essay/Thesis 3 0-1 MUS 7950: Ph.D. Thesis 1 1 Fall 2016 0 5 (3 regular, 1 pre- MUS 5301: Advanced Music 22 3 thesis, 1 co-advisee) History I MUS 6326: Renaissance Music 11 3 Notations MUS7970: DMA Essay/Thesis 1 0 MUS 7950: Ph.D. Thesis 1 1 Summer MUS 7950: Ph.D. Thesis 1 1 2016 Spring 0 6 (4 regular, 1 pre- MUS 5302: Advanced Music 20 3 2016 thesis, 1 co-advisee) History II MUS 6950: MA Thesis 1 2 MUS7970: DMA Essay/Thesis 3 0-2 MUS 7950: Ph.D. Thesis 1 1 Fall 2015 0 6 (5 regular, 1 co- MUS 7970: DMA Essay/Thesis 3 0-2 advisee) MUS 7950: Ph.D. Thesis 1 2 MUS 6325: Renaissance Music 15 3 MUS 5301: Advanced History and 31 3 Literature I Spring 0 7 (5 regular, 2 co- MUS 7970: DMA Essay/Thesis 3 0-2 2015 advisees) MUS 6950: MA Thesis 1 2 MUS 6375: Music Editing 14 3 MUS 5302: Adv. History and 26 3 Literature II Fall 2014 0 6 (4 regular, 2 essay MUS 7970: DMA Essay/Thesis 3 1-3 co-advisees) MUS 6950 MA Thesis 1 2 Career Development Award 5 Summer 0 5 (3 regular, 2 co- 025: 013EX4 (1301) Concepts and 12 3 2014 advisees) Contexts of Western Music (CIMBA) 025:502 (7970) DMA Essay/Thesis 1 2 Spring 0 5 (3 regular, 2 co- 025: 302 (5302)Advanced History I 22 3 2014 advisees) 025: 305 (6330) Seventeenth- 12 3 Century Music *Includes those enrolled in doctoral continuous registration or conducting pre-PhD thesis research Graduate Students Supervised Ph.D. candidates Kelsey Kramer McGinnis (musicology thesis), Spring 2017-present. •2019 UI College of Liberal Arts and Science Dissertation Writing Fellowship •2018 UI Graduate College Summer Fellowship •2018 UI Office of the Vice President for Research Graduate Award for Research Excellence in the Arts and Humanities •2018 UI Graduate College Post-Comprehensive Research Fellowship Kelsey Kramer McGinnis (musicology pre-thesis research), Spring 2015-Spring 2017. Sarah Lucas (musicology thesis), Graduated Fall 2018. •Lecturer in Music, Texas A&M University-Kingsville, beginning August 2019 •Teaching Artist of Music History, Drake University, 2018-2019 •Instructor, Des Moines Symphony Classical Conversation Series, 2018-2019 •2018 UI Graduate College Summer Fellowship •2017-2018 UI Graduate College Dissertation Fellowship •2017 UI Graduate College Summer Fellowship •2016-2017 Fulbright Scholar (Hungary) •2016 UI Graduate College Summer Fellowship Sarah Lucas (musicology pre-thesis research), Spring 2014-Spring 2015. •2014 Stanley Award Sidney Sun (musicology), Spring 2012, interim advisor. Francesco
Recommended publications
  • Exploration and Conductor's Analyses of Morten Lauridsen's Madrigali: Six "Fire-Songs" on Italian Renaissance Poems C
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 An old form newly clothed: exploration and conductor's analyses of Morten Lauridsen's Madrigali: Six "Fire-Songs" on Italian Renaissance Poems C. Leonard Raybon, Jr. Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Raybon, Jr., C. Leonard, "An old form newly clothed: exploration and conductor's analyses of Morten Lauridsen's Madrigali: Six "Fire- Songs" on Italian Renaissance Poems" (2003). LSU Doctoral Dissertations. 2919. https://digitalcommons.lsu.edu/gradschool_dissertations/2919 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AN OLD FORM NEWLY CLOTHED: EXPLORATION AND CONDUCTOR’S ANALYSES OF MORTEN LAURIDSEN’S MADRIGALI: SIX “FIRE-SONGS” ON ITALIAN RENAISSANCE POEMS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by C. Leonard Raybon, Jr. B.M., William Carey College M.A., University of York December 2003 ACKNOWLEDGEMENTS For offering their great support during the doctoral and monograph process, I would sincerely like to thank my insightful professors, Drs. Sara Lynn Baird and Kenneth Fulton; my loving family, Curtis, Gloria, and Paul Benton Raybon; and my dear friends, Hugh Doran and Rhett Shepherd.
    [Show full text]
  • Direction 2. Ile Fantaisies
    CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18.
    [Show full text]
  • Some Historical Perspectives on the Monteverdi Vespers
    CHAPTER V SOME HISTORICAL PERSPECTIVES ON THE MONTEVERDI VESPERS It is one of the paradoxes of musicological research that we generally be- come acquainted with a period, a repertoire, or a style through recognized masterworks that are tacitly or expressly assumed to be representative, Yet a masterpiece, by definition, is unrepresentative, unusual, and beyond the scope of ordinary musical activity. A more thorough and realistic knowledge of music history must come from a broader and deeper ac- quaintance with its constituent elements than is provided by a limited quan- tity of exceptional composers and works. Such an expansion of the range of our historical research has the advan- tage not only of enhancing our understanding of a given topic, but also of supplying the basis for comparison among those works and artists who have faded into obscurity and the few composers and masterpieces that have sur- vived to become the primary focus of our attention today. Only in relation to lesser efforts can we fully comprehend the qualities that raise the master- piece above the common level. Only by comparison can we learn to what degree the master composer has rooted his creation in contemporary cur- rents, or conversely, to what extent original ideas and techniques are re- sponsible for its special features. Similarly, it is only by means of broader investigations that we can detect what specific historical influence the mas- terwork has had upon contemporaries and younger colleagues, and thereby arrive at judgments about the historical significance of the master com- poser. Despite the obvious importance of systematic comparative studies, our comprehension of many a masterpiece stiIl derives mostly from the artifact itself, resulting inevitably in an incomplete and distorted perspective.
    [Show full text]
  • The Visconti-Sforza Manuscripts Collected by Don Carlo Trivulzio
    The Visconti-Sforza manuscripts collected by Don Carlo Trivulzio Castello Sforzesco Archivio Storico Civico e Biblioteca Trivulziana Sala del Tesoro 20 March ~ 3 May 2015 Guide to the exhibition I manoscritti visconteo sforzeschi di don Carlo Trivulzio Una pagina illustre di collezionismo librario nella Milano del Settecento Milano · Castello Sforzesco Archivio Storico Civico e Biblioteca Trivulziana · Sala del Tesoro 20 marzo ~ 3 maggio 2015 Sindaco Mostra a cura di Giuliano Pisapia Isabella Fiorentini, Marzia Pontone Assessore alla Cultura Testi di Filippo Del Corno Marzia Pontone Direttore Centrale Cultura Redazione e revisione Giuliana Amato Loredana Minenna Direttore Settore Soprintendenza Castello, Manutenzione conservativa Musei Archeologici e Musei Storici Stefano Dalla Via Claudio Salsi Segreteria amministrativa Ufficio Stampa Luca Devecchi Elena Conenna Coordinamento logistico e sicurezza Luigi Spinelli Allestimenti CSC Media Soprintendente Castello Sforzesco Claudio Salsi Traduzioni Promoest Srl – Ufficio Traduzioni Milano Responsabile Servizio Castello Giovanna Mori Fotografie Comunicazione Officina dell’immagine, Luca Postini Maria Grazia Basile Saporetti Immagini d’arte Colomba Agricola Servizio di custodia Corpo di Guardia del Castello Sforzesco Archivio Storico Civico Biblioteca Trivulziana Si ringraziano Rachele Autieri, Lucia Baratti, Piera Briani, Mariella Chiello, Civica Stamperia, Ilaria De Palma, Funzionario Responsabile Benedetta Gallizia di Vergano, Isabella Fiorentini Maria Leonarda Iacovelli, Arlex Mastrototaro,
    [Show full text]
  • Id E a L T O W N Id E a L T O
    CittàCittà didi VigevanoVigevano VV E E R R S S O O EEXX P P O O 22 0 0 1 1 5 5 II D D E E A A L L TT O O W W N N VigevanoVigevano Città di Vigevano V E R S O E X P O 2 0 1 5 Vigevano IDEAL TOWN With patronage of: V E R S O E X P O Vigevano 2 0 1 5 Leonardo da Vinci and the “Ideal Town” [This day 2 February 1494 at the Sforzesca I drew 25 steps of 2/3 of an arm each, 8 arms wide] Leonardo da Vinci’s time in Vigevano is documented by (Leonardo da Vinci - Manuscript H, sheet 65 v.) the town’s significant cultural heritage, origins of which “Adì 2 di febraio 1494 alla Sforzesca ritrassi scalini 25 di 2/3 di braccio l’uno largo braccia 8” can be traced back to the Sforzesca era. (Leonardo da Vinci - Manoscritto H, foglio 65 v.) A figure immediately evoking the happy combination of technology and art, Leonardo worked as an engineer for the Duke, Ludovico Sforza, known as “Il Moro”, for over twenty years. The Castle and Piazza Ducale clearly evoke the great master’s designs for the “Ideal Town”, as does the Sforzesca, with its network of canals, mills and the Colombarone, the first example of a Lombard farm. V E R S O E X P O Vigevano 2 0 1 5 Built between 1492 and 1494 at the wishes of Ludovico il Moro, Piazza Ducale was one of the first models of a Piazza Ducale Renaissance square and is one of the best examples of XV century Lombard architecture.
    [Show full text]
  • And Elbląg of the Renaissance Era
    The Beginnings of Musical Italianità in Gdańsk and Elbląg of the Renaissance Era AGNIESZKA LESZCZYŃSKA University of Warsaw Institute of Musicology The Beginnings of Musical Italianità in Gdańsk and Elbląg of the Renaissance Era Musicology Today • Vol. 10 • 2013 DOI: 10.2478/muso-2014-0001 In the second half of the sixteenth century almost the with the Italian language and culture. A sizeable group of whole of Europe was gradually engulfed by the fashion for settlers from the Apennine Peninsula had lived in Cracow Italian music. The madrigal became the favourite genre, from the beginning of the century, and that community which entered the repertory in different countries both in expanded significantly in 1518, after the arrival in Poland its original version and as contrafactum, intabulation or of Bona Sforza, the newly wedded wife of King Sigismund as the basis for missa parodia1. The madrigal and related I.4 Those brought to Poland by Bona included musicians: genres, such as canzona alla villanesca, also became the Alessandro Pesenti from Verona, who had previously subject of imitations, often composed by musicians who served as organist at the court of Cardinal Ippolito d’Este, had no links to Italy at all. Other genres employed by and who was active at Bona’s Cracovian court during the Italian composers, above all masses and motets, were also years 1521-1550, and Lodovico Pocenin, a cantor from of great interest to musicians throughout the continent. Modena, whose name appears in the records in 15275. It Undoubtedly it was the activity of the numerous is not impossible that Pesenti, as an organist, was in some Italian, mainly Venetian, printing houses which played way and to some degree responsible for the fact that the a decisive role in promoting these works; in terms of two Polish sources of keyboard music created ca 1548 titles produced, they held the leading position in Europe2.
    [Show full text]
  • TIMELINE 1388 Giangaleazzo Visconti's Testament Bequeaths
    TIMELINE YEAR DATE EVENT 1388 Giangaleazzo Visconti’s testament bequeaths Milan to his sons or—if they should all die—to his daughter Valentina 1395 11 May Emperor Wenceslaus creates Duchy of Milan for Giangaleazzo 1396 13 October Emperor Wenceslaus extends Duchy of Milan in second investiture 1447 18 August Ambrosian Republic declared 1450 26 February Francesco I Sforza assumes control of Duchy of Milan 1466 8 March Francesco I Sforza dies; his son Galeazzo Maria becomes duke 1476 26 December Galeazzo Maria Sforza assassinated 1480 7 October Ludovico Sforza assumes nominal control of duchy 1494 September King Charles VIII invades Italy 1495 26 March Maximilian I invests Ludovico Sforza with Duchy of Milan 6 July Battle of Fornovo 1499 2 September Ludovico flees Milan; city and duchy surrender to France 1500 27 January Pro- Sforza insurrection; Ludovico’s restoration 10 April ­Battle of Novara; Ludovico captured; Milan returns to French control 1502 July- August Louis XII visits Lombardy ix x TIMELINE 1505 7 April Haguenau Conference— Maximilian I invests Louis XII with Duchy of Milan 1506 June Genoa revolts against French rule 1507 April- May Louis XII puts down Genoese revolt; visits Milan 1509 14 May ­Battle of Agnadello 14 June Maximilian I re- invests Louis XII with Duchy of Milan 1511 2 November Council of Pisa- Milan against Julius II opens 1512 11 April ­Battle of Ravenna; French rule of Milan begins to crumble 21 April Council of Pisa- Milan declares Julius II deposed; Julius opens Fifth Lateran Council 12 August Massimiliano
    [Show full text]
  • Canada Archives Canada Published Heritage Direction Du Branch Patrimoine De I'edition
    Regulating music for a change: Lessons learned from history using an analytic framework by Catherine Mary Allison, B.A., B. Music A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts School of Journalism and Communication Carleton University Ottawa, Ontario September 2008 © 2008, Catherine M. Allison Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-43443-7 Our file Notre reference ISBN: 978-0-494-43443-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • The Madrigal As Literary Criticism: Veronese Settings of Ariosto's Orlando Furioso
    The Madrigal as Literary Criticism: Veronese Settings of Ariosto's Orlando furioso by Daniel Donnelly McGill University, Montréal Schulich School of Music Dept. of Music Research A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts in Musicology. August, 2008 © 2008 Daniel K. Donnelly A Franco Ciccone Abstract This thesis describes the importance of the amateur academy as a centre for the consumption of both literary and musical works in cinquecento Italy. By occupying a middle space between the public and private spheres, the cultural environment of the academy lends itself particularly well to the practice of analytical “readings” of texts through music. In their musical lezioni of selections from Ariosto's chivalric epic Orlando furioso, Jachet de Berchem, Vincenzo Ruffo, and Jan Nasco show themselves to be concerned with many of the same issues as contemporary literary critics (the explication of imagery and metaphor), but at the same time they also create complex emotional and psychological readings of the subjectivities of the poem's central characters in a manner that lay outside the scope of the writings of Ariosto's contemporary commentators. The association of all three composers and their music with the Accademia Filarmonica di Verona thus suggests that composers indeed had an important rôle to play in academic discussions of literary æsthetics, and that the madrigal can be seen as a form of literary criticism that preserves some aspects of academic discourse that have otherwise been lost. My analysis, in turn, represents a new way to interpret madrigals and draw meaning from them in the context of this discourse.
    [Show full text]
  • Med & Ren Barcelona 2011 Medieval and Renaissance
    MED & REN BARCELONA 2011 MEDIEVAL AND RENAISSANCE INTERNATIONAL MUSIC CONFERENCE BARCELONA 5-8 July 2011 Organitzen: Institució Milà i Fontanals (CSIC/IMF) Medieval and Renaissance International Music Conference Barcelona, 5-8 July 2011 Institut d’Estudis Catalans and Consejo Superior de Investigaciones Científicas (CSIC) [Spanish National Research Council] Institució Milà i Fontanals Organizers: Tess Knighton Emilio Ros-Fábregas Keynote Speakers: David Fallows Leo Treitler Progamme Committee: Maricarmen Gómez Muntané Emma Hornby Tess Knighton Emilio Ros-Fábregas Local Arrangements Committee: Xosé Aviñoa Jordi Ballester Joaquim Garrigosa Tess Knighton Emilio Ros-Fábregas Organizational Assistance: Marcel.la Artis (Institut d’Estudis Catalans) Ascensión Mazuela-Anguita (Institució Milà i Fontanals/CSIC) Students Helpers: Adriana Camprubí Vinyals Núria Morera Canosa Tonatiuh Cortés Mireia Pacareu Alícia Daufí Muñoz Irene Pujol Gonzalo Villegas Curulla Íngrid Pujol Rovira Miquel Fernández Mariona Reixach Nekane García Amezaga Fernanda Rojo Eloy Garsal Antonio Ruiz Sarah Johnson Eleanor Rutherford Emma Llesera Violeta Tello Grau Ascensión Mazuela-Anguita Laura S. Ventura Nieto Medieval and Renaissance International Music Conference Barcelona, 5-8 July 2011 Welcome! We are very pleased to welcome you to the Medieval and Renaissance International Music Conference which for the first time is being held in Spain, in the historic Institut d‘Estudis Catalans (IEC). The Catalan Academy was founded in 1907 by Enric Prat de la Riba with the aim of supporting research in every aspect of the Catalan language and culture and raising its profile in the world at large. The Conference is co-organized with the section of Musicology of the Institució Milà i Fontanals, Spanish National Research Council (CSIC), home to the former “Instituto Español de Musicología” created by Higini Anglès.
    [Show full text]
  • Godard 1 Andrea Alciato and the Politics of the Printed Image: A
    Godard 1 Andrea Alciato and the Politics of the Printed Image: A Study of the Emblemata’s Origins, Evolution, and Abstraction Words signify, things are signified. However, sometimes things too can even signify, like the hieroglyphs in Horapollo and Chaeremon; I too have composed a book of epigrams in this genre; its title is Emblemata.1 Andrea Alciato, a Milanese jurist and erudite Renaissance humanist, wrote this passage in De verborum significatione, his philological interpretation of Roman law that, once published in 1530, further solidified his status as a scholar of international renown.2 Before the publication of this text, Alciato had taught law at universities in Avignon, Milan, and Bourges; he continued teaching until his death in 1550, moving frequently between France and Italy at the request of France’s King Francis I and Francesco Sforza, the Duke of Milan between 1521 and 1535.3 In addition to teaching and writing on law, Alciato also designed the emblem, a complex new literary genre combining word and image that became immensely popular across Europe. The passage cited above has, in recent years, generated much scholarly interest—not among legal historians, but among those who study emblems, or “things” that “signify” –and will provide the focus of my discussion in this paper.4 Even in Alciato’s highly academic work on legal interpretation, he still manages to allude to Greek hieroglyphs, epigrams, and his own collection of text/image forms (and all in only two sentences). Alciato thus clearly intertwined his professional career with his other intellectual pursuits, epitomizing the role of a cultivated Renaissance humanist.
    [Show full text]
  • From Modal to Tonal: the Influence of Monteverdi on Musical Development
    Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2017 yS mposium Apr 12th, 4:00 PM - 4:30 PM From Modal to Tonal: The nflueI nce of Monteverdi on Musical Development Haley J. Perritt Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Composition Commons, Musicology Commons, Music Practice Commons, and the Music Theory Commons Perritt, Haley J., "From Modal to Tonal: The nflueI nce of Monteverdi on Musical Development" (2017). The Research and Scholarship Symposium. 23. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2017/podium_presentations/23 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. From Modal to Tonal: The Influence of Monteverdi in Musical Development Musical transitions: they have been observed from brilliant fugal counterpoint of the Baroque era to the simplicity in homophony of the Classical age, from the emotionless Medieval Gregorian chants to the embodiment of feelings based off of the Doctrine of Affections, and even from through the structured harmonic progressions of the Classical era to the expansion of chords in the Romantic period. This type of musical development is no different in the shift from modality to tonality in the late Renaissance and early Baroque era. This transition revolutionized the theory behind the sounds and structures of music. While both terms imply the organization of pitches within a given piece, modal and tonal are only broad terms which require further explanation in order to evaluate the transition between modality and tonality.
    [Show full text]