AMS ASHGATENew Music Titles from Ashgate Publishing… American A Song for Europe Living Electronic Music Popular Music and Politics Simon Emmerson, De Montfort in the Eurovision Song Contest University, Leicester, UK Edited by Ivan Raykoff, The New School “…a superb exploration of how we perceive and understand today’s Musicological and Robert Deam Tobin, Whitman College ASHGATE POPULAR AND FOLK MUSIC SERIES technology-based music.” July 2007. 216 pages. Pbk. 978-0-7546-5879-5 —Joel Chadabe, State University of New York, Albany July 2007. 214 pages. Pbk. 978-0-7546-5548-0 Gender in the Music Industry Program & Abstracts Society Rock, Discourse and Girl Power Marion Leonard, University of Liverpool, UK The Memetics of Music ASHGATE POPULAR AND FOLK MUSIC SERIES A Neo-Darwinian View of Musical Aug 2007. 252 pages. Pbk. 978-0-7546-3862-9 Structure and Culture Steven Jan, University of Huddersfield, UK Quebec City 2007 Sept 2007. 294 pages. 978-0-7546-5594-7 Music in Medieval Europe 1−4 November Studies in Honour of Bryan Gillingham Edited by Terence Bailey, Kate Bush and University of Western Ontario, and Hounds of Love Abstracts Alma Santosuosso, Wilfrid Laurier University Ron Moy, Liverpool John Moores “…a seminal addition to the literature on University, UK medieval music…Highly recommended.” ASHGATE POPULAR AND FOLK MUSIC SERIES —Choice “…a fascinating account of this artist’s Jan 2007. 456 pages. 978-0-7546-5239-7 achievements…will undoubtedly be of use to a wide range of scholars within the field of popular music studies.” The Music of The Other —Stan Hawkins, University of Oslo, Norway New Challenges for Sept 2007. 158 pages. Pbk. 978-0-7546-5798-9 Ethnomusicology in a Global Age Laurent Aubert, Ateliers d’Ethnomusicologie and Museum of Ethnography, Switzerland The Musician’s Body Translated by Carla Ribeiro, A Maintenance Manual University of Sheffield, UK for Peak Performance April 2007. 108 pages. Pbk. 978-0-7546-5343-1 Jaume Rosset i Llobet, Centre for the Physiology of the Arts, Spain and George Odam, Guildhall School Olivier Messiaen: of Music and Drama, UK Oiseaux exotiques “Musicians and music students of all ages Peter Hill and Nigel Simeone, will find in this book a mine of information both at University of Sheffield, UK about how to get in shape and stay in shape.” LANDMARKS IN MUSIC SINCE 1950 —Barry Ife, Guildhall School “This beautifully written book is an original of Music and Drama, UK and fascinating exploration of the surprising June 2007. 128 pages. Pbk. 978-0-7546-6210-5 alliance of music and nature by one of Quebec City 2007 the twentieth century’s most underrated composers.” The Monthly Mask of Vocal —Andrew Shenton, Boston University, Music 1702—1711 author of Olivier Messiaen’s System of Signs A Facsimile Edition July 2007. 140 pages. 978-0-7546-5630-2 Edited by Olive Baldwin and Thelma Wilson June 2007. 496 pages. 978-0-7546-5793-4 2007 MARKS THE 40TH ANNIVERSARY OF ASHGATE PUBLISHING For the past 40 years Ashgate has been a leading independent publisher proudly committed to providing the library market with the finest academic scholarship. We looking foward to serving the academic community for many years to come. www.ashgate.com Come visit our booth in the book exhibit! Contents Thursday afternoon, 1 November 26 Bodies 28 Collecting French Polyphony 31 Hip Hop: Identity, Geography and Voice 35 International Conversations 39 Nineteenth-Century Italian Opera 41 Retrospection 43 Seventeenth-Century Italian Opera 45 Transmission of Chant Repertories Thursday evening, 1 November 49 Hispanic Interest Group: Tradition and Liturgy in Mexican Sacred Music 50 Virtual Acoustics and the Recording of Joseph Haydn’s Keyboard Music 51 Wagner and Cinema Friday morning, 2 November 52 American Avant-Garde 54 Church and Stage Music in the Eighteenth Century 57 Composers and the Painterly Eye 59 Music and Italian Poetry 63 Music and Theology 66 Music and the Textual Condition: Editorial Theory and Practice in the Twenty-First Century 69 Re-imagining the Pastoral: Discourses of Loss and Remembrance in Early Twentieth-Century English Music Friday afternoon, 2 November 74 Time Suspended: Desirable Obscurity in Unmeasured Prelude Representation 75 The Americas: North and South 77 The Art of Dying 79 Female Patrons 81 It’s a Man’s World 83 Musicology and Its Institutions 85 Nineteenth-Century German Musical Culture 89 Respecting Authority 92 Twentieth-Century Politics Friday evening, 2 November 96 Critical Domains: Music Journalism, Reception Studies and the Public, 1800-1920 97 Music and Politics in the Early Cold War: Recent Approaches, Future Directions Saturday morning, 3 November 98 Analyzing Jazz 101 Chanson Moderne 103 Medieval Compositional Process 106 Music and the Everyday 110 Music in Film 113 Music of Devotion 116 Stravinsky Saturday afternoon, 3 November 119 From Scherzo to Son: Piano Music by Cuban Women Composers, c. 1870 to the present 120 The American Musical 122 Gesture and Pantomime 124 Interwar 128 The Musical World of Jean Molinet, Burgundian Chronicler and Poet 131 Nineteenth-Century Exotic 133 Performers and Performance 135 Playing with Signs 138 Seventeenth-Century French Music Saturday evening, 3 November 143 Early French Musical Modernism: Its Sources and Idioms 144 Musicology and Nation: A Canadian Perspective Sunday morning, 4 November 145 Anonymous Editors 146 Copland and Schoenberg 150 Fifteenth-Century Italian Theory 151 Mahler 155 Making Meaning in French Baroque Opera 158 Posing the Question: Queer Performances and Popular Culture 160 Post-War Britain 163 Rock and Country Underground 166 Index of Participants Thursday afternoon, 1 November BODIES Maureen Carr, Pennsylvania State University, Chair STRAVINSKY’S EXQUISITE CORPSES Tamara Levitz Graduate Center, CUNY Stravinsky liked to think of his music as an “object.” He notoriously labeled it this way in his article “Some Ideas about my Octuor [],” in which he defined musical objects as possess- ing weight, occupying a place in space, and “based on objective elements which are sufficient in themselves.” Stravinsky’s notions of musical objectivity permeate his ghostwritten Poetics of Music () as well. Ever since, they have haunted musicologists invested in understanding the aesthetic underpinnings of his elusive s neoclassicism. In this paper, I examine how Stravinsky constructed his music as a sculptural object in order to memorialize the dead in his melodrama, Perséphone. I am interested in particular in how he etched into musical stone (so to speak) Persephone’s death in Act II (“Perséphone aux enfers,” rehearsal numbers –) and rebirth in Act III (“Perséphone renaissante,” rehearsal numbers –). Gretchen Horlacher and other music theorists have repeatedly singled out the former moment for its unique strata of ostinati and static temporal effect. I explore how this musical construction relates to Russian dancer Ida Rubinstein’s performance of the deceased Persephone in Kurt Jooss’s choreography at the premiere of Perséphone in April . I interpret Rubinstein’s sleek, pale body in this scene in light of its contemporaneous repre- sentation as a living corpse in the paintings of her one-time lover Romaine Brooks. Draped in “colonial modern” fashions and surrounded by luxurious props, Rubinstein’s “corpse” trans- formed on stage into a dislocated consumer product, becoming the epitome of a Benjaminian “ruin” or a surreal document. My interpretation of Rubinstein’s body allows me to understand how Stravinsky’s music functions as well at this moment as a “musical corpse,” defending against bereavement like the female body as face in Magritte’s Le viol. Yet Stravinsky adopts a different strategy for Persephone’s rebirth in Act III. Here, he molds Persephone into the musical equivalent of a Hellenist statue, basing his musical vision on the model of the “Enthroned Goddess” unveiled at the Pergamon museum in Berlin in . He understands such archaic statues not in Winckelmann’s classicist sense of “noble simplicity,” but rather according to a Nietzschean vitalist tradition that imbues them with energy and movement. The deceased no longer appear as empty ruins or corpses, but rather haunt the liv- ing present through their survival in the perfected, constructed forms of art. My title appeals on purpose to the surrealist game of “exquisite corpse,” which consists of writing down a word, or drawing a body part, and then passing it to the person next to you to contribute, continuing the game until a randomly generated communal poem or image emerg- es. At the end of Perséphone, Stravinsky brings together his two contrasting interpretations of musical objects as testaments to the dead, evoking the violated corporeality of the surrealist corpse. I end by suggesting how Stravinsky’s method reflects both his complicity with the sur- realists, and the cultures of mourning associated with capitalist trends towards collecting and fetishizing objects in s Europe. Abstracts Thursday afternoon GARBO SINGS Scott D. Paulin Dartmouth College “Garbo Talks,” proclaimed the advertisements for Anna Christie (), the much-antici- pated vehicle for Greta Garbo’s transition into talking pictures; for Ninotchka (), her first comedic venture, the tag-line was “Garbo Laughs.” Had she ever made a musical before her early retirement, MGM surely would have also announced that “Garbo Sings.” Yet Garbo did sing in the movies—in silent movies—and opera is what she sang. In her first Hollywood film, The Torrent (), Garbo is introduced as a Spanish village girl, Leonora, struggling to put her singing master’s lessons (“I tell you to sing from the diaphragm and you—you sing from the tonsils!”) into practice. Leonora ultimately rises to the rank of operatic diva, and within a year of this film’s release, Garbo’s own standing as a star had risen comparably. Along with fame came mystique, and by the time Garbo made The Mysterious Lady (), her unheard voice had become an object of seemingly unattainable desire, especially since Garbo would continue exclusively to make silents well into the transitional period.