John Walter Hill
Curriculum Vitae Field: Musicology Born December 7, 1942, Chicago, Illinois
407 W. Pennsylvania Ave. Urbana, IL 61801 217-344-1905 (home) E-mail: [email protected]
EDUCATION: A.B. University of Chicago, 1963 (Easly Blackwell, Howard Brofsky, Howard Mayer Brown, Edward Lowinsky, Leonard B. Meyer, H. Colin Slim) M.A. Harvard University, 1966 Ph.D. Harvard University, 1972 (Leon Kirchner, Nino Pirrotta, Randall Thompson, John M. Ward)
APPOINTMENTS: Professor, University of Illinois, 1984S2008, Professor Emeritus since 2008 Visiting Professor, University of Chicago, 1989 Associate Professor, University of Illinois, 1978S84 Assistant Professor, University of Pennsylvania, 1971S78 Instructor, University of Delaware, 1970-71
Editor-in-Chief, Journal of the American Musicological Society, 1984S86 Editorial Board, Journal of the American Musicological Society, 1989S92 Elected member of the Accademia Filarmonica of Bologna, 1989 Advisory Board, Computing in Musicology, 1993S2008 Editorial Board, Journal for SeventeenthSCentury Music, 1998S2008 Guest Editor of Musical Education of Nanjing Normal University, P.R. China Editorial Board, Monumenta Musica Europea, 2003S
BIOGRAPHICAL ARTICLES ABOUT JOHN WALTER HILL: The New Grove Dictionary of Music and Musicians, 2nd ed. (London: Macmillan, 2001) Die Musik in Geschichte und Gegenwart, 2nd ed. (Kassel: Bärenreiter, 2002)
FELLOWSHIPS AND GRANTS: Fulbright Fellowship, Full Grant, 1968-69 University of Pennsylvania Faculty Research Grant, 1972S73 American Philosophical Society Grant, 1974 American Council of Learned Societies Fellowship, 1976S77 American Council of Learned Societies Summer Grant, 1979 University of Illinois Research Board Travel Grants, 1980, 1982, 1983, 1984, 1986, and 1997 ACTSNUCEA Innovations in Continuing Education Award, 1981 American Council of Learned Societies Travel Grant, 1982 National Endowment for the Humanities Fellowship, 1983S84 (declined) Associate in the Center for Advanced Study, University of Illinois, 1988S89, 1998S99 National Endowment for the Humanities Travel to Collections Grant, 1989 Arnold O. Beckman Research Awards, University of Illinois, 1991, 1992, 1997 National Endowment for the Humanities Fellowship, 1993S94 2
MUCIA International Program Development Travel Grant, 1998 Outstanding Faculty Award, University of Illinois, College of Fine and Applied Arts, 2001
PUBLICATIONS:
Books The Life and Works of Francesco Maria Veracini (Ann Arbor: UMI Research Press, 1979). Vivaldi's Ottone in villa: A Study in Musical Drama, Drammaturgia musicale veneta, 1 (Venice: Fondazione Giorgio Cini, 1983). Roman Monody, Cantata, and Opera from the Circles around Cardinal Montalto, 2 vols. (Oxford: Oxford University Press, 1997). Baroque Music: Music in Western Europe, 1580S1750, The Norton Introduction to Music History (New York: W. W. Norton, 2005). Joseph Riepel’s Theory of Metric and Tonal Order, Phrase and Form: A Translation of His Anfansgründe zur musicalischen Setzkunst, Chapters 1 and 2 (1752/54, 1755) with Commentary, Harmonologia: Studies in Music Theory, 20 (Hillsdale, NY: Pendragon Press, 2014).
Editions with Commentary Muzio Clementi, One Symphony: Them. Index WO 33, ed. John Walter Hill, The Symphony, 1720-1840, Series E, Vol. V (New York: Garland, 1984), ”Introduction: Muzio Clementi as Symphonist,” pp. xvii-xxxiv. Anthology of Baroque Music (New York: W. W. Norton, 2005).
Book Edited Studies in Musicology in Honor of Otto E. Albrecht (Kassel, 1980).
Articles in Journals and Reports “Veracini in Italy,” Music and Letters, LVI (1975), 257-76. “Le relazioni di Antonio Cesti con la corte e i teatri di Firenze,” Rivista italiana di musicologia, XI (1976), 27-47. “Vivaldi's Griselda,” Journal of the American Musicological Society, XXXI (1978), 53-82; reprinted in Opera I: Up to Mozart, The Garland Library of the History of Western Music, 11, ed. Ellen Rosand (New York: Garland, 1985), pp. 195S224. “Oratory Music in Florence, I: Recitar Cantando, 1583-1655,” Acta Musicologica, LI (1979), 108-36; reprinted in Baroque Music I: Seventeenth Century, The Garland Library of the History of Western Music, 5, ed. Ellen Rosand (New York: Garland, 1985), pp. 86S114; translated by Claudio Annibaldi under the title “Nuove musiche 'ad usum infantis': le adenanze della Compagnia dell'Arcangelo Farraello fra Cinque e Seicento,” in La musica e il mondo: Mecenatismo e committenza musicale in Italia tra Quattro e Settecento, ed. Claudio Annibaldi (Bologna: Mulino, 1993), pp. 113S137. “Oratory Music in Florence, II: At San Firenze in the Seventeenth and Eighteenth Centuries,” Acta Musicologica, LI (1979), 246-67. “The Anti-Galant Attitude of F. M. Veracini,” Studies in Musicology in Honor of Otto E. Albrecht, ed. John Walter Hill (Kassel: Bärenreiter, 1980), pp. 158-96. “Realized Continuo Accompaniments from Florence, c 1600,” Early Music, XI (1983), 194-208. “Vivaldi's Orlando furioso: Sources and Contributing Factors,” Opera and Vivaldi, ed. Michael Collins and Elise K. Kirk (Austin: University of Texas Press, 1984), pp. 327-46. 3
“Florentine Intermedi Sacri e Morali, 1549-1622,” Actes du XIIIe Congrès de la Société Internationale de Musicologie: La Musique et le rite sacré et profane, II, Communications libres, ed. Marc Honegger and Paul Prevost (Strasbourg, 1986), 265S301. “Oratory Music in Florence, III: The Confraternities from 1655 to 1785,” Acta Musicologica, LVIII (1986), 127-177. “Computerized Text Analysis and Database Management as Techniques in Musicological Advanced Study,” Proceedings of the 1986 IBM Academic Information Systems University AEP Conference, ed. Frederick D. Dwyer, II (Mildford, Conn., 1986), 45. “Frescobaldi's Arie and the Musical Circle around Cardinal Montalto,” Frescobaldi Studies, ed. Alexander Silbiger (Durham, 1987), pp. 157S194; also in Italian as ”Le Arie di Frescobaldi e la cerchia musicale del cardinal Montalto,” in Girolamo Frescobaldi nel IV centenario della nascita, ed. Sergio Durante and Dinko Fabris, Quaderni della Rivista italiana di musicologia, 10 (Florence, 1986), pp. 215S32. “A Computer-Based Analytical Concordance of Vivaldi's Aria Texts: First Findings and Puzzling New Questions about Self-Borrowing,” Nuovi studi vivaldiani: Atti del Convegno Vivaldi 1987 (Florence: Olschki, 1988), pp. 511S534. “Handel's Retexting as a Test of His Conception of Music and Text Relationship,” Göttinger Beiträge zur Musikwissenschaft, III, Gedenkschrift für Jens Peter Larsen (1902S1988) (1989) 284S292. “Two Relational Databases for Finding Text Paraphrases in Musicological Research,” Computers and the Humanities, XXIII (1989), 105S111, coauthored with Tom Ward. “O che nuovo miracolo!: A New Hypothesis about the Aria di Fiorenza,” In cantu et in sermone: For Nino Pirrotta on His 80th Birthday, ed. Fabrizio Della Seta and Franco Piperno, Italian Medieval and Renaissance Studies, 2 (Florence: Leo S. Olschki, 1989), pp. 283S322. “Databases and the Practice of Musicology,” Atti del XIV Congresso della Società Internazionale di Musicologia: Trasmissione e recezione delle forme di cultura musicale, II, Study Sessions (Turin: EDT, 1990), pp. 40S41. “Guarini's Last Stage Work,” Atti del XIV Congresso della Società Internazionale di Musicologia: Trasmissione e recezione delle forme di cultura musicale, III, Free Papers (Turin: EDT, 1990), pp. 131S154. “Antonio Veracini in Context: New Perspectives from Documents, Analysis, and Style,” Early Music, XVIII (1990), 545S562. “Pellegrino Mutij e la nascente monodia in Polonia,” Quadrivium, n. ser. I (1990), 7S18. “Florence: Musical Spectacle and Drama, 1570S1650,” The Early Baroque Era from the Late 16th Century to the 1660s, ed. Curtis Price, Music and Society, ed. Stanley Sadie (New York: Prentice Hall, 1993), pp. 121S145. Translated into Japanese as “The Logic of Phrase Structure in Joseph Riepel's Anfangsgründe zur musikalischen Setzkunst, Part 2 (1755),” Festa Musicologica: Festschrift for George J. Buelow, ed. Thomas J. Mathiesen and Benito V. Rivera (Stuyvesant, NY: Pendragon Press, 1994), 467-487. “Training a Singer for Musica Recitativa in Early SeventeenthSCentury Italy: The Case of Baldassare,” Musicologia Humana: Studies in Honor of Warren and Ursula Kirkendale, ed. Siegfried Gmeinwieser, David Hiley, and Jörg Riedlbauer, Historiae musicae cultores, Biblioteca 74 (Florence: Leo S. Olschki, 1994), pp. 345S357. “The Emergence of Violin Playing into the Sphere of Art Music in Italy: Compagnie di Suonatori in Brescia during the Sixteenth Century,” Musica Franca: Essays in Honor of Frank D'Accone, ed. Irene Alm, Alyson McLamore, and Colleen Reardon (Stuyvesant, NY: Pendragon Press, 1996), pp. 333-366. “Francesco Maria Veracini’s Adriano in Siria (1735),” Antiquae musicae italicae studiosi: 4
Bollettino dell’Associazione, 35S36 (1998), 2S23. “The Musical Chapel of the Florence Cathedral in the Second Half of the Seventeenth Century: Vitali, Comparini, Sapiti, Cerri,” Atti del VII Centenario del Duomo di Firenze, III, «Cantate Domino»: Musica nei secoli per il Duomo di Firenze, ed Piero Gargiulo, Gabriele Giacomelli, and Carolyn Gianturco (Florence: Edifir, 2001), pp. 175S194. “The Analysis of Baroque Opera,” Journal of the Central Conservatory of Music, 87/2 (2002), 48S57, published in Chinese translation as “Cognate Music Theory,” Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century, ed. Andreas Giger and Thomas J. Mathiesen, Publications of the Center for the History of Music Theory and Literature, 3 (Lincoln, NE: University of Nebraska Press, 2002), pp. 117S141. “L’accompagnamento rasgueado di chitarra: un possibile modello per il basso continuo dello stile recitativo?” Rime e suoni alla spagnola, ed. Giulia Veneziano (Florence, Alinea, 2003), pp. 35S57. “Beyond Isomorphism toward a Better Theory of Recitative,” In Armonia Favellare, Report of the International Conference on Early Opera and Monody to Commemorate the 400th Anniversary of the Italian Music Dramas of 1600, special issue of The Journal of SeventeenthSCentury Music, Vol IX, no. 1 (2003)
“La monodia in Toscana: nuovi appunti sui manoscritti,” La monodia in Toscana alle soglie del XVII secolo: Atti del Convegno di Studi, Pisa, 17S18 dicembre 2004, ed Francesca MenchelliSButtini (Pisa: Edizioni ETS, 2007), 43S80 “Joseph Riepel’s Music Theory in Connection with the Music of Pisendel and His Students,” Johann Georg Pisendel–Studien zur Leben und Werk: Bericht über das Internationale Symposium vom 23. bis 25. Mai 2005 in Dresden, ed. Ortrun Landmann, Hans-Günter Ottenberg, and Wolfgang Mende, Dresdner Beiträge zur Musikforschung, 3 (Hildeshiem: Georg Olms Verlag, 2010), 189-213. “Thematic Transformation, Folksong and Nostalgia in Brahms’s Horn Trio Op. 40,” The Musical Times, 152 (2011), 20-24. “A Small Selection from among the Many Things that I Still Do Not Know about Baroque Music,” Journal of Music History Pedagogy, 1 (2011), 113-133. http://www.ams-net.org/ojs/index.php/jmhp/ “Traveling Players and Venetian Opera: Further Parallels between Commedia dell’arte and Dramma per musica,” Passaggio in Italia: Music on the Grand Tour in the Seventeenth Century, ed. Dinko Fabris and Margaret Murata (Turnhout: Brepols, 2015), 131–148. “Francesca Caccini and Jacopo Peri: New Ascriptions,” Firenze e la musica: Fonti, protagonisti, 5
committenza, scritti in ricordo di Maria Adelaide Bartoli Bacherini, ed. Cecilia Bacherini, Giacomo Scimmeri, and Agostino Ziino (Rome: Istituto Italiano per la Storia della Musica, 2015), 189–212.
Book Reviews
Remo Giazotto, Antonio Vivaldi, in Music Library Association Notes, XXXI (1975), 75S77. Muzio Clementi, Opere sinfoniche complete, ed. Pietro Spada, in Journal of the American Musicological Society, XXXII (1979), 577-86. Anne Schnoebelen, Padre Martini's Collection of Letters in the Civico Museo Bibliografico Musicale in Bologna, in Music Library Association Notes, XXXVI (1980), 893-94. Patrizia Radichi, Giovanni Lorenzo Cattani, in Music and Letters, LXIII (1982), 303. Albert Dunning, Pietro Antonio Locatelli: Der Virtuose und seine Welt, in Journal of Musicology, I (1982), 471-74. Leonard G. Ratner, Classic Music, in Eighteenth-Century Studies, IX (1983), 78-82. Nino Pirrotta, Music and Theatre from Poliziano to Monteverdi, in Journal of the American Musicological Society, XXXVI (1983), 519-26. James Haar, Essays on Italian Poetry and Music in the Renaissance, 1350S1600 in Music Library Association Notes (1988). Gary Tomlinson, Monteverdi and the End of the Renaissance, in Journal of the Royal Music Association (1989). Michael Talbot, Antonio Vivaldi: A Guide to Research in Music & Letters, LXX (1989), 256. Tharald Borgir, The Performance of Basso Continuo in Italian Baroque Music in Performance Practice Review, II (1989), 93S99. Carolyn Gianturco, gen. ed., The Italian Cantata in the Seventeenth Century in Music & Letters, LXXII (1991), 73S74. Tim Carter, Jacopo Peri, 1561S1633: His Life and Works in Music & Letters, LXXIII (1992), 152S153. Carolyn Gianturco and Eleanor McCrickard, Alessandro Stradella (1639S1682): A Thematic Catalogue of His Compositions and Eleanor SelfridgeSField, The Works of Benedetto & Alessandro Marcello: A Thematic Catalogue with Commentary on the Composers, Repertory and Sources in Music & Letters, LXXIII (1992), 441S42. Frits Noske, Saints and Sinners: The Latin Musical Dialogue in the Seventeenth Century in Music & Letters, LXXV (1994), 265S67. Enrico Careri, Francesco Geminiani (1687S1762) in Music Library Association Notes, LI (1995), 1325S26. Warren Kirkendale, The Court Musicians in Florence during the Principate of the Medici in Journal of the American Musicological Society, XLVIII (1995), 106S115. Erik S. Ryding, In Harmony Framed: Musical Humanism, Thomas Campion, and the Two Daniels in Renaissance Quarterly, XLVIII (1995), 200S202. Albert Dunning, ed., Intorno a Locatelli: Studi in occasione del tricentenario della nascita di Pietro Antonio Locatelli (1695S1764), Speculum Musicae, I, 1 (Lucca, 1995) in MLA Notes (1997), 796S97. Barbara Strozzi, Cantate, ariete a una, due, e tre voci, opus 3, ed. Gail Archer, Recent Researches in the Music of the Baroque Era, 83 (Madison: ASR Editions, 1997) in Journal of the Society for SeventeenthSCentury Music (1998). Warren Kirkendale, The Court Musicians in Florence during the Principate of the Medici (Florence: Olschki, 1993), with Kelley Harness, in Journal of the American Musicological Society, XLVIII 6
(1995), 106S115.
Dictionary and Encyclopedia Articles
Sixteen articles in the New Grove Dictionary of Music and Musicians, 6th ed., including “Florence, 1600-1800” (London: MacMillan, 1980). ”Florenz, 1500S1800” in Die Musik in Geschichte und Gegenwart, 2nd ed. (Kassel: Bärenreiter, 1997). ThirtySone articles in the New Grove Dictionary of Music and Musicians, 7th ed., including “Florence, 1400S1800" (London: Macmillan, 2001). “Opera" and "Intermedi” in The Encyclopedia of the Renaissance (New York: Scribner, 1999). “Recitative,” in Oxford Bibliographies in Music, ed. Bruce Gustafson (New York: Oxford University Press, 2013).
Forthcoming
“Two Reflections of SixteenthSCentury Italian Solo Singing in Luca Marenzio’s Villanelle,” Luca Marenzio e il madrigale romano (Florence: Olschki, forthcoming).
TEACHING:
Graduate Seminars “Early Opera and Monody” “The Keyboard Concerto before Mozart” “The Symphony in the Time of Beethoven” “Arcadian Opera Seria” “Italian Contrafacta from the Renaissance to the Eighteenth Century” “Mode and Harmony in SixteenthS and SeventeenthSCentury Music and Theory” “Compositional Theory of the Later Eighteenth Century” “The Analytical Techniques of Schenker, Meyer, and LaRue” “The Operas of Mozart” “PostSBaroque Musical Styles” “The Harmonic Practice of Arcangelo Corelli” “EighteenthSCentury Opera Buffa” “The Classical Style”
Graduate Courses The Music of Mozart The Music of Bach Seventeenth-Century Instrumental Music Italian Opera of the Eighteenth and Nineteenth Centuries Introduction to Musicology Problems and Methods Performance Practice in Baroque Music History of Music Theory in the Baroque Era History of Music Theory in the Classical Era
For Music Majors 7
Seventeenth-Century Music Eighteenth-Century Music NineteenthSCentury Music History of Western Music from Chant to the Avant-Garde Introduction to Music Literature Survey of Opera History
For Non-Majors Music History The Symphony Music Appreciation Introduction to Opera
Students' Publications Resulting from Dissertations, Theses, and Seminar Papers
Andrew Kearns, “Clarino Horn, Hand Horn, and Virtuosity in the LateSEighteenth Century Horn Concerto,” The Horn Call Annual 1991 (1991), 2S30. Daniel E. Freeman, “'Orlando furioso' in the Bohemian Lands: Was Vivaldi's Music Really Used?'” Informazioni e studi vivaldiani, XIV (1993), 51S74. Daniel E. Freeman, “An EighteenthSCentury Singer's Commission of 'Baggage' Arias,” Early Music (in press). Daniel E. Freeman, “Newly Found Roots of the Don Juan Tradition in Opera: Antonio Denzio and Antonio Caldara's 'La pravità castigata,'” Studi musicali (in press). Daniel E. Freeman, “The Earliest Italian Keyboard Concertos,” Journal of Musicology, IV (1985-86), 121-145. Daniel E. Freeman, ed., Giovanni Benedetto Platti, Two Keyboard Concertos, Recent Researches in the Music of the Classical Era, 37 (Madison: ASR Editions, 1991). Daniel E. Freeman, The Opera Theater of Count Franz Anton von Sporck in Prague, Studies in the Music of Czechoslovakia, 2 (Stuyvesant, N.Y.: Pendragon Press, 1992). Jeffrey Langford, “The `Dramatic Symphonies' of Berlioz as an Outgrowth of the French Operatic Tradition,” The Musical Quarterly, LXIX (1983), 85-103. Lucinda Heck Sloan, The Influence of Rhetoric on JeanSPhilippe Rameau's Solo Vocal Cantatas and Treatise of 1722 (New York: Peter Lang, 1990). Joan Whittemore, “The Revision Repertoire of the Ospedali Veneziani,” Choral Journal (March 1994), 9S13. Joan Whittemore, Music of the Venetian Ospedali: A Thematic Catalogue (New York: Pendragon Press, 1995). Melvin P. Unger, The German Choral Church Compositions of Johann David Heinichen (1683S1729), American University Studies, Series XX, Vol. 14 (New York: Peter Lang, 1990). Michael R. Sitton, “Mozart's Cadenzas and Improvisations in the Light of EighteenthSCentury Sources,” The Piano Quarterly, CXXXVIII (1987), 40S44. Stephen Willier, “Rhythmic Variants in Early Manuscript Versions of Caccini's Monodies,” Journal of the American Musicological Society, XXXVI (1983), 481-497. Mei Zhong, “Problems of Tempo in Puccini’s Arias,” College Music Symposium, 40 (2000), 140S50. Mei Zhong, Tempo in the Soprano Arias of Puccini’s La Bohème, Tosca, and Madama Butterfly, Studies in the History and Interpretation of Music, 87 (Lewiston: Mellen, 2002)
Major Grants and Fellowships Obtained by Dissertation Advisees 8
Daniel Freeman, IREX Fellowship, 1985-86 (Prague) Michael Vaillencourt, Fulbright Fellowship, 1986-87 (Vienna) Joan Wittemore, Delmas Foundation Grant, 1986 (Venice) Sally Terris, Deutsche Akademische Austausch Dienst Fellowship, 1987 (Munich) Andrew Kearns, Deutsche Akademische Austausch Dienst Fellowship, 1987S88 (Munich) Kelley Harness, Fulbright Fellowship, 1991S92 (Florence) Renée Clark, Ralph Vaughan Williams Fellowship, 1996 (London) Renée Clark, Rotary Club Fellowship, 1998S99 (London) Kenneth Smith, Chateaubriand Fellowship, 2002S03 (Paris) Kydalla Young, Fulbright Fellowship, 2005S2006 (Lima)