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John Walter Hill 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
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