AMS/SMT Columbus 2002 Abstracts Contents 5 STRAVINSKY SKETCHES AND LES NOCES (AMS/SMT) 7 CONTROLLING PASSIONS: WOMEN, MUSIC, AND DESIRE IN EARLY MODERN EUROPE (AMS) 9 NINETEENTH-CENTURY OPERA (AMS) 11 TECHNOLOGY AND EXPRESSION (AMS) 13 MAHLER AND BERG (AMS) 16 STYLE, IDEOLOGY, AND MUSIC OF THE AMERICAS (AMS) 18 RHYTHM, METER, AND CANON (AMS) 20 TOPICS IN NINETEENTH-CENTURY MUSIC (SMT) 22 RACE AND RECEPTION (SMT) 23 INTERTEXTUALITY AND IMPROVISATION IN POPULAR MUSIC (SMT) 25 ROCK, FOLK, AND THE GREAT WHITE WAY: TWENTIETH- CENTURY POPULAR MUSIC FROM A POST-MILLENNIAL PERSPECTIVE 27 MUSIC THEORY IN GERMANY: ORIGINS, CONCEPTIONS, AND INSTITUTIONS 31 PRIMO OTTOCENTO OPERA AND BEYOND (AMS) 33 BEETHOVEN AND FREEDOM (AMS) 35 MUSICAL LANDSCAPES AND ECOLOGIES (AMS) 37 POPULAR SONG AND JAZZ (AMS) 39 SEVENTEENTH-CENTURY TOPICS (AMS) 41 MEDIEVAL TOPICS (AMS) 43 SCHUBERT STUDIES (SMT) 45 TRANSFORMATIONAL THEORY (SMT) 47 THE COGNITION OF LISTENING AND PERFORMANCE AN OHIO PERSPECTIVE 49 WONDROUS VOICES (AMS) 51 POULENC, BRITTEN, AND THE (HOMO)EROTIC (AMS) 53 GLOBAL HYBRIDITIES (AMS) 55 AESTHETICS AND THE LATE NINETEENTH-CENTURY SYM- PHONY 58 THE PRACTICE OF PERFORMANCE (AMS) 60 RENAISSANCE TOPICS (AMS) 62 TWELVE-TONE TOPICS (SMT) 64 ADORNOS UNKNOWN SCHUBERT: FOUR NEW APPROACHES TO MUSICAL SUBSTANCE 66 TEACHING AURAL SKILLS (SMT) 67 DEVELOPMENT AND CLOSURE IN BACH (SMT) 68 THE MUSIC OF NAPLES AND SOUTHERN ITALY, 16001800 68 STEPPING UP THE LADDER: FINDING EMPLOYMENT IN MUSIC THEORY: A PANEL DISCUSSION AMS/SMT Columbus 69 WOMEN IN JAZZ: ROLES AND VOICES 72 THE MUSIC OF MAX REGER (AMS/SMT) 74 MUSIC AND THE SELF IN CINQUECENTO ITALY (AMS) 76 MUSIC AND THE PUBLIC SPHERE (AMS) 78 THE PAST IN THE PRESENT (AMS) 81 VERDI (AMS) 83 MUSIC IN THE MARKETPLACE (AMS) 84 GENDER AND THE TEACHING OF COMPOSITION (AMS) 85 METAPHOR, STRUCTURE, AND EXPRESSIVE MEANING (SMT) 87 MEDIEVAL AND RENAISSANCE STUDIES (SMT) 89 TEACHING TWENTIETH-CENTURY COMPOSITIONAL TECH- NIQUES TO UNDERGRADUATES: A SYMPOSIUM AND DEM- ONSTRATION 91 POSTER SESSION (SMT) 94 IMPROVISATORY SINGING TRADITIONS IN RENAISSANCE ITALY (AMS) 96 BAROQUE VOCAL MUSIC (AMS) 98 MODERNISM AND CINEMA (AMS) 100 BORDERLINES: GENDER, CLASS, AND CULTURE IN ENGLISH MUSIC, 18451945 (AMS) 102 LE NOZZE DI FIGARO (AMS) 104 THE MOVING BODY (AMS) 105 BROADWAY (AMS) 106 TEMPO AND TEXT IN MUSIC SINCE 1945 (SMT) 107 INTELLECTUAL HISTORY (SMT) 109 METATHEORY (SMT) 111 EIGHTEENTH-CENTURY TOPICS (AMS) 113 THE VICTORIAN ERA (AMS) 115 RITUAL, REPRESENTATION, AND THE THIRD REICH (AMS) 117 FRENCH MODERNITY (AMS) 119 NEW DISCOVERIES IN SPANISH AND LATIN AMERICAN LITURGICAL SOURCES (AMS) 122 RENAISSANCE SOURCES (AMS) 123 AESTHETICS, RELIGION, AND GERMAN NATIONALISM (AMS) 124 FORMAL FUNCTIONS (SMT) 126 TWENTIETH-CENTURY HARMONY AND VOICE-LEADING (SMT) 128 CULTURES ELIDING, CULTURES COLLIDING: POSTCOLONIALISM, GLOBALISM, AND THE ANALYSIS OF MUSIC 132 INDEX OF AUTHORS, PANELISTS, AND SESSION CHAIRS Thursday afternoon, October STRAVINSKY SKETCHES AND LES NOCES (AMS/SMT) Gretchen Horlacher, Indiana University, Chair Questions of Metric Conflict in Stravinsky’s Histoire du soldat (1918), Based on a Study of the Musical Sketches Maureen A. Carr Pennsylvania State University All together there are pages of musical sketches for Histoire du soldat in two loca- tions: the Rychenberg Stiftung of the Stadt Bibliothèque Winterthur (SBW) and the Paul Sacher Foundation (PSF) in Basel. The pages range in size from approximately . x . cm. to . x . cm. and are almost evenly distributed between the two locations. Some of these sketches are on separate pieces of paper that are gathered together, or in general- ized sketchbooks or in two small sketchbooks devoted exclusively to the music for Histoire du soldat: one is in Basel, that Stravinsky entitled “Soldat,” and which Stravinsky labelled as a “Croquis;” the other is in Winterthur and is entitled by Stravinsky as “the soldier, the violin and the devil” (“le soldat, le violon et le diable”) in Russian and in French. It is apparent that Stravinsky worked among various sketch sources simultaneously. This presentation will focus on metric differences between the sketches and the nota- tion of the printed edition from four different sections of Histoire du soldat. These examples speak to different aspects of Stravinsky’s compositional practice with regard to meter and rhythm: () layering two meters simultaneously (regardless of notation) as in the “Valse” and the “Danse du diable,” () evidence of Stravinsky’s improvisational approach to the “Tango” and () his earliest rhythmic ideas for “Marche du soldat” in the sketches for Anthony and Cleopatra. Distortion, Subversion, and Expressive Heightening of Text in Stravinsky’s The Rake’s Progress Chandler Carter Hofstra University Richard Taruskin has observed that Stravinsky’s habit of distorting natural declamation in his text settings is not the result of oversight or incompetence, but is an integral part of the composer’s modernist aesthetic stance. Such “wrong” settings subvert the natural flow of language in the same way that Stravinsky subverts the conventional flow of melody, harmony, or rhythm. This paper will demonstrate a method of analyzing Stravinsky’s set- ting of text so as to better understand where and how he subverts natural declamation, and perhaps more importantly, where he does not. In his opera The Rake’s Progress (–), Stravinsky follows the natural sense of the text more closely than in any of his previous vocal works. This can be seen in the way he privileges the narrative function of the text, an approach no doubt influenced by the dramaturgy of eighteenth-century opera. Stravinsky’s new receptivity to the expressiveness of language is also evident in numerous individual settings. Building on a close examination of the sketches for the opera, this paper analyzes AMS/SMT Columbus examples of Stravinsky’s seemingly new attitude to setting words—a task that the com- poser claimed was “calculated to display Wystan Auden’s magnificent English text.” STRAVINSKY, LES NOCES, AND THE PROHIBITION AGAINST EXPRESSIVE TIMING Pieter van den Toorn University of California, Santa Barbara In anticipation of performances of Stravinsky’s Les Noces and the Symphonies of Wind Instruments at the joint AMS-SMT meeting, this paper will address several rhythmic issues with broad aesthetic implications, in particular, the tightly-knit :: tempo ratios in these works and, in performance, the apparent prohibition against expressive timing. (An early version of the first two scenes of Les Noces featured the mechanical piano, the pianola.) The need for exact, metronomic readings of Stravinsky’s music has been noted before, and in connection with the composer’s modernist style, its brittle, mechanical-like features. Rarely, however, has a rationale been sought along lines more specifically musical. In Les Noces, folk-like fragments are repeated relentlessly and literally (ritualistically). They are not var- ied or developed, strictly speaking, but are cut up and displaced metrically. Typically, the effect of this displacement is a disruption of the meter. Conflicting expectations of metrical parallelism are raised, expectations that catch the listener off guard. And if the disruptive effect is to materialize, then the beat must be held firmly and without expressive nuance. More to the point here, however, rhythmic processes of this kind can offer a way out of the doomsday aesthetics of “anti-humanism” (Ansermet, T.W. Adorno) with which the inflexible elements of Stravinsky’s idiom have been identified. The psychology of metrical entrainment and disruption can speak to the vitality of both Les Noces and the Symphonies, the ability of this music to excite in ways unrelated to the familiar socio-political equations. Stravinsky’s Svadebka and the Parisian artistic Land- scape Margarita Mazo The Ohio State University Anyone attempting to understand the reasons for the decade-long gestation and com- positional history of Svadebka is likely to be struck by the seemingly implausible correla- tion between the “subject matter”—a Russian peasant wedding—and the starkness of the work, particularly in the final orchestration with four pianos. Yet, in its ineluctable way, this final product made perfect sense. The issues of Svadebka as “the Turanian pinnacle” (Taruskin) are profound, but there are other factors—simultaneous, complementary, and no less pivotal. In approaching identity as a scattered and heterogeneous phenomenon that is open to the individual’s choice and negotiation, the period of the “Swiss” Svadebka can be seen as a time of new identity- construction for Stravinsky, as a Russian composer living in Switzerland and as an interna- tional figure situated within the Parisian cultural landscape. Stravinsky both shaped and was shaped by that landscape. Numerous artists representing different factions and living in Paris contemporaneously met and shared ideas. Like a sponge, he absorbed whatever artistic ideas came his way and excited his imagination, transforming them into metaphors of the musical compositional process. Using Svadebka’s sketches, this paper examines the early compositional process through the lenses of four concepts prevalent at the time: reality as just a pretext of “pure art;” Abstracts austerity of “the subject” stripped away from the narrative and the descriptive; detachment and the mechanical; and the “pure matter” as the formal means of structuring the whole. CONTROLLING PASSIONS: WOMEN, MUSIC, AND DESIRE IN EARLY MODERN EUROPE (AMS) Louise Litterick,