Title page, Dvořák's 9th Symphony, "From the New World"
Note: You may download a PDF of the final schedule for offline viewing here.
Thursday, July 16
8:15-8:30: Introductions and Welcome
8:30-10:00: Concurrent Session 1
1a: Czech Opera
Chair: Therese Ellsworth
Christopher Bowen, “Czech Villages and French Salons: Bedřich Smetana’s The Two Widows, the Rural in Czech Opera, and the Question of Authorship”
Emma Parker, “‘Man-Hungry Amazon’ or ‘Treacherous Trumpeter’?: Fibich’s Šárka as Property of the Nation”
1b: National Identities
Chair: Marie Sumner Lott
Roberta Graziano, “Are the Stars Out Tonight?: Tostée, Offenbach, and the Rise of Opéra Bouffe in 1860s New York”
Douglas Shadle, “Rethinking Dvořák in America”
10:00-11:00: Coffee/Tea and Poster Session I
Beth Abbate, “Mendelssohn’s Scottish Sentiments: A New Look at Music, Meaning, and Contemporary Nationalism in Mendelssohn’s ‘Scottish’
Symphony”
Sara Eckerson, “A.B. Marx and the Musical Idee: A Re-Interrogation of Musical Meaning from the Perspective of Nineteenth-Century Performance”
Erin Fulton, “Experimental Religion and the Vestry Music of The American Vocalist”
Feng-Shu Lee, “Between Illusion and Reality: The Romantic Conception of Shadow in Fine Arts and Music”
Chia-Yi Wu, “Confronting Death: The Power Struggle in Schubert’s Quartet in D Minor, ‘Death and the Maiden’”
11:00-12:30: Concurrent Session 2
2a: Transitions in France
Chair: Paul Bertagnolli
Mark Seto, “Vincent d’Indy, Ethnographer”
Shaena Weitz, “Piano Performance Practice and Improvisation in Early 19th-Century France: The Monochromatic School”
2b: American Topics I: Performance and Marketing
Chair: Sarah Gerk
Elizabeth Morgan, “War on the Home Front: Battle Pieces for the Piano from the American Civil War”
Kristen Meyers Turner, “Selling Art Music: Marketing Uplift and Distinction in Late-Nineteenth-Century America”
12:30-2:30: Lunch Break
2:30-4:00: Concurrent Session 3
3a: Lecture Recital (2:30-3:30)
Chair: Laurie McManus
Mark Kroll, “A Comparison of Ignaz Moscheles’s Variations on a Theme of Handel, op. 29 with Handel’s Harmonious Blacksmith Variations, HMV 430”
3b: Writing on the Bias: Case Studies in American Music Criticism
Chair: Katherine Preston
Jennifer C.H.J. Wilson, “Foreign-language Opera in 1845 New York: Opera glasses, Ear trumpets, and ‘la voix de poitrine.’”
Laura Moore Pruett, “‘Perfectly Truthful’ or ‘A Desecration of the Instrument’?: Critical Reception of Gottschalk’s The Banjo”
4:00-4:15: Coffee and Tea Break
4:15-5:45: Concurrent Session 4
4a: Virtuosity
Chair: Jonathan Kregor
Karen Leistra-Jones, “After the Virtuosenzeit: Partisan Alignments and the Specter of Virtuosity in the Field of Musical
Performance, c. 1848-1870”
Kristen Strandberg, “Napoleonic Narrative and Visual Media in Paganini’s Spectacle for Paris”
4b: Writing on the Bias cont’d
Chair: Katherine Preston
Bethany Goldberg, "The Venom of Mr. Darcie: Negotiating the Manager and Critic Relationship"
Kathryn M. Fenton, "Reginald de Koven’s Reception of Giacomo Puccini’s La fnaciulla del West”
5:45-6:30: Business Meeting (all interested participants invited)
6:30: Dinner Reception
Friday, July 17
8:30-10:00: Concurrent Session 5
5a: Representing German Culture Onstage
Chair: Marie Sumner Lott
Matthew Leone, “Mozart as ‘The Pride of His Fatherland’: The German Polemic of Albert Lortzing’s Szenen aus Mozarts Leben”
Bethany McLemore, “A German Woman in Indian Garb: German Orientalism and Ideal Womanhood in Spohr’s Jessonda”
5b: New Perspectives on Dancing and Singing at the Beginning of the 19th Century
Chair: Laurie McManus
Jennifer Ronyak, “Intimacy, Publicity, and the Lied: Andreas Romberg’s Orchestral Setting of Friedrich Schiller’s
‘Sehnsucht’ in Early Nineteenth-Century Concert Life”
Joseph Fort, “Dancing the Minuet in 1790s Vienna”
10:00-11:00: Coffee/Tea and Poster Session II
Solomon Guhl-Miller, “Zukunftsmusik or La musique de l'avenir: Wagner's Changing View of his Prose Writings in his Marketing for the French”
Spencer Huston, “Offerings At the Altar: The Reception of Beethoven’s Piano Sonatas in Post-Rubinstein/Bülow New York City”
Erinn Knyt, “Ferruccio Busoni, Jean Sibelius, and Janus-Faced Classicism”
Megan Sarno, “Debussy’s Le Martyre de Saint Sébastien”
Jacquelyn Sholes, “Gustav Jenner and the Music of Brahms”
11:00-12:00: Keynote Address, Katherine Preston
12:00-2:00: Lunch break
2:00-3:30: Concurrent Session 6
6a: American Topics I: Minstrelsy
Chair: Douglas Shadle
Sarah Gerk, “The Popularization of Syncopation: Blackface Minstrelsy, 1843”
John Graziano, “The Evolution of the American Minstrel Show in the 1860s and ‘70s”
6b: Compositional Problem-Solving
Chair: Jacquelyn Sholes
Benjamin Korstvedt, “Mahler’s Bruckner”
Heather Platt, "Competing Tonics in Brahms's Vocal Works: An 1858-69 Compositional Problem"
3:30-3:45: Coffee and Tea Break
3:45-6:00: Concurrent Session 7
7a: Reassessing the “Priestess”: Clara Schumann’s Collaborations and Identities
Chair: Karen Leistra-Jones
Alexander Stefaniak, "The 'Priestess' Virtuoso and the Canonic Composer: Staging the Schumann partnership in the Introduction and Allegro
Appassionato
Laurie McManus, "Feminine Space in the Priesthood of Art: Clara Schumann and Amalie Joachim"
Christopher Ruth, "Clara Schumann, Der Rose Pilgerfahrt, and Domestic Collaboration"
7b: French Opera
Chair: William Gibbons
Nicole Vikner, “The Opera and the Omnibus: The Revolutionary Routes of Boieldieu’s La Dame Blanche in Nineteenth-Century Paris”
Helena Spencer, “Bathing Beauties, Female Wasps, and Turkish Odalisques: The Parallel Lives of Meyerbeer’s Chœur de Baigneuses in Parisian Vaudeville”
Jennifer Walker, “Massenet’s Vie de Jean Baptiste?: Hérodiade and Renan’s Life of Christ”
6:00-8:00: Dinner Break
8:00: Concert
Saturday, July 18
8:30-10:00: Concurrent Session 8
8a: American Sheet Music I
Chair: Kristen Meyers Turner
Paul Bertagnolli, “Barbe Bleue, Sheherazade, and a Parade in Broadway: The Previously Uninvestigated Sheet Music Collection of Eddie and Walter
MacDowell”
Tom Mueller, “Jenny Lind Sheet Music in Pre-Lindomania America”
8b: Singing/Singers I
Chair: Kunio Hara
Cindy Kim, “In Defense of a Performer’s Art: Nineteenth-Century Singers’ Discourse on Ornamentation”
Kym White, “Autobiographical Voices: Singers’ Memoirs in fin-de-siècle France”
10:00-10:30: Coffee and Tea Break
Coffee/Tea Break
10:30-12:00: Concurrent Session 9
9a: American sheet music II
Chair: Kristen Meyers Turner
David Blake, “The Sacralized Popular Music of American College Students, 1860-1900”
Bonny Miller, “Wooing Antebellum Boston: The Brownes and the Brahmins”
9b: Singing/singers II
Chair: Kunio Hara
Hilary Poriss, “Pauline Viardot’s Souvenirs”
Kimberly Francis and Sofie Lachapell, “Crisis at the Conservatoire: France’s Opera Singer Problem and Early Laryngology”
12:00-2:00: Lunch Break
2:00-4:15: Concurrent Session 10
10a: Liszt
Chair: Therese Ellsworth
Stephen Armstrong, “Integral Salonmusik: Materiality and Textural Transformation in Liszt’s B-Minor Ballade”
Bettie Jo Basinger, “On Huns and Heroes: Liszt’s Hunnenschlacht and Héroïde funèbre as ‘Musique humanitaire’”
Jonathan Kregor (University of Cincinnati, College-Conservatory of Music), “Gender, Nature, and Religiosity in Liszt’s Musical Landscapes”
10b: Embodying Expectations Onstage
Chair: Hilary Poriss
Roberta Marvin, “Aida in Victorian London”
Megan Varvir Coe, “‘L’Accompagnement étrange et charmant’: The Unique Role of Aleksandr Glazunov’s Introduction et la Danse de Salomée in Ida
Rubinstein’s Productions of Oscar Wilde’s Salomé”
Marie Sumner Lott, “The Troubador and the Crusader: Making Love and War in Three Early Romantic Operas”
4:15-4:30: Coffee and Tea Break
4:30-6:00: Concurrent Session 11
11a: German-Related
Chair: Jennifer Ronyak
Linda Shaver-Gleason, “‘It sounds like Mendelssohn, it must be Sterndale Bennett’: Acknowledging German Influence in English Historiography”
Laura Stokes, “Imagining Historical Prussia through Tableaux vivants”
11b: Boston in Nineteenth-Century Musical Life
Chair: Laura Moore Pruett
Warren Kimball, “Bostonian Influence on the Music of Antebellum New Orleans”
Heather De Savage, “‘The Novelty of the Evening’: Gabriel Fauré’s American Reception, Boston 1892–1904”
6:00: Dinner
Thursday, July 16
8:15-8:30: Introductions and Welcome
8:30-10:00: Concurrent Session 1
1a: Czech Opera
Chair: Therese Ellsworth
Christopher Bowen, “Czech Villages and French Salons: Bedřich Smetana’s The Two Widows, the Rural in Czech Opera, and the Question of Authorship”
Emma Parker, “‘Man-Hungry Amazon’ or ‘Treacherous Trumpeter’?: Fibich’s Šárka as Property of the Nation”
1b: National Identities
Chair: Marie Sumner Lott
Roberta Graziano, “Are the Stars Out Tonight?: Tostée, Offenbach, and the Rise of Opéra Bouffe in 1860s New York”
Douglas Shadle, “Rethinking Dvořák in America”
10:00-11:00: Coffee/Tea and Poster Session I
Beth Abbate, “Mendelssohn’s Scottish Sentiments: A New Look at Music, Meaning, and Contemporary Nationalism in Mendelssohn’s ‘Scottish’
Symphony”
Sara Eckerson, “A.B. Marx and the Musical Idee: A Re-Interrogation of Musical Meaning from the Perspective of Nineteenth-Century Performance”
Erin Fulton, “Experimental Religion and the Vestry Music of The American Vocalist”
Feng-Shu Lee, “Between Illusion and Reality: The Romantic Conception of Shadow in Fine Arts and Music”
Chia-Yi Wu, “Confronting Death: The Power Struggle in Schubert’s Quartet in D Minor, ‘Death and the Maiden’”
11:00-12:30: Concurrent Session 2
2a: Transitions in France
Chair: Paul Bertagnolli
Mark Seto, “Vincent d’Indy, Ethnographer”
Shaena Weitz, “Piano Performance Practice and Improvisation in Early 19th-Century France: The Monochromatic School”
2b: American Topics I: Performance and Marketing
Chair: Sarah Gerk
Elizabeth Morgan, “War on the Home Front: Battle Pieces for the Piano from the American Civil War”
Kristen Meyers Turner, “Selling Art Music: Marketing Uplift and Distinction in Late-Nineteenth-Century America”
12:30-2:30: Lunch Break
2:30-4:00: Concurrent Session 3
3a: Lecture Recital (2:30-3:30)
Chair: Laurie McManus
Mark Kroll, “A Comparison of Ignaz Moscheles’s Variations on a Theme of Handel, op. 29 with Handel’s Harmonious Blacksmith Variations, HMV 430”
3b: Writing on the Bias: Case Studies in American Music Criticism
Chair: Katherine Preston
Jennifer C.H.J. Wilson, “Foreign-language Opera in 1845 New York: Opera glasses, Ear trumpets, and ‘la voix de poitrine.’”
Laura Moore Pruett, “‘Perfectly Truthful’ or ‘A Desecration of the Instrument’?: Critical Reception of Gottschalk’s The Banjo”
4:00-4:15: Coffee and Tea Break
4:15-5:45: Concurrent Session 4
4a: Virtuosity
Chair: Jonathan Kregor
Karen Leistra-Jones, “After the Virtuosenzeit: Partisan Alignments and the Specter of Virtuosity in the Field of Musical
Performance, c. 1848-1870”
Kristen Strandberg, “Napoleonic Narrative and Visual Media in Paganini’s Spectacle for Paris”
4b: Writing on the Bias cont’d
Chair: Katherine Preston
Bethany Goldberg, "The Venom of Mr. Darcie: Negotiating the Manager and Critic Relationship"
Kathryn M. Fenton, "Reginald de Koven’s Reception of Giacomo Puccini’s La fnaciulla del West”
5:45-6:30: Business Meeting (all interested participants invited)
6:30: Dinner Reception
Friday, July 17
8:30-10:00: Concurrent Session 5
5a: Representing German Culture Onstage
Chair: Marie Sumner Lott
Matthew Leone, “Mozart as ‘The Pride of His Fatherland’: The German Polemic of Albert Lortzing’s Szenen aus Mozarts Leben”
Bethany McLemore, “A German Woman in Indian Garb: German Orientalism and Ideal Womanhood in Spohr’s Jessonda”
5b: New Perspectives on Dancing and Singing at the Beginning of the 19th Century
Chair: Laurie McManus
Jennifer Ronyak, “Intimacy, Publicity, and the Lied: Andreas Romberg’s Orchestral Setting of Friedrich Schiller’s
‘Sehnsucht’ in Early Nineteenth-Century Concert Life”
Joseph Fort, “Dancing the Minuet in 1790s Vienna”
10:00-11:00: Coffee/Tea and Poster Session II
Solomon Guhl-Miller, “Zukunftsmusik or La musique de l'avenir: Wagner's Changing View of his Prose Writings in his Marketing for the French”
Spencer Huston, “Offerings At the Altar: The Reception of Beethoven’s Piano Sonatas in Post-Rubinstein/Bülow New York City”
Erinn Knyt, “Ferruccio Busoni, Jean Sibelius, and Janus-Faced Classicism”
Megan Sarno, “Debussy’s Le Martyre de Saint Sébastien”
Jacquelyn Sholes, “Gustav Jenner and the Music of Brahms”
11:00-12:00: Keynote Address, Katherine Preston
12:00-2:00: Lunch break
2:00-3:30: Concurrent Session 6
6a: American Topics I: Minstrelsy
Chair: Douglas Shadle
Sarah Gerk, “The Popularization of Syncopation: Blackface Minstrelsy, 1843”
John Graziano, “The Evolution of the American Minstrel Show in the 1860s and ‘70s”
6b: Compositional Problem-Solving
Chair: Jacquelyn Sholes
Benjamin Korstvedt, “Mahler’s Bruckner”
Heather Platt, "Competing Tonics in Brahms's Vocal Works: An 1858-69 Compositional Problem"
3:30-3:45: Coffee and Tea Break
3:45-6:00: Concurrent Session 7
7a: Reassessing the “Priestess”: Clara Schumann’s Collaborations and Identities
Chair: Karen Leistra-Jones
Alexander Stefaniak, "The 'Priestess' Virtuoso and the Canonic Composer: Staging the Schumann partnership in the Introduction and Allegro
Appassionato
Laurie McManus, "Feminine Space in the Priesthood of Art: Clara Schumann and Amalie Joachim"
Christopher Ruth, "Clara Schumann, Der Rose Pilgerfahrt, and Domestic Collaboration"
7b: French Opera
Chair: William Gibbons
Nicole Vikner, “The Opera and the Omnibus: The Revolutionary Routes of Boieldieu’s La Dame Blanche in Nineteenth-Century Paris”
Helena Spencer, “Bathing Beauties, Female Wasps, and Turkish Odalisques: The Parallel Lives of Meyerbeer’s Chœur de Baigneuses in Parisian Vaudeville”
Jennifer Walker, “Massenet’s Vie de Jean Baptiste?: Hérodiade and Renan’s Life of Christ”
6:00-8:00: Dinner Break
8:00: Concert
Saturday, July 18
8:30-10:00: Concurrent Session 8
8a: American Sheet Music I
Chair: Kristen Meyers Turner
Paul Bertagnolli, “Barbe Bleue, Sheherazade, and a Parade in Broadway: The Previously Uninvestigated Sheet Music Collection of Eddie and Walter
MacDowell”
Tom Mueller, “Jenny Lind Sheet Music in Pre-Lindomania America”
8b: Singing/Singers I
Chair: Kunio Hara
Cindy Kim, “In Defense of a Performer’s Art: Nineteenth-Century Singers’ Discourse on Ornamentation”
Kym White, “Autobiographical Voices: Singers’ Memoirs in fin-de-siècle France”
10:00-10:30: Coffee and Tea Break
Coffee/Tea Break
10:30-12:00: Concurrent Session 9
9a: American sheet music II
Chair: Kristen Meyers Turner
David Blake, “The Sacralized Popular Music of American College Students, 1860-1900”
Bonny Miller, “Wooing Antebellum Boston: The Brownes and the Brahmins”
9b: Singing/singers II
Chair: Kunio Hara
Hilary Poriss, “Pauline Viardot’s Souvenirs”
Kimberly Francis and Sofie Lachapell, “Crisis at the Conservatoire: France’s Opera Singer Problem and Early Laryngology”
12:00-2:00: Lunch Break
2:00-4:15: Concurrent Session 10
10a: Liszt
Chair: Therese Ellsworth
Stephen Armstrong, “Integral Salonmusik: Materiality and Textural Transformation in Liszt’s B-Minor Ballade”
Bettie Jo Basinger, “On Huns and Heroes: Liszt’s Hunnenschlacht and Héroïde funèbre as ‘Musique humanitaire’”
Jonathan Kregor (University of Cincinnati, College-Conservatory of Music), “Gender, Nature, and Religiosity in Liszt’s Musical Landscapes”
10b: Embodying Expectations Onstage
Chair: Hilary Poriss
Roberta Marvin, “Aida in Victorian London”
Megan Varvir Coe, “‘L’Accompagnement étrange et charmant’: The Unique Role of Aleksandr Glazunov’s Introduction et la Danse de Salomée in Ida
Rubinstein’s Productions of Oscar Wilde’s Salomé”
Marie Sumner Lott, “The Troubador and the Crusader: Making Love and War in Three Early Romantic Operas”
4:15-4:30: Coffee and Tea Break
4:30-6:00: Concurrent Session 11
11a: German-Related
Chair: Jennifer Ronyak
Linda Shaver-Gleason, “‘It sounds like Mendelssohn, it must be Sterndale Bennett’: Acknowledging German Influence in English Historiography”
Laura Stokes, “Imagining Historical Prussia through Tableaux vivants”
11b: Boston in Nineteenth-Century Musical Life
Chair: Laura Moore Pruett
Warren Kimball, “Bostonian Influence on the Music of Antebellum New Orleans”
Heather De Savage, “‘The Novelty of the Evening’: Gabriel Fauré’s American Reception, Boston 1892–1904”
6:00: Dinner
