MEETING ARCHIVE

UNDER CONSTRUCTION

Click on links to access abstracts for the meeting (when available)
  • Winter 2019 (23 February – Wellesley College)
    • Doran, Molly. “Refashioning Ophélie: Emma Calvé’s Nouvelle Création in fin-de-siècle Paris.”
    • Fontijn, Claire. “Weeping as Singing in Strozzi’s Laments.”
    • Riedler, Pallas. “Freedom, Difference, and the Promise of the Ocean: Maritime ‘Otherness’ in The Music of the Waters.”
    • Schwindt, Joel. ” ‘Me at last, Me at last!’ Black Artists Freeing Themselves from Country Music’s ‘White Avatar’.”
    • Spahn, Madison. “The power of the femme fragile: How Lili Boulanger gave feminine voice to Debussy’s sound world in a culture that silenced women.”
    • Tobias, Lili. ” ‘All my heart, in this my singing’: Amy Beach and the Women’s Clubs of New England.”
    • Warner, Neal. “Race and Anti-Patriotism in Bernstein’s 1600 Pennsylvania Avenue.”
    • Zhang, Jingyi. “Fred Ho’s The Warrior Sisters (1998): A Performance of ‘Transformative Interracialism'”
  • Winter 2018 (24 February – Boston College)
    • Boczkowska, Ewelina. “A Chopin Film and Uneasy Reconciliations Under Socialist Realism in Poland.”
    • Goetjen, Michael. “Through the Fire of Imagination: The Keyboard Sketch as Mediator Between Improvisation and Composition.”
    • Gregg, Justin. “Sounds of Silence: Shostakovich’s Eleventh Symphony.”
    • MacCarthy, Evan. “Padre Martini, Ugolino, and Late Medieval Music Theory in the Eighteenth Century.”
    • Roule, Natasha. “Armide, Lyon, and Networks of Opera in 18th-Century France.”
    • Safran, Benjamin. “Hannibal Lokumbe’s One Land, One River, One People as Political Resistance.”
    • Sullivan, Martha. “Marino and Monteverdi’s Meraviglia: How the Sense of Touch Shaped the Book 7 Madrigals.”
  • Winter 2017 (4 February – Brandeis University)
  • Fall 2016 (1 October – Smith College)
    • Chang, Lidia. ” ‘ I hope someone cares for these minutiae’: Women, “Smallness,” and the Marginalization of English Music in the Long Nineteenth Century”
    • Cuthbert, Michael Scott. “New Concordances, Quotations, and Citations in Fourteenth-Century Music”
    • Elder, Eric. ” ‘Surface and Depth’: Beneath the Reception of Rudolph Reti’s Thematic Process, A Mid-Century Interdisciplinary Theory of Music”
    • Hamessley, Lydia. “Elizabethan Traces in Appalachia? How Music Critics Intepret Dolly Parton’s Songs and Voice”
    • Lansang, Rachel. ” ‘Reinterpreting the ‘Drowned Woman”: Feminist Readings of Isabelle Aboulker’s Femmes en Fable“
    • Ricciardi, Emiliano. “The Topos of Jealousy in Late Sixteenth-Century Ferrarese Culture: Luzzaschi’s Setting of Tasso’s ‘Geloso amante’
  • Spring 2016 (8 & 9 April – Massachusetts Institute of Technology — Joint Meeting with NECMT)
  • Winter 2016 (20 February – The Hartt School)
  • Fall 2015 (3 October – Amherst College)
  • Spring 2015 (2 May – Yale University)
  • Winter 2015 (21 February – Boston University)
  • Fall 2014 (4 October – Clark University)
  • Spring 2014 (3 May – Providence College)
  • Winter 2014 (8 March – The Boston Conservatory)
    • Abbate, Beth. “Esoteric Origins: Theosophical Images and Influences in Webern’s Op. 29”
    • Bargrizan, Navid. “A New Opera Concept: An Identity Quest Mediated by Digital Media and Microtones in Manfred Stahnke’s Orpheus Kristall“
    • Bassler, Samantha. “John Dowland and Constructions of Melancholy as Disability in Early Modern England.”
    • Hamilton, Elina. “A Tale of Two Walters: A New Biography of Walter “of Odington.”
    • Ponce, Adriana. “Memory, Trace, and Expressiveness in Chopin’s Nocturnes.”
    • Rich, Morgan. “Adorno, Berg, and Composition with Twelve Tones: Rereading Adorno’s Philosophy of New Music.”
    • Schulenberg, David. “Carl Philipp Emanuel Bach and the Metaphorical Voice.”
  • Fall 2013 (28 September – U Mass Amherst)
  • Spring 2013 (20 April – Northeastern University) : CANCELLED
  • Winter 2013 (2 February – Tufts University)
    • Considine, Basil. “Music and the Pirates of Madagascar”
    • DeCurtins, Max. “‘Computer, Please Replicate One Viola’: The Reanimation of Classical Music in the Future”
    • Epstein, Louis. “Triple Threat: Ida Rubinstein as Patron, Impresario, and Director.”
    • Lewis, Hannah. “Michael Gordon’s Decaying Orchestra: Decasia as Audiovisual Elegy.”
    • Mugmon, Matthew. “Copland, Mahler, and the American Sound.”
    • Wetters, Brent. “Choreographic Notation: Richard Barrett’s Ne songe plus à fuir“
  • Fall 2012 (29 September – College of the Holy Cross)
    • DiCenso, Daniel. “More Roman than “Gregorian,” More Frankish than “Old Roman”: What a Newly Rediscovered Italian Source Reveals about the Roman and Frankish Character of Chant Transmission in the Mid-Ninth Century.”
    • Doe, Julia I. “How Opéra-Comique became French, or, Untangling the Origins of Revolutionary Opera.”
    • Jerome, Erin. “Haydn’s L’incontro improvviso: Deceitful Dervishes, Greedy Servants, and the Meta-Performance of Alla Turca Style.”
    • Kita, Caroline. “Myth and Meta-Drama: Mahler’s Eighth Symphony.”
    • Knyt, Erin. “Ferrucio Busoni and the New England Conservatory: Pedagogue in the Making.”
    • Levy, Brian. “Form, Interaction, and Implication in the Classic Quartet of John Coltrane.”
    • Libin, Daniel. “Schubert’s Gretchen Songs and the Eternal Feminine.”
  • Spring 2012 (14 April – Mount Holyoke College)
    • Chieffo, Monica. “Maria’s Veils, Salome’s Machinery: The Dance Scene in Metropolis and Salome.”
    • De Savage, Heather. “Hidden Lessons: Tonal Structure and Personal Faith in Heinrich Schütz’s Motet ‘Gedenke deinem Knechte an dein Wort,’ SWV 485”.
    • Hu, Lester Zhuqing. “Toward Modal Coherence: “Modal Chromaticism” in Gesualdo’s two “O vos omnes” settings”
    • Peterson, Brian. “Going to the Sources: Issues in Historical Performance Practice and Pedagogy in The Interpretation of Samuel Scheidt’s Tabluatura Nova (1624)”
    • Schwindt, Joel. “Monteverdi’s Orfeo (1607): Pulchritude through proportion, and why it mattered to the Accademia degli Invaghiti.”
    • Sholes, Jacquelyn. “A ‘Cremation Cantata’?: Contextualizing the Dramatic Conclusion of the Brahms-Wesendonck Correspondence.
  • Winter 2012 (4 February – Massachusetts Institute of Technology)
  • Fall 2011 (1 October – Capital Community College)
  • Spring 2011 (30 April – Providence College)
  • Winter 2011 (19 February – Wellesley College)
  • Fall 2010 (2 October – Amherst College)
  • Spring 2010 (17 April – University of New Hampshire)
    • Crawford, Dorothy Lamb. “Adventures in Research for A Windfall of Musicians: Hitler’s Émigrés and Exiles in Southern California“
    • Entwistle, Erik. “Václav Kaprál and the Holocaust”
    • Greer, Mary J. “The Identity of the Previous Owner of J.S. Bach’s Calov Bible and Commentary Revealed: Implications for Bach Scholarship.”
    • Laki, Peter. “Le petit macabre: The Personification of Death in Ullmann’s Kaiser von Atlantis and Ligeti’s Le grand macabre“
    • Lee, Feng-Shu. “Contextualizing the ‘Götter Ende’: The Conclusion of the Ring in Relation tot he Creation of the Cycle (1848 -1852)
    • Paige, Diane. “Vitešlava Kaprálová and the Muses”
  • Winter 2010 (6 February – Brandeis University)
    • DeVoto, Mark. “Memory and Tonality in Debussy’s Prélude à l’après-midi d’un faune“
    • Entwistle, Erik. “Martinu and the Saint Wenceslas Chorale”
    • Leong, Jeremy. “The Influence of Kant in Chinese Music Education under the Pre-Communist Regime”
    • Mugmon, Matthew. “Making Mahler French: Bernstein’s Case for the Composer in 1960”
    • Provost, Sarah Caissie. “The Early Performed Jazz Retrospective”
    • Schulenberg, David. “Forged in the Workshop of J.S. Bach: The Divergent Careers and Music of Friedemann and Emanuel Bach.”
    • Shim, Eunmi. “Charlie Parker’s Influence on Lennie Tristano”
  • Fall 2009 (3 October – University of Connecticut)
    • Baumgartner, Michael. “Funereal Music, War, Sarajevo and Silent Cinema: Theo Angelopoulous’s Ulysses Gaze (1995)”
    • Bishop, Paula. “Salty Dog Blues: A Ragtime-Blues-Hillbilly-Swing Band-Bluegrass Standard and the Concept of Originality in the 1920s and 1930s”
    • Brodsky, Seth “Memorial Utopianism in Late Twentieth-Century European composition”
    • Graziano, Stefano. “The Lute and the Dance: The Intabulatura de lauto Libro Quarto of Joan Ambrosio Dalza “Milanese””
    • Poriss, Hilary. “Prima Donnas and the Performance of Altruism”
    • Shenton, Andrew. “Negotiating Rapture: Tekno, Teknival, and T.A.Z.: The Temporary Autonomous Zone.”
  • Winter 2008 (2 February – Smith College)
    • Campbell, Michael, “Beyond AABA: Formal Integration in Late 1930s Popular Song”
    • Getman, Jessica. “Rewriting ‘Joconde’: The Development of Eighteenth-Century Timbre”
    • Olmstead, Andrea. “The Secret Program of Sessions’s Third Symphony”
    • Robinson, Clare. “Josquin des Prez and the Functions of Sixteenth-Century Print Culture.”
    • Sheppard, W. Anthony. “Tan Dun’s ‘Operatic’ Films and ‘Cinematic’ Opera”
  • Fall 2007 (6 October – Harvard University): Writing 20th- and 21st- Century Music Histories
    • Auner, Joseph. “A Sense of Possibility: Writing a History of 20th & 21st-Century Music”
    • Fineberg, Joshua. “Leaving Flatland: Considering Musical ‘Progress,’ Personality, Quality, and Invention in a Multi-Dimensional World”
    • ROUNDTABLE: Joseph Auner, Richard Bunbury, Michael Campbell, Joshua Fineberg, Larry Hamberlin, Andrew Shenton
  • Spring 2007 (5 May – University of New Hampshire)
    • Bañagale, Ryan Raul. “From Isaac Goldberg’s Perspective: Creating Gershwin in the Interwar Years.”
    • Haskins, Rob. “Variations on Themes for Geeks and Heroes: Leitmotive, Style, and the Musicodramatic Moment in Cues from Buffy the Vampire Slayer“
    • Kregor, Jonathan. “Beethoven as Myth and Music, c. 1840”
    • Sholes, Jacquelyn. “Lovelorn Lamentation, or Histrionic Historicism?: Reconsidering Allusion and Extra-Musical Meaning in the 1854 Version of Brahms’s B-Major Piano Trio”
    • Urquhart, Peter. “Re-evaluating the ‘English Heresy’: The contratenor”
  • Winter 2007 (3 February – Wellesley College)
    • Gallagher, Sean. “The Berlin Chansonnier and French Song in Florence, 1450 – 1490: A New Dating and Its Implications”
    • KEYNOTE: Livlijanic, Katarina and Benjamin Bagby. “Medieval Cantors and Modern Performers: How Did Chant and Medieval Song become ‘Early Music’?”
    • PANEL: Livlijanic, Katarina and Benjamin Bagby with Thomas Kelly, Matthew Peattie, and Jeremy Yudkin. “Chant Traditions and Modern Performance”
    • Rubin, Emanuel. “A Final Word on John Stafford Smith and ‘The Anacreontic Song'”
  • Fall 2006 (30 September – Providence College)
    • Bempechat, Paul-André. “The Voices of Earl Kim: Cross- or Multi-Culturalism?
    • Bishop, Paula. “‘Nana I Hawai’i Ko’u Mau Maka (See Hawai’i Through My Eyes):’ Cultural Identity in Contemporary Hawaiian Music”
    • Campbell, Jennifer. “On Being a ‘Good Neighbor’: Roosevelt, Rockefeller, and the Exportation of ‘American’ Musical Identity”
    • Epstein, Louis. “Synchronization and Surrealism: The Role of Music in La Belle et la Bête“
    • Granat, Zbigniew, “Conceptualizing Performance: The Problem of ‘Expressive Form’ in Jazz”
    • Restrepo, Margarita. “Luis de Milán and the Origin of the Madrigal in Spain”
    • Schulenberg, David. “Fugues and Fingering: Manual and Contrapuntal Technique in Bach’s Contrapuntal Works”
  • Spring 2006 (22 April – U Mass Amherst)
  • Winter 2006 (28 January – Tufts University)
  • Fall 2005 (1 October – Yale University)
  • Spring 2005 (9 April – College of the Holy Cross)
  • Winter 2005 (5 February – Harvard University)
  • Fall 2004 (18 September – Amherst College)
  • Spring 2004 (10 April – Boston University)
  • Winter 2004 (31 January – The Hartt School)
  • Fall 2003 (20 September – Brandeis University)
  • Spring 2003 (12 April – Trinity College)
  • Winter 2003 (25 January – Clark University)
  • Fall 2002 (28 September – Mount Holyoke College)
  • Spring 2002 (23 March – Boston Public Library)
  • Winter 2002 (2 February – Smith College)
  • Fall 2001 (29 September – University of New Hampshire)
  • Spring 2001 (31 March – Boston College)
  • Winter 2001 (3 February – Providence College)
  • Fall 2000 (23 September – Massachusetts Institute of Technology)
  • Spring 2000 (8 April – Harvard University)
  • Winter 2000 (12 February – Boston University)
  • Fall 1999 (25 September – Brandeis University)