We are excited to welcome Pablo Palomino, a postdoctoral lecturer at the UChicago Center for Latin American Studies who will be presenting from a chapter of his manuscript, Latin America and the Globalization of Musical Practices in the 20th Century. Dr. Palomino holds a BA in history from the University of Buenos Aires and a PhD (2014) in History from the University of California, Berkeley. His dissertation, “Transnational Musical Networks in Latin America, 1910–1950,” is an interdisciplinary study that argues that the making of national music styles in Latin America was part of a broader circulation of commercial, diasporic, and classical musical styles.
Download the pre-circulated reading here.
We look forward to seeing you in Logan 801 from 4:30-6pm on April 27 for this highly relevant and interesting presentation!
We are delighted to welcome Prof. Olga Manulkina to the workshop this Wednesday (4:30–6:00 in Logan 801), where she will be presenting on a paper entitled, “‘Foreign’ versus ‘Russian’ in Soviet and post-Soviet Musicology and Music Education.” Miriam Tripaldi will serve as respondent.
Access the precirulated document here.
Olga Manulkina is an Associate Professor at the Saint Petersburg Conservatory, where she teaches courses on American music, Contemporary music theatre and Baroque opera as well as History of Western music. In 2014 she has also joined faculty of MARCA program at the European University in Saint Petersburg. Olga Manulkina is the editor-in-chief of the peer-reviewed quarterly journal Opera Musicologica. She is the author of the book From Ives to Adams: American Music of the Twentieth Century (2010), numerous articles on Russian and American music, a number of translations, including Shostakovich: A Life Remembered by E. Wilson (2006), and over 500 reviews and articles published in newspapers and magazines.
Please join us for what will surely be a stimulating paper and discussion.
We are delighted and honored to welcome Nadine Hubbs, professor of women’s studies and music at the University of Michigan, for a special Thursday workshop sponsored in conjunction with the EthNoise workshop. Her presentation is entitled, “How the White Working Class (Supposedly) Became Homophobic: Antibourgeois Country and the Middle-Classing of the Queer.”
We heartily invite you to join us for the presentation, ensuing conversation, and refreshments on Thursday, March 3 in Logan 801 from 4:30-6pm.
Nadine Hubbs is professor of women’s studies and music and faculty associate in American culture at the University of Michigan, where she also directs the Lesbian-Gay-Queer Research Initiative. She has written on gender and sexuality in popular and concert music throughout many essays and reviews and in two books, The Queer Composition of America’s Sound (California 2004), and Rednecks, Queers, and Country Music (California 2014). Music and gender-sexuality studies are fused with class analysis in Rednecks and her other recent work, including “‘Jolene,’ Genre, and the Everyday Homoerotics of Country Music: Dolly Parton’s Loving Address of the Other Woman,” published last fall in Women and Music, and two forthcoming essays: “The Promised Land: Springsteen’s Epic Heterosexuality and Prospects for Queer Life” and “How the White Working Class (Supposedly) Became Homophobic: Antibourgeois Country and the Middle-Classing of the Queer.”
We will be welcoming music history PhD candidate Abigail Fine to present material from a chapter of her dissertation this Wednesday, February 17 at 4:30pm in Logan 801. The pre-circulated document is available here; John Lawrence will serve as respondent.
At our next workshop, Marcy Pierson will present “Mass Textures and Textures for the Masses in Xenakis’ Music.” Max Silva will serve as respondent. The document is available on the downloads page here.
We hope to see you at 4:30pm on Wednesday, February 3 in Logan 801.
We are excited to welcome Anabel Maler and Lindsay Wright to the workshop on Wednesday, January 20 (4:30-6:00 in Logan 801). They will both be presenting material from their dissertation proposals. The two documents offered for precirculation are available here. Anabel and Lindsay welcome your comments and suggestions.
We look forward to seeing you there!
We are looking forward to our special abstract-writing workshop this Wednesday, January 6, from 5-6:30pm. All are welcome, regardless of whether their abstract is being reviewed! Please note the different location this week: JRL264.
For all writing abstracts this season, here is a helpful document from one of our faculty sponsors, Berthold Hoeckner.
We are excited to welcome Dan Wang to this week’s installment of the Music History/Theory workshop. Dan will present a case study from one chapter of his dissertation on Wagner’s song contest operas. The document is available here.
We hope to see you on Wednesday, December 2 at 4:30pm in the Logan Terrace Room 801.
We are excited to welcome Music History student Jess Peritz to the workshop on Wednesday, November 18 (4:30pm in Logan 801) to present material from her dissertation proposal, The Lyric Mode of Voice: Song and Subjectivity in Italy, 1769 – 1815 (download the document here). Lester Hu will serve as respondent.
Jess has suggested that workshop attendees focus primarily on the overview of the project (pp. 1-10); if time allows, we will also discuss the case study at the workshop, (17-27). For interested parties, Jess has also included the literature review (10-16), chapter summaries (27-33), and a brief appendix.
We look forward to seeing you there!
We are thrilled to have Professor Lawrence Zbikowski launch this year’s workshop with his paper, “Music and the Simulation of Emotions.” The abstract appears below; download the pre-circulated paper here. Please join us for this inaugural event in Logan Terrace Room 801 from 4:30 to 6:00 pm on Wednesday, October 7.
In this paper I build on recent work on the simulation of emotions to develop an account of how musical organization shapes emotional responses. According to the model developed by Paula Niedenthal and her colleagues, emotional responses to social signals such as smiles activate psychological and physical processes that are similar to those that underlie the signal. The result is an embodied simulation of an emotional response. Such simulations may result in overt emotional displays (responding to a smile with a smile) but they may also be associated with more complex behaviors (such as those involved with responding to a feigned smile, or one used to assert dominance). Key to the shaping of such complex behavior is conceptual knowledge. Through a close reading of the Andante from J.S. Bach’s Second Sonata for Unaccompanied Violin, I illustrate how conceptual knowledge activated by sequences of musical sound can inform emotional responses. I further suggest how this approach can address problems associated with the study of emotional responses to music, and how it could be developed in experimental contexts.