Society for Music Theory A M ASHGATE American Musicological Society S / New Music Titles from S Nashville 2008 6-9 November M Ashgate Publishing… T Abstracts Nicholas Maw: Odyssey Sgt. Pepper and the Beatles Kenneth Gloag It Was Forty Years Ago Today Landmarks in Music Since 1950 Edited by Olivier Julien Includes 31 music examples Ashgate Popular and Folk Music Series Jun 2008. 148 pgs. Hbk. 978-0-7546-3855-1 Includes 2 tables, 6 musical examples and 5 musical figures The Ashgate Aug 2008. 208 pgs. Hbk. 978-0-7546-6249-5 Research Companion to Japanese Music Musicological Identities Edited by Alison Tokita Essays in Honor of Susan McClary and David W. Hughes Edited by Jacqueline Warwick, SOAS Musicology Series Steven Baur and Raymond Knapp Includes 81 b&w illustrations May 2008. 288 pgs. Hbk. 978-0-7546-6302-7 and 112 music examples Oct 2008. 472 pgs. Hbk. 978-0-7546-5699-9 Thresholds: Rethinking Spirituality Through Music Landscapes of the Mind: The Marcel Cobussen P Music of John McCabe Includes 10 b&w illustrations r Edited by George Odam and 9 music examples o Guildhall Research Studies: 6 Oct 2008. 182 pgs. Hbk. 978-0-7546-6479-6 g Includes 36 b&w illustrations Pbk. 978-0-7546-6482-6 r and 35 music examples a Jul 2008. 276 pgs. Pbk. 978-0-7546-5816-0 Infant Musicality m Dark Side of the Tune: New Research & for Educators and Parents Popular Music and Violence Johannella Tafuri A Bruce Johnson and Martin Cloonan, SEMPRE Studies in b Ashgate Popular and Folk Music Series The Psychology of Music s INnocvlu 2d0e0s 81.2 2b6&0w p iglslu. s Htrabtkio. n 9s 78-0-7546-5872-6 9an bd& 3w3 imlluusstirca teioxanms, p5l egsr aphs tra Nov 2008. 230 pgs. Hbk. 978-0-7546-6506-9 c Genesis and The Lamb Pbk. 978-0-7546-6512-0 t s Lies Down on Broadway The Rock Canon Kevin Holm-Hudson Canonical Values in the Ashgate Popular and Folk Music Series Includes 10 musical examples Reception of Rock Albums Nov 2008. 210 pgs. Hbk. 978-0-7546-6139-9 Carys Wyn Jones Pbk. 978-0-7546-6147-4 Ashgate Popular and Folk Music Series Sep 2008. 182 pgs. Hbk. 978-0-7546-6244-0 Music, Informal Learning and the School: A New Guilhermina Suggia: Cellist Classroom Pedagogy Anita Mercier Lucy Green Includes 20 b&w illustrations and 1 music example Ashgate Popular and Folk Music Series Sep 2008. 186 pgs. Hbk. 978-0-7546-6169-6 May 2008. 226 pgs. Hbk. 978-0-7546-6242-6 Pbk. 978-0-7546-6522-9 From Pac-Man to Pop Music N Desire, Drink and Death in Interactive Audio in Games a English Folk and Vernacular and New Media s Song, 1600–1900 Edited by Karen Collins h Ashgate Popular and Folk Music Series v Vic Gammon Includes 7 b&w illustrations and 17 line drawings i Includes 6 b&w illustrations May 2008. 224 pgs. Hbk. 978-0-7546-6200-6 ll and 19 musical examples Pbk. 978-0-7546-6211-2 e Feb 2008. 282 pgs. Hbk. 978-0-7546-6094-1 2 www.ashgate.com Come visit our booth in the book exhibit! 0 0 8 Contents Thursday afternoon, 6 November 39 Across the Nineteenth Century 41 The Compass of Medieval Song 44 Haydn 48 Messiaen’s Language 52 Mode and Scale 54 Music Between Men 57 Music for the Million 61 Representations 63 Wagner and His Uses Thursday evening, 6 November 67 American Music in the Global Cold War: Music Crossing Borders 68 Brahms at 175: A Study Session on Current and Future Trends in Brahms Scholarship 69 Diversity in the Music Classroom: Confronting the Politics of Inclusion and Access 71 Fisk University: On Black Musical Heritage, Leaders, and Legacies 72 Partimento, Que Me Veux Tu? 73 Research Directions in the Italian Cantata Friday morning, 7 November 75 Les Acteurs de l’Opéra 76 The Ballets Russes at 100 78 Collaborations 80 Conservative Voices in Medieval-Renaissance Theory 82 Convent Music 84 Discovering Repertories of Italian Sacred Music 85 Instrumental Eccentricities 87 The Lied: Interior Spaces 89 Music and Crisis 90 New Takes 92 Patterns in Popular Music 94 Riemann 95 Serialism’s Similarities 97 Staging 99 Tonal Voice Leading 100 Utopias Friday afternoon, 7 November 102 Ferdinand Ries (1784–1838): Herald of Romanticism 103 Accent in Language, Accent in Music 106 From Broadway to the Concert Stage 109 Italian Opera and the Cinematic Imagination 111 The Math Session 113 Musique française: Idea and Ideology 117 Poster Session 118 Reading Listening 120 Sound Effects 123 Style and Symbolism in Fifteenth-Century Music 126 Voices of Castrati 130 Wagner and Bruckner Friday evening, 7 November 133 Addressing the Gender Imbalance 133 Allusion, Influence and the Ambiguity of Cover Songs in Popular Music 134 Ecocriticism and Musicology 135 In Private, In Public, At Court: The Rise of the Prima Donna in Seventeenth and Early Eighteenth-Century Italy and Austria 136 Music Theory as Sense: The Musical Philosophy of Jean-Luc Nancy 138 Sacred or Profane? Popular Music and Religion in the United States 139 Scholars with Disabilties Saturday morning, 8 November 141 Bartók 142 Chromatic Extravagance 143 Early Baroque: Time, Space, and Performance 146 Haunting and Damnation 150 Medieval Polyphony 151 Metric Problems 152 Music and Commodity Culture 155 Music and the Scientific Spirit 159 Phrase Rhythm 160 Prima Donnas at Work 163 Resistance, Propaganda, and Music in Uniform 167 Twentieth-Century String Quartets Saturday afternoon, 8 November 168 Cecilia’s Circle: O Let Me Weep: Distressed Women in Music, 1650–1750 169 Brazil 171 Changing the Score 173 Critters and Kids 176 Ethereal Voices, Mute Subjectivities 180 Indigenous Catholicism 182 Performing Women: Trangression and Virtuosity 185 Their Own Voices 187 Theology Through Song 189 Youthful Indiscretions: Copland and Thompson Saturday evening, 8 November 192 Archiving Schenker / Discovering Schenker 193 Luso/Hispanic Music Research Trajectories for the Coming Twenty Years 196 Puccini the Modernist? 197 Redneck Rebellion: Constructing and Deconstructing the Masculine and Feminine in Country Music Sunday morning, 9 November 199 Dancing Through Time 202 Empirical Music Theory 204 Generation Gaps 206 Indeterminacy 207 Ligeti 208 Liturgy, Literacy, and Chant Reform 212 Nineteenth-Century Form 213 Political Polarities in the 30s 217 Rural and Urban Creations 219 Transnational Dialogues 222 Women and Keyboards: Strategies of Subversion and Resistance 267 Index of Participants 271 Maps Abstracts Thursday afternoon, 6 November Across the NiNeteeNth ceNtury (sMt) David Kopp, Boston university, chair TIERED POLYPHONY AND ITS ROLE IN THE PIANO MUSIC OF JOHANNES BRAHMS Brent Auerbach University of Massachusetts, Amherst Tiered polyphony is defined as a special texture in which multiple voices express indepen- dent melodic material at proportional speeds. Common in Bach in the context of trio sonatas and chorale preludes, tiered polyphony also appears in Brahms’s piano music. When it does, the effect of the polyphony is quite striking: passages exhibiting this texture give off an aura of extreme drive and inexorability. In Brahms’s tiered polyphony, one line usually serves as a guide rail following a chromatic path, another exhibits the surface-melodic pitch cells unique to the piece at hand, and additional voices act as filler. This paper formalizes a system for describing tiered polyphony in terms of its number of voices and their degree of rhythmic/metric and motivic/cyclic independence. It then demonstrates how awareness of this texture can provide insights into Brahms’s works that are unavailable through conventional analytic approaches. In response to tonal readings of Brahms’s Rhapsody in B Minor, op. 79 no. 1, given by Smith (2006) and Samarotto (2003), this paper advocates a motivic approach to explain the harmonic organization of the Rhap- sody’s hexatonic A section and the dramatic roles of its B section and coda. Similar results are obtained when this method is applied to select works from Brahms’s op. 5 and op. 76. CARL MARIA VON WEBER’S MEDIANT TRANSFORMATIONS Joseph E. Morgan Brandeis University My paper surveys the adult dramatic compositions of Carl Maria von Weber for chromatic transformations and their relationship to the dramatic/poetic organization. The works dis- cussed include his Kampf und Sieg Cantata (1815), the insert aria “Was sag’ ich” (1818), Der Freischütz (1821), Euryanthe (1823), and Oberon (1826). The analyses reveal several functions in Weber’s use of mediant progressions: as a foil to dominant harmony, expressing dramatic developments that are markedly different from those that occur over dominant progressions; as an expression of a character’s romantic transformation, in which the dominant’s arrival is an expression of the resulting conflict of the tonic and mediant areas; and finally, as a sym- metrical organization in which the mediant/submediant areas are treated as poles around tonic harmony. Abstracts Thursday afternoon 40 AUDITORY STREAM SEGREGATION AND SCHUBERT’S PIANO SONATA IN B-FLAT, D.960 Ben Duane Northwestern University This paper explores how auditory stream segregation affects one’s perception of the first movement of Schubert’s Piano Sonata in B-Flat, D. 960. (Stream segregation is a process by which the auditory system organizes segregates sounds into auditory streams.) Several authors have studied the role of stream segregation: e.g. McAdams and Bregman (1979), Wright and Bregman (1987), Huron (1991). These studies, however, are limited either to discussion of gen- eral compositional principles or statistical analysis of large musical corpora, and do not engage music on a measure-by-measure level. I attempt to fill that gap. The paper has two main parts. In part one, I present an analytic method. This method de- rives from Bregman’s (1990) theory that the auditory system accomplishes stream segregation by using multiple heuristics in parallel, each of which attends to a different type of acoustic cue. I define six of these heuristics and explain their effect on music perception, applying these heuristics to a score. In part two, I focus on the first movement of Schubert’s Piano Sonata. Using the six heuristics, I document several characteristic textures to show how they align with and support other musical processes. These include: a hypermetric realignment, two modulations from a local I to its “↓vi,” the transition to the exposition’s third theme, and the introduction of a new motive in the development section. “EMOTIONAL IMITATION” AND “PHYSICAL IMITATION” IN BERLIOz’S ROMEO Au tOMbEAu Stephen Rodgers University of Oregon This paper reassesses the relationship between the structure of Berlioz’s Roméo au tombeau (from his symphony Roméo et Juliette) and its literary program. Roméo au tombeau is perhaps Berlioz’s most controversial programmatic piece. Maligned by critics for its incoherence and literalism, it continues to confound those who seek to gauge the relationship between its idiosyncratic structure and the tomb scene from Romeo and Juliet. My paper shows how the relationship between music and text changes over the course of the movement, from the general expression of feeling (what Berlioz would call “emotional imitation”) to the literal rendering of sounds, objects, and actions (“physical imitation”). The shift from emotional imitation to physical imitation is motivated by the structure of the scene, which leads inexo- rably to the central actions of the play: the lovers’ suicides. Taken together with the Scène d’amour (where the process is reversed and the music parallels Romeo’s and Juliet’s speeches early on but takes on a life of its own as it proceeds), Roméo au tombeau suggests how ideas about the interaction of program and structure in Berlioz’s music need to be nuanced to al- low for different types and degrees of interaction, not just across different pieces but within the same piece. 41 Thursday afternoon AMS/SMt Nashville 2008 the coMpAss of MeDievAl soNg (AMs) emma Dillon, university of pennsylvania, chair GEOGRAPHIES OF POLYPHONIC SONG C. 1300: MAPPING COMPOSITION FROM ADAM DE LA HALLE TO GUILLAUME DE MACHAUT Mark Everist University of Southampton The emergence of polyphonic song around 1300 used always to be accompanied by an emphatic question mark. As a result of recent studies by Butterfield, Earp, Everist, Page, and Peraino, however, a fuller understanding of the surviving manuscript sources has begun to in- form our understanding of the chanson between Adam de la Halle and Guillaume de Machaut. A wide range of musical and poetic experimentation in the period 1270 to 1330 brought the learned polyphonic music of the motet into alignment with the popularisant poetry of the dance song, and formed the basis of polyphonic song repertories of the fourteenth century. Although the musical and poetic interrelationships between these often highly-fragmented surviving repertories are frequently clear, chronology has proved an obstacle to writing the history of polyphonic song that might complement histories of the motet, of notation, and of theory in the thirty years on either side of 1300. However, if chronology remains a vexed question, switching focus to questions of geography and topography reveals much about the distribution of the wide-ranging attempts to bring forth the type of polyphonic vernacular song that would prevail from the fourteenth century to Le nuove musiche and beyond. The briefest of glances at the contributing repertories of this period demonstrates both some striking geographical connections and important topographical separations. The body of motets that build song structures out of chanson tenors, for example, was cultivated and copied in both Paris and a Walloon-speaking area focused on Liège. Similarly, the produc- tion of rondeau-motets—an important element in the emergence of polyphonic song—was centered on both Paris and the country of Artois, whereas score-notated rondeaux were found in Picardy and Artois. Compositions that exploit ballade structures, furthermore, were de- veloped in regions as scattered as Burgundy and Anglo-Norman Essex. And to consider the geographical background of a key theoretical witness to this tradition, Johannes de Grocheo, is to see the geographical spread of interest in polyphonic song drift westwards into Nor- mandy and the Brittany borders. Mapping experiments in the composition of polyphonic song around 1300 provides a strik- ing contrast with the topography of Leoninian organum and its successors (largely based on Paris) or of the motet (which is best modeled by a series of radial influences emanating from the city). Early polyphonic song, on the basis of the evidence presented in this study, was attempted in a wide variety of geographical locations and betrays a range of hitherto un- suspected connections between repertories and their points of origin. The resulting map of polyphonic song gives an entirely different perspective to our understanding of the history of music c. 1300 so frequently dominated by motets, Latin theory, and the tradition of the Ars nova. Abstracts Thursday afternoon 42 RECONSIDERING “HIGH STYLE” AND “LOW STYLE” IN MEDIEVAL SONG Elizabeth Aubrey University of Iowa It has become customary in discussions of medieval song to speak of two poetico-musical “styles,” manifested in distinctions among genres: the “aristocratic,” “learned,” “high style” cansos and chansons of the troubadours and trouvères, and the “popular,” “jongleuresque,” “low style” songs such as dances, pastourelles, and chansons de toile. Scholars of literature and music have used classical, literary, historical, theoretical, and musical texts to support this tax- onomy, and to associate “aristocratic” or “popular” social situations, and the socio-economic status of musicians and composers, with different genres. Some have invoked—perhaps too facilely—Paul zumthor’s complex notion of poetic “register” to reinforce the argument for a bipartite division of medieval song. Armed with this neat framework, scholars have attempted to delineate features such as language, theme, poetic and musical form, and melodic tex- ture and range as expressions of a high style or a low style, and to offer broad theories about rhythm, the use of instruments, and female authorship. Roger Dragonetti’s “grand chant courtois,” rooted in the concept of “amour courtois” or “courtly love,” has become a standard label for “high-style” songs. Yet the definition of “court- ly love” and its suitability as an analytical tool have been sharply debated almost from the moment of its appearance in the late nineteenth century. Although today it continues to have its proponents, both purposeful and tacit, the idea also has been dubbed (borrowing from the titles of recent studies) an “invention” of modern literary criticism, a “myth,” and an “impedi- ment” to our appreciation of medieval song. This paper begins with a summary of the evolution of the notion of “courtly love” and how it underlies certain interpretations of genre and style, followed by an examination of recent research on the music of lyric song that is based on the presumption of a dichotomy of high style and low style. An unquestioning allegiance to this notion, along with a selective use of evidence and faulty logic, ultimately weakens the plausibility of many such studies. Among the most important types of evidence are the texts of late medieval epics and romances, but they offer conflicting and ambiguous impressions of the songs and their composers, performers, and hearers; such texts must be filtered through one or another method of literary criticism, a process which by its very nature can yield conflicting interpretations. Careful scrutiny of two other sources of information, theoretical documents and the manuscripts of the songs them- selves, reveals that whatever sense of style and genre theorists and scribes might have had does not conform to a two-tiered stratification. A reassessment of this hermeneutical construct is not likely to result in its complete abandonment, but it can and should provide a healthy cor- rective to what has become an over-simplified view of medieval monophonic song. CIVIC SELF-FASHIONING IN LATE MEDIEVAL BRUGES: THE OLDEST LAYER OF THE GRUUTHUSE MANUSCRIPT (C. 1400) Karl Kuegle Universiteit Utrecht One of the most important collections of late medieval song, the co-called Gruuthuse man- uscript (presently Den Haag, Koninklijke Bibliotheek, 79 K 10; formerly Koolkerke, private 43 Thursday afternoon AMS/SMt Nashville 2008 collection of the Caloen family), has recently (2007) entered the public domain. Transmit- ting no less than 155 monophonic melodies (147 in the well-known song fascicle, eight more as interpolations within a narrative poem), the Gruuthuse songs, in combination with seven rhymed prayers and 18 poems, all in Middle Dutch, are one of the most significant, yet least studied, repertories for the history of music around 1400 in the Low Countries. They are of particular relevance to the music history of Bruges, where the manuscript was compiled and where the circle of poet-musicians who provided its repertoire was active during the final years of the fourteenth century and beyond. Grounding myself in a thorough codicological re-examination of the manuscript, I shall focus on the layer copied the earliest (fols. 6r–9v, 11r–42v, and 51r–58v, prepared by scribe A). I shall demonstrate that the collection, in its primary stage, was conceived as a compendium of the musico-poetic activities of its author(s)—a fact subsequently obscured by later accretions. Following an extended narrative poem with musical interpolations (The Castle of Love, fols. 39r–42v and 51r–58v), three rhymed prayers for the Holy Virgin and Christ formed the cen- terpiece of the collection (fols. 6r–9v). The extensive song repertoire that closed the volume provided a lyric counterpart to the opening narrative (fols. 11r–38v). Content-wise, the Castle of Love offers a poetics of the Gruuthuse authors’ musico-literary project set against the back- ground of the courtly-love tradition as practiced at the court of Flanders (after 1384, also the court of Burgundy). The three rhymed prayers address the spiritual aspects of love (minne), with the Passion of Christ at its center, anchoring the collection in the religious activities of the Gruuthuse authors, who were leading members of the Bruges bourgeoisie. The song collection in turn provides a compilation of topical songs that complements and elaborates on the preceding sections, using small lyrical forms. This type of ordinatio is reminiscent of models found, most prominently, in the Machaut manuscripts, but also in other examples of the French literary tradition. Based on the preceding analysis, the cultural significance of collecting poetry and music will be re-examined in the context of the history and politics of the Bruges bourgeoisie around 1400. While clearly marked off in register (monophony) and medium of transmission (stroke notation) against the spectacular, luxuriant mensural polyphony practiced at the court and in the wealthy churches of Bruges (Strohm 1985), the collection such “simple” songs nonetheless can be understood as a conscious act of civic self-fashioning, performed both in emulation of, and opposition to, courtly and ecclesiastic elites. SCRATCHED-OUT NOTES, ERASED PIECES, AND OTHER LACUNAE IN THE CHANSONNIER NIVELLE DE LA CHAUSéE Debra Nagy Case Western Reserve University While many scholars still express doubts about whether the owners of chansonniers were musically literate, the idea that chansonniers were read, understood/appreciated, and enjoyed by their owners has steadily been gaining ground. Though the books obviously function as a repository of songs, factors such as their diminutive size and persistent, uncorrected errors argue against chansonniers’ use as performing documents. Instead, it is thought that chanson- niers functioned more like an aide mémoire such that a single opening evoked a visual and aural image of a three-part chanson in performance; small errors might not affect a reader’s use considering their supposedly limited knowledge of the musical notation, nor would it