|NEWSLETTER||Vol. 3, No. 2|
Byron Adams on Bard's Elgar Festival, Donna Parsons on teaching the Beatles,
book reviews and more
Table of Contents
Send your news, review requests, and article suggestions to Kendra Leonard, Newsletter Editor, at email@example.com
The distinguished scholar Diana McVeagh, who participated in both weekends of this year’s Bard Music Festival, devoted, for the first time, to the work of a British composer, Edward Elgar, declared forthrightly that this was the most important festival devoted to his music since the one held at Covent Garden in 1904. As that 1904 festival resulted in Elgar’s knighthood, this was high praise indeed. As it was, the Bard Music Festival 2007: “Elgar and His World,” provided a panoramic view of Elgar’s life and achievement as well as introducing audiences to his music and that of his British contemporaries.
The courage and resolve of Leon Botstein, President of Bard College, in presenting this Elgarian festival must be acknowledged and applauded. With Christopher Gibbs and Robert Martin, President Botstein is one of the Artistic Directors of the Festival, as well as its principal conductor. Once the decision was made to devote the 2007 Bard Music Festival to Elgar, his energy and commitment were prodigious, focused and highly effective. His performances with the American Symphony Orchestra, of which he is Music Director, were dynamic, expressive and occasionally refreshingly iconoclastic.
The festival was planned over the space of two intense years; I was appointed scholar in residence in March 2005. The responsibilities that came with this position were many, varied and time-consuming, and I enjoyed (almost) every minute. My principal responsibility was to edit Edward Elgar and His World, the latest volume in the well-regarded series of books associated with the Bard Music Festival published by Princeton University Press. (Astonishingly, this is the first book on Elgar ever published by an American press.) I was fortunate in my contributors—Leon Botstein, Rachel Cowgill, Sophie Fuller, Daniel M. Grimley, Nalini Ghuman, Deborah Heckert, Charles Edward NcGuire, Matthew Riley, Alison I. Schiel and Aidan J. Thomson—who produced excellent chapters under the pressure of a inviolable set of deadlines. (I contributed an essay and an introduction to this volume as well.) Frankly, editing a four-hundred-page book in such a relatively short time was an experience at once terrifying and vertiginous, and I could not have done so without the assistance of the superb team at Bard Publications whose job it is to make sure that these books are released in time for the festival. (As it was, I handed in the final copy on time!)
One of the most fascinating aspects of my job was to consult with the Artistic Directors on the programming of the festival itself, and to work on the production of the extensive and handsome program book. A plethora of telephone calls, emails and several transcontinental airplane trips, as I teach at the University of California, Riverside, were required to evolve a series of concerts, pre-concert talks and panels that would take place over two weekends at Bard College. For this process, my mania for collecting compact discs of British music and attending concerts proved invaluable. The music programmed during the Bard Festivals must fall roughly within the purview of composer’s lifetime: thus Elgar’s world began in 1857, of course, and ended with his death in 1934. Happily, this was a rich period for British music!
As it was, the programs in August, which make up the festival proper—the October weekend functions as an autumnal coda—contained many American premieres of works by major British composers, such as Charles Villiers Stanford’s coruscating Concert Variations for Piano and Orchestra (“Down Among the Dead Men”); Herbert Howells’ Quartet for piano and strings; and William Sterndale Bennett’s Sextet for piano and string quintet. The first concert was devoted solely to Elgar’s music, tracing his compositional development from his promising adolescence in Worcester to the mastery of his Piano Quintet of 1918. The next day, after a lively panel discussion in the morning moderated by Christopher Gibbs that included Diana McVeagh and Andrew Porter, a concert devoted to Victorian music provided a rich context that put Elgar’s early development into perspective.
I will not try my readers’ patience by giving a detailed review of all of the events that occurred during these two weekends; those interested in a complete listing may access the festival program by going to http://www.fishercenter.bard.edu/bmf/2007/ or by Googling “Bard Music Festival 2007.” It is enough to note that all of the performances maintained a consistent level of excellence, with several rising to extraordinary power. The final concert of the August festival was particularly memorable, consisting of excerpts of Elgar’s oratorio, The Kingdom followed by a deeply moving performance of The Dream of Gerontius. All of the concerts were very well-attended with remarkably intelligent and enthusiastic audiences; critical comment from The New York Times and other media was unexpectedly positive. I was particularly pleased with the high level of the pre-concert lectures, many of which were delivered by members of NABMSA.
Will this festival establish Elgar as the peer of such contemporaries as Sibelius, Richard Strauss and Mahler? Given the comfortable inertia and, at times, outright hostility to British music, evinced all too often by American critics and impresarios, I think that it is too early to tell. However, the Bard Music Festival was a shot across the bow for the work of Elgar and his contemporaries, and will perhaps prove a useful foundation upon which to build for the future. The most hopeful sign was a comment that I heard from many of those attending the festival: “I never knew that British music was so wonderful!”
“I just heard Paul McCartney, and it was the most incredible event of my life.”
Imagine walking through your university’s library and being stopped by an undergraduate who shrieks the above statement two feet from your face. Shocking or mildly disturbing to some, it was representative of a typical day for me in Fall 2005. The North American leg of McCartney’s tour brought him to the Midwest, where my students had the opportunity to hear live performances in Minneapolis, Des Moines, or Omaha. After one of these shows, multiple emails filled my in-box. Oftentimes students wrote a critique of the concert, sent a detailed set list, exhorted that I would not understand how much “Helter Skelter” rocks until I heard it live, and even asked questions along the line of “Where did this song come from?” While the Beatles’ songs comprised the soundtrack of my life, I did not fully understand how much they were influencing Generation X and Y’s lives. Why this band? Every semester I work through that question and pose it to students who are enrolled in my Beatles course. I am still trying to understand the impact the Fab Four had on American and British culture and why they are so influential almost four decades after their break-up. In no small way did the above email messages contribute to the examination of these questions.
I began teaching my Beatles class in fall 2004, and it has turned my life upside down. Previously, my research and teaching had focused on the nineteenth century with an emphasis on the reception history and literary reflections of societal attitudes toward female musicians. Given that concentration, it seemed a bit odd that my studies would change to twentieth-century popular music. Yet in spring 2003 I had the opportunity to develop a course of my choice that would appeal to undergraduates across the humanities and disciplines. Teaching a class on the Beatles seemed like a no-brainer. Indeed, I have learned more about culture, society and the role music plays in reacting to or advancing particular issues by studying popular music and more specifically the Beatles. I admit it is a bit amusing to see my colleague’s reactions when I talk about my teaching. Some are thoroughly intrigued while others are slightly bewildered or even horrified. Most often I am asked “What exactly do you study?”
The premise of “World of the Beatles” course is to examine American and British culture through the lens of the Beatles’ experiences and music. Since my class meets only once a week for 2.5 hours, we work chronologically as well as thematically. While we devote two weeks of our time to 1964 and 1967, most class sessions will focus on one year. Each week is also give a theme that pertains to the Beatles or key moments in the sixties such as “Fusion,” “British Invasion,” “Music as Art,” “World Peace,” or “Disillusionment.” I use these themes to set up my examination of important stages in the Beatles’ development or major events in the sixties that affected lyrical themes and sonic experimentation. For example, to prepare a critique of the Beatles’ arrival in New York City and their appearance on the Ed Sullivan Show, I discuss the influence Betty Friedan’s The Feminine Mystique had on second wave feminism, key incidents in the civil rights movement, and the assassination of John F. Kennedy. I close the evening by asking my students to guess which three artists appeared at the top of the American charts as 1963 came to a close. While they respond with Elvis, the Beach Boys, Johnny Cash, or Chuck Berry, they are rather disappointed to learn it is Bobby Vinton, Dale and Grace, and the Singing Nun. They are then asked to consider why these particular musicians are holding down the number one position.
A second emphasis of the class analyzes the ways in which the Beatles revolutionized the music industry while reacting to and responding in step with their fans as various cultural, societal and political events occurred. In order to convey the significance of the lyrics to Lennon’s song “Revolution” (the single version), I talk about how greatly divided the United States was over Vietnam and the actions of the anti-war protesters in 1968. After looking at the proceedings inside the Democratic Convention in Chicago as well as outside where peaceful anti-war protesters were met by police clubs and tear gas, my students are more focused when they listen to Lennon explaining that you have to change people’s minds rather than destroy the establishment.
Another point of reference is the recording studio. As the Beatles matured, George Martin had the self-confidence to back off and allow them more freedom in the construction and recording of their songs. Indeed, A Hard Day’s Night was their first album to contain songs written solely by Lennon and McCartney. It showed musicians that they can write and perform their own material without having to rely on the Brill Building. Furthermore, as John and Paul’s songwriting grew, they moved away from the “boy meets girl” love songs to focus more on storytelling (“She’s Leaving Home”), the drug culture (“Tomorrow Never Knows”), topical issues (“A Day in the Life”), and even the mundane events in one’s life (“Lovely Rita”).
Coming to terms with the resources available on the Beatles and the sixties has required an almost single-minded focus. The summer before I taught my first class, I was scheduled to work through various nineteenth-century diaries in the British Library that pertained to my research on women musicians. Once I saw how enormous the Beatles bibliography was, I had to change my strategy. I spent the entire summer reading nothing but books and memoirs related to the Beatles and the sixties. Three years later, my reading schedule has not changed. The bibliography grows expeditiously, and it seems that every time I turn around there is a new scholarly or mainstream study on the group and various new media (including tribute CDs and DVDs) to be critiqued. This does not even include scholarly articles, newspaper and popular journal articles and reviews, interviews or stories that appear across the globe on a daily basis. Keeping up with the Fab Four is a full time job and an expensive one at that. Students always want to know what the latest material is and whether it is valuable to their studies.
I require my students to read Philip Norman’s Shout!: The Beatles in Their Generation and The Beatles Literary Anthology, edited by Mark Evans. The former text is still the most definitive biography available, and the latter provides excerpts from memoirs, newspaper and popular magazine articles, interviews, and critical scholarship that is concurrent with the Beatles’ story. Hunter Davies’ The Beatles and The Beatles’ own The Beatles Anthology are recommended texts. While Davies’ biography is the only one authorized by the Beatles, it ends in 1968 and does not include discussion of Abbey Road or Let It Be. The Beatles Anthology presents the story the way the Beatles want it told. Anyone who thinks the Beatles class will be a “blow off” course quickly learns otherwise when the course requirements are reviewed. Students are assigned two research essays. The first requires them to do an in-depth study of a Beatles’ album from the British catalog in which they consider musical innovations, lyrics and themes, audience reception, and cultural and political connections. The second essay revolves around the band’s legacy and asks them to make a connection between culture and the Beatles. Students have written about the Beatles’ guest appearances on The Simpsons, vegetarianism and Linda and Paul McCartney, Lennon’s political activism, charity concerts, Stella McCartney’s career as a fashion designer, and various tribute bands.
Throughout the semester students also complete seven journals that allow them to engage critically with the thematic elements of the course. These are applied assignments in which they are expected to offer their own opinions and support them with concrete examples. Students are also encouraged to discuss the assignments with their friends and family members. One of the most stressful journals asks them to write their own lyrics. After writing one verse, they are expected to talk about the writing process. How did they write the lyric? From where did they draw their inspiration? What difficulties did they encounter? In doing this exercise they learn firsthand how difficult it is to craft quality lyrics let alone to consistently write number one songs. As we near the end of the Beatles’ story, I ask them if they had an opportunity to be a Beatle or a member of the supporting cast who would they be and why? One spring I was surprised when half of the class wanted to be Ringo Starr. Students claimed they wanted to be a member of the band, but it was just too much pressure to be John or Paul. While many wanted to be John for just one day so that they could see the world through his eyes, Ringo was only expected to sing one song per album, and he looked like he enjoyed being the drummer.
Although the Beatles have been constructed as mythic creatures (especially since Lennon’s death), they were four young men from working- and middle-class environments. I want my students to see them as individuals who never gave up on their dream and who spent countless hours honing their craft in Hamburg and in the studio. I am able to present them as mere mortals by showing pictures of various Beatles sights in London and Liverpool. In order to understand the inner drive that made the Beatles so successful, they need see the house in the Dingle where Ringo was born; Paul’s house at 20 Forthlin Road where he and John wrote songs and practiced; the replica Cavern Club where they had built their fan following; Strawberry Field and Penny Lane, which inspired two complementary versions of childhood memories; 3 Savile Row where the infamous rooftop concert was held; and Abbey Road Studios and its famous crosswalk. Viewing the Beatles’ humble origins helps my students realize that they too can accomplish wonderful things with their lives as well as have a positive influence on those around them.
Reviewed by Candace Bailey
Rebecca Herissone’s edition of the Synopsis of Music is a reasoned, thoughtful discussion of a lesser-known text published by “A.B. Philo-Mus.” in 1680. This was an important time as far as music theory is concerned; as several scholars have suggested, Britain is one of the earliest places where the outlines of a modern functional tonality surfaces—the more we know about the texts from this period, the better our understanding of where the later system comes from.
In keeping with other British theory sources from the seventeenth century, (e.g., John Playford’s Introduction to the Skill of Music), A.B. intends his Synopsis for pedagogical use, and its aim is the beginner. He simply sets out to produce a how-to book with some songs attached—not, as Herissone points out, songs with a how-to attached (4). The intended audience is the singer, not the composer. Its purpose is made clear by its contents, which include a sight-singing manual, an appropriate addition for a pedagogical book such as this, particularly in a period when singers used anywhere from four to seven syllables for sight-singing. A.B. is not concerned with instructing the reader on how to make a second part fit a first, but rather on how to understand vocal music in context. In this sense, the author differs from most other British writers, who generally felt the need to include some discussion of less immediately practical material.
Since it is a beginning singer’s manual, the Synopsis naturally does not attempt to codify British theory practices of the period. Nonetheless, theory forms a significant part of the text, and how A.B. chooses to discuss elementary aspects of music production (meter, scale, etc.) informs the reader about the author’s background and his sources. Curiously, the Synopsis was not only part of the British tradition of instruction manuals and quasi-theory treatises, but it also introduced into Britain new Continental ideas concerning meter and pitch.
A.B. claims that he has drawn on the works of familiar authors (Alsted, Descartes, and Kircher) for the origin of his own method of pitch organization with seven syllables for solmization. This method follows the French and Italian practice that was standard on the Continent at this time but rare in Britain. Similarly unusual is his discussion of pitch proportions, for A.B. advises a proportional subdivision of the scale, a method not typically described in a beginner’s book. These aspects of the Synopsis suggest that A.B. was not a practicing professional musician but rather an educated amateur with keen interests in music. Further indication of his expertise lies in his knowledge of theory but not practice, for Herissone notes that although A.B.’s method is essentially Italian, he curiously seems unacquainted with contemporaneous trends towards Italian music in England (6).
One of the most useful contributions Herissone makes in her edition is placing the Synopsis in perspective to British and Continental theory of the seventeenth century. She traces possible sources for A.B.’s acquaintance with materials through such available editions as John Birchensha’s 1664 version of Alsted’s 1610 treatise and William Viscount Brouncker’s 1653 translation of Descartes’s Compendium musicae (1618). Her vast knowledge of seventeenth-century theory sources allows Herissone to find other influences as well, such as Lorenzo Penna’s Li primi albori musicali (1672). Perhaps most strikingly, A.B. uses only fractional meter signatures, an unusual practice even in Italy at this time and “unheard of in British theory” (20).
Furthermore, Herissone notes that unlike other British authors, A.B. seems less reliant on the theorists with whose works he is obviously acquainted, particularly by never using their examples. She rightly suggests that this editorial choice makes him “an interpreter, rather than compiler” (11). His detailed discussion of solmization indicates that he was unaware of contemporary British practice, much in the way he seems ignorant of Italian musical influence on British music of this period.Herissone concludes that A.B. was probably not a professional musician, but had a university education because he was trained in musica speculativa (music theory) and math (9-10). He was not bound to rules of traditional theory used by British professional musicians, therefore he saw no reason to separate musica speculativa from musica practica. She provides several charts that lucidly illustrate the structural design of the Synopsis, which allows the reader easier access to specific items of inquiry. In this sense, the edition is graciously organized, and the reader can move within its pages with ease. Herissone’s clear connections between A.B.’s ideas and those of Alsted illuminate new aspects of our understanding of the juxtapositions in British and Continental music theory.
Reviewed by Peter Horton
Anyone familiar with the career of that indefatigable early 19th-century organist, composer and editor, Vincent Novello, cannot fail to be impressed by Fiona Palmer’s new study of his life and work. Over one thousand footnotes (occupying almost a quarter of the pages) stand as proof of her diligence and grasp of the extensive source material: an abundance of letters, notebooks, diaries and family documents, music manuscripts and published scores. In all of this Professor Palmer seems to have left few, if any, stones unturned. The book does not, as she notes, “aim to be an exhaustive biography or to provide a full catalogue of Novello’s work as editor or composer,” but rather “to evaluate his musical career through an understanding of the contexts of his personal and working life” (2). To this end it consists of a two-part study: “The Man” (“Formative Years,” “Marriage and Family” and “Friends and Network”) and “The Career” (“Phases and Preoccupations” (i.e. an outline of his career), “Practical Musician and Educator,” “Editor,” “Composer”), rounded off by a short “Epilogue.” Such an approach generally works admirably, but it can give the impression of a series of disconnected, parallel existences: thus Sundays (services at the Chapel of the Portuguese Embassy) are covered in chapter 5, but set apart from the domestic musical evenings (chapter 3) and Novello’s weekday activity as an editor and composer (chapters 6 and 7). But one can live with this, and what emerges so strongly from this fascinating book is the sheer diversity of Novello’s multi-faceted life: organist, antiquarian, editor, publisher, lecturer, viola player and member of a social circle embracing both musicians and men of letters.
Novello’s origins were humble. Born in 1781, the son of an immigrant Italian pastry cook and English mother, he was a chorister at the Chapel of the Sardinian Embassy (under Samuel Webbe), but while still in his teens was appointed organist at the Portuguese Embassy (c.1797). Here he would remain for some 25 years, establishing an enviable reputation for the quality of the music. Although a founder member of the Philharmonic Society, he remained primarily a church musician and, as such, was never at the centre of London’s musical life. In one respect, however, he occupied a decidedly unusual position through his acquaintance with Leigh Hunt, Shelley, Keats and other literary figures: he and Hunt were close friends and his home was one of the regular meeting places for a small group of musicians and literati. How much more is there to be discovered about this largely unexplored aspect of early 19th-century London society?
Novello’s work as a composer and editor developed naturally from his organist’s post in South Street and, given his shrewdness (though he was no businessman), the establishment of the family publishing house was a natural development. Set up in 1830 for the benefit of his eldest son, Alfred, with Novello and his wife as major shareholders, it provided an outlet for many of his own editions. And, with the Novello imprint still with us today, it has remained his principal legacy. Indeed, some of his own editions have remained in use from his day to ours – among them Mozart’s “Ave verum corpus” still on sale with Novello’s piano reduction late in the 20th century. Given that he was born only a generation after Mozart it is surprising that more is not said about the evidence these editions provide of contemporary performance practice, not least in terms of the layout of keyboard reductions, or organ registration. As an organist he belonged to the old English school for whom the pedals were an optional extra—the same tradition as that of the cathedral composers whose works he edited.
Any quibbles are minor—the omission of John Clarke Whitfeld in the transition from figured bass to written-out keyboard part, for example—or the introduction of names with little or no accompanying explanation. The Moravian musician C.I. Latrobe (81, 148-50), Sir John Trevelyan (115), or the harp maker (J.A.) Stumpff (85) would all have benefited in this respect. The index, too, could usefully have been expanded. Lastly, the discussion of Novello as a composer takes place, as it were, in a vacuum, with the reader being given little idea of the scope or chronology of his output. Given that he was established as a composer before Mendelssohn was born, the comment that the latter’s influence “was never far away” (184) also requires qualification! But I must end by heartily commending this book to all those with an interest in musical life in 19th-century London, and congratulating the author on her splendid achievement in so successfully rehabilitating this hitherto rather shadowy figure.
Allan Atlas can be heard talking about Victorian concertinas, Sir Charles Wheatstone, and the concertina virtuoso Giulio Regondi on BBC Radio 4 on November 27 at 8:30 A.M. and again on December 1st at 10:30 A.M. EST. You can tune in on the internet at www.bbc.co.uk/radio4.
Ilias Chrissochoidis received a 2007-08 Mayers Fellowship at the Huntington. His essay “A Chubby Orpheus: Handel’s Corpulence as a Prerogative of Genius,” was published in the collection of essays Consuming Culture in the Long Nineteenth Century: Narratives of Consumption, 1700-1900, ed. Tamara S. Wagner and Narin Hassan (Lanham,
Rachel Cowgill and Peter Holman have published Music in the British Provinces, 1690–1914, now available from Ashgate Publishing.
Carrie Wilson and her husband Edward Green gave a two recitals—with critical commentary based on the philosophy of Aesthetic Realism—of songs in English last April, as part of the Pro Cultura Musica concert series and at the Aricana Foundation in Rosario, Argentina. The first half of the recital was of music entirely from the British Isles; the second half, of the United States. The British portion of the program included works by Purcell, Handel, Elgar, Britten, and various folk songs of Ireland, England, and Scotland.
Kendra Preston Leonard has been selected as a participant in the Folger Institute’s 2008 seminar on “Shakespeare on Screen in Theory and Practice.”
Thomas Schuttenhelm was recently awarded a Fulbright Fellowship to continue his research on Michael Tippett (examining his creative process and doing a comparative study of his idea notebooks, sketches, manuscripts, and published scores). He will be residing in London for the year, working mainly at the British Library.
The American Musicological Society will hold its annual meeting in Quebec City, Canada, November 1-4, 2007. Scheduled panels include “Re-imagining the Pastoral: Discourses of Loss and Remembrance in Early Twentieth-Century English Music,” which will be chaired by Byron Adams with papers by Eric Saylor, Daniel Grimley, Aiden Thomson and Stephen Downes; and “Post-War Britain,” which will be chaired by Andy Fry with papers by Heather Wiebe, Louis Niebur, Elizabeth Wells and Matthew Gelbart. NABMSA will hold its annual meeting on Saturday, November 3, from 12:15-1:45 p.m. in CC: 206B. http://www.ams-net.org/quebec/
The 2007 North American Conference on British Studies’ annual conference will be held in conjunction with the Pacific Coast Conference on British Studies in San Francisco, November 9-11, 2007. Friday’s plenary address will be “The Windmill Theatre: Erotic Display, Middlebrow Culture, and the Spirit of the Blitz” by Judith Walkowitz; other presentations will discuss cultural policy and cultural challenges at the Edinburgh Festivals. http://www.nacbs.org/
The Institute of Musical Research, University of London and Gresham College, London, will host Elgar and Musical Modernism on December 14, 2007. The one-day conference will begin with a paper by keynote speaker Byron Adams and conclude with a recital of chamber music by Elgar and his contemporaries. http://www.gresham.ac.uk/event.asp?PageId=45&EventId=718
John Rich and the Eighteenth-Century London Stage: Commerce, Magic and Management will take place at The Royal College of Surgeons, Lincoln’s Inn Fields, London, January 26-27, 2008. Presentations will include papers on dance, music for the eighteenth-century stage, performance and gender, and staging Handel’s operas, among other topics. Special events scheduled are a ‘Benefit Performance for John Rich’ An entertainment featuring commedia dell’arte, French dance, opera arias, ballads and instrumental music. Artists include: Musicians of the Royal Academy of Music (director Laurence Cummings), Circus Space, Neil Jenkins, Edith Lalonger (Paris); and a tour of the Garrick Club. http://www.johnrich2008.com/
The Society for Eighteenth-Century Music/Haydn Society of North America, Joint Conference, will hold a joint meeting at Scripps College, Claremont, CA, February 29 to March 2, 2008. http://www.secm.org/
Merton College, Oxford will host The Organ in England: Its Music, Technology, and Role through the Second Millennium, April 10-13, 2008. The conference will focus on the organ and its music in the 17th and 18th centuries, centering around "The Organ in Stuart and Georgian England: its Role through Change to the Handel Commemoration." http://www.bios.org.uk/
Punk: Words, Music, Politics, Influence, North America’s first scholarly conference on the genre, will be held at Simon Fraser University, Vancouver, BC, April 24-26, 2008. http://www.sfu.ca/punkconference/
The Society for Eighteenth-Century Music/Haydn Society of North America, Joint Conference, will hold a joint meeting at Scripps College, Claremont, CA, February 29 to March 2, 2008. SECM invites proposals focusing on Haydn topics and on issues of periodization in eighteenth-century music, but welcome submissions on all eighteenth-century subjects. Proposals should be approximately 250 words, and only one submission per author will be considered. Electronic submissions as attachments in Microsoft Word format are preferred. Please provide a cover letter and your proposal in separate files. Your cover letter should include your name, the title of the paper, your address, email address, and phone number, and your proposal should include only the title and abstract. Email submissions should be sent to firstname.lastname@example.org. You may also mail your cover letter and abstract to Mary Sue Morrow, College-Conservatory of Music, PO Box 210003, University of Cincinnati, Cincinnati, OH, 45221-0003. The deadline for submissions is October 15, 2007.
Punk: Words, Music, Politics, Influence, North America’s first scholarly conference on the genre, will be held at Simon Fraser University, Vancouver, BC, April 24-26, 2008. Please e-mail individual abstracts or panel proposals to Prof. Paul Budra at email@example.com. Include the proposal as part of the body of the email, not as an attachment. Individual abstracts should be a maximum of 500 words and may address any aspect of punk. Panel proposals should include a panel title, the names of three presenters, their abstracts, and the name of the panel chair. The deadline for submissions is January 4th, 2008.
Merton College, Oxford will host The Organ in England: Its Music, Technology, and Role through the Second Millennium, April 10-13, 2008. The conference will focus on the organ and its music in the 17th and 18th centuries, centering around "The Organ in Stuart and Georgian England: its Role through Change to the Handel Commemoration." 300-word proposals for 20-minute papers and lecture-recitals are welcome on any and all topics relating to the English organ of the 17th and 18th centuries. Please note that we are not running to specific dates so much as to philosophies of organ building, music, etc. Possible areas of enquiry are organ building, organ music, the role of the organ in church, organs and theology, the organ as a domestic instrument, organs and viols, organs and voices, cabinet-making, organ cases, music and the English garden (ie, possible connections in style of each), technology of the period, economics and organ building and/or playing, the organ in the Laudian revival, and any other relevant topics. Abstracts will be due by 15 December 2007 and can be sent to Katharine Pardee at firstname.lastname@example.org.
Books and Articles
Aigner, Michael. Gilbert and Sullivan: A Dual Biography. Oxford: Oxford University Press, 2002.
Allis, Michael. “Elgar, Lytton, and the Piano Quintet, Op. 84.” Music & Letters 85/2 (2004): 198-238.
Allis, Michael. Parry’s Creative Process. Music in Nineteenth-Century Britain, edited by Bennett Zon. Aldershot, UK: Ashgate, 2003.
Allison, Dale C. The Love There That's Sleeping: The Art and Spirituality of George Harrison. New York: Continuum, 2006.
Altschuler, Eric L. and William Jansen. “Thomas Weelkes and Salamone Rossi: Interconnections.” Musical Times 145 (Autumn 2004): 87-94.
Anderson, Virginia. “Chinese Characters and Experimental Structure in Cornelius Cardew’s The Great Learning.” Journal of Experimental Music Studies (2004).
Aspden, Suzanne. “Desiring Handel: Biography and the Strategies of Possession.” Music & Letters 85 (2004): 62-82.
Aspects of British Music of the 1990s. Edited by Peter O’Hagan. Aldershot, UK: Ashgate, 2003.
Atchison, Mary. The Chansonnier of Oxford Bodleian MS Douce 308: Essays and Complete Edition of Texts. Aldershot, UK: Ashgate, 2004.
Atlas, Allan. “A 41-Cent Emendation: A Textual Problem in Wheatstone’s Publication of Giulio Regondi’s Serenade for English Concertina and Piano.” Early Music 33/4 (2005).
Barger, Judith. Elizabeth Stirling and the Musical Life of Female Organists in Nineteenth-Century England. Music in Nineteenth-Century Britain. Aldershot, UK: Ashgate, 2007.
Bashford, Christina. “Varieties of Childhood: John Ella and the Construction of a Victorian Mozart.” In Words About Mozart: Essays for Stanley Sadie, edited by Dorothea Link with Judy Nagley, pp. 193-210. Woodbridge, UK: Boydell Press, 2005.
Bathe’s A Brief Introduction to the Skill of Song. Edited by Kevin Karnes. Music Theory in Britain, 1500-1700: Critical Editions, edited by Jessie Owens. Aldershot, UK: Ashgate, 2005.
Beard, David. “Britten’s Ambiguities; Tippett’s Times; Metzer’s Borrowings.” Journal of the Royal Musical Association 129 (2004): 305-23.
The Beatles and Philosophy: Nothing You Can Think that Can't Be Thunk. Edited by Michael Baur and Steven Baur. Chicago: Open Court, 2006.
Beckman, Janette. Made in the UK: The Music of Attitude, 1977-1983: Essays by Vivien Goldman and Paolo Hewitt. New York: PowerHouse Books, 2005.
Benham, Hugh. John Taverner: His Life and Music. Aldershot, UK: Ashgate, 2003.
Bennett, William Sterndale. Lectures on Musical Life. Edited by Nicholas Temperley with the assistance of Yunchung Yang. Boydell & Brewer, 2006.
Bevin, Elway. A Briefe and Short Instruction of the Art of Musicke. Ed. by Denis Collins. Music Theory in Britain, 1500-1700: Critical Editions. Aldershot, UK: Ashgate, 2007.
Bond, Timothy. “Britten’s Music for Organ: Some New Discoveries.” Musical Times 145 (Summer 2004): 51-7.
Bono in Coversation with Michka Assayas. With a foreword by Bono. New York: Riverhead Books, 2005.
Boydell, Barra. A History of Music at Christ Church Cathedral, Dublin. Woodbridge, UK: Boydell & Brewer, 2004.
Bradley, Ian. Oh Joy! Oh Rapture! The Enduring Phenomenon of Gilbert and Sullivan. Oxford: Oxford University Press, 2005.
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