The North American British Music Studies Association

The North American British Music Studies Association

Conference Program 2010

Drake University in Des Moines, Iowa
July 29-August 1, 2010.

Thursday, July 29

Conferees arrive.

2:00-4:00: Session I
Tudor Music Reception – Chair: TBD
“London’s Madrigal Society and the Reception of William Byrd’s Sacred Music;” Samantha Bassler

“John Baptist Cramer, Historicism and the London Pianoforte School;” Janet Pollack

“Peter Warlock’s Transcriptions of Tudor Era Music: Working towards Locating a Tudor-Inflected Sound;” Emily Hoyler

4:00-4:15: Break

4:15-5:05: Session II – Lecture-Demonstration
The Poor Solider: A Comic Opera Performed to Universal Applause;” Ann-Marie Schwartz and Brett L. Wery

5:15-6:45: Reception/Dinner

7:00-8:00 p.m.: Keynote Address, Philip Olleson; Title TBA

8:15-9:05 p.m.: Session III – Lecture-Demonstration

“A Few of the More than 2,000 Catchy Songs Composed by James Hook;” Mary Vickrey

Friday, July 30:

9:00-11:40 a.m.: Session IV
Vaughan Williams, Deciphered; Chair: TBD

“‘Trouble in Paradise’: Vaughan Williams’s Flos Campi Reconsidered;” Ryan Ross

“Vaughan Williams’s Reflections of War: Detachment in the Pastoral Symphony and Along the Field;” Jacob Sagrans

“‘A Little French Polish’: Vaughan Williams’s Lessons with Ravel;” Byron Adams

“Vaughan Williams and the BBC: Mapping Antemortem Legacy through Narrative Coding;” Jenny Doctor

Scottish Folk Ideal(s); Chair: Aidan Thomson
“Frances Tolmie and the Genesis of Gaelic Song;” Dorothy de Val

“Northern Antiquities: Scottish Folksong through the Lens of German Romanticism;” Sarah Clemmens Waltz

“Scotland and the Sea: Bantock’s Hebridean Symphony (1915);” Jennifer Oates

12:00-1:15 p.m.: Lunch

1:30-3:30: Session V
English Opera, English Drama – Chair: TBD

“Claggart’s Monologue and the Britten-Forster Collaboration in Billy Budd;” Michelle Fillion

“Tableau and Tragic Heroes: Dramaturgical Aims in Vaughan Williams’s Stage Works;” Eric Saylor

“The Tower and the Lake: Interior and Exterior Spaces in Benjamin Britten’s The Turn of the Screw;” Danielle Ward-Griffin

Nineteenth-Century Musical Life – Chair: Donna Parsons
“‘His Beat is Clear and Decisive’: Max Bruch as Conductor of the Liverpool Philharmonic Society in the early 1880s;” Fiona M. Palmer

“‘A Melodious Phenomenon’: The Life and Times of a Town Hall Organist;” Rachel Milestone

“Art, Commerce and Artisanship: Violin Culture in Late Nineteenth-Century Britain;” Christina Bashford

3:30-3:55: Break

3:55-5:15: Session VI
Radical Victorians? – Chair: TBD
“‘Uneven Developments’: Claribel and the Mid-Victorian Press;” Rachel Lumsden

“Samuel Sebastian Wesley: An English Romantic?” Peter Horton

Electrifying the Nation; Chair: TBD
“Nationalism and the Reception of Andrew Lloyd Webber’s The Phantom of the Opera” Amanda Eubanks Winkler

“‘Roll Over Vaughn [sic] Williams’: Richard Thompson and the Predicament of ‘Electric Folk;’” Julian Onderdonk

6:00 p.m.: Conference Banquet

Saturday, July 31:

9:00-11:40 a.m.: Session VII
Constructing Britten and Britten’s Constructions – Chair: TBD

“‘& All of Them N.B.G. [No Bloody Good]’: A Chronology of the Discarded Versions of Benjamin Britten’s Auden Setting, Let the Florid Music Praise;” Vicki Stroeher

“‘What is Tonal?’ Britten’s Early Music from the Avant-Garde to the Triad;” Philip Rupprecht

“Britten (and Pears’s) ‘Beloved’: Passion and Control in the Canticle I;” Louis Niebur

“Britten the Anthologist;” Kevin Salfen

Trends in the (Second) English Musical Renaissance – Chair: Christina Fuhrmann
“Recitative and Parlando in the Savoy Operas;” Brooks Kuykendall

“Flying the Flag, But Which One? A Tangled Web of Identities in Stanford’s ‘Irish’ Symphony;” Jonathan White

“Towards a Critical Edition of Coleridge-Taylor’s Symphony in A Minor: Sources, Chronology, and Issues;” John Snyder

“Innocents Condemned: An Examination of Ethel Smyth and Francesca da Rimini;” Amy Zigler

12:00-1:15 p.m.: Lunch

1:30-3:30 p.m.: Session VIII
Re-Storying the Restoration; Chair: Linda Austern

“The Challenge of Domesticity in Men’s Manuscripts in Restoration England;” Candace Bailey

“Jeremiah Clarke and Michael Wise: Plagiarism, Adaptation or Misattribution of Two Anthems?” Louis Brouillette

“St. Cecilia’s Day: A Politically-Disharmonious Holiday?” Stacey Jocoy Houck

Tippett and Lambert; Chair: Deborah Heckert
“Self Quotation, ‘Lateness,’ and Sir Michael Tippett’s Fourth Piano Sonata;” John Schuster-Craig

“‘Love under the Shadow of Death’: Remembrance, Pacifism and the Composition of Michael Tippett’s The Heart’s Assurance;” Justin Vickers

“The Sources of Constant Lambert’s Tiresias;” Helen Macfarlane

3:30-3:55 p.m.: Break

3:55-5:15 p.m.: Session IX

Celebrating Albion; Chair: Anthony Barone
“‘No Dull Academic Jamboree . . . But a Rich and Exciting Experience’: Performing the Canon of English Music in the 1951 London Season of the Arts;” Nathaniel G. Lew

“The Problem with a Festival: Aesthetic and Theological Objections to Nineteenth Century Musical Festivals;” Charles Edward McGuire

18th-Century Musical Tastes – Chair: Alyson McLamore
“‘A Total Revolution in our Musical Tastes’: J. C. Bach’s Orchestral Style, and the ‘Re-’Shaping of English Musical Taste;” Ann van Allen-Russell

“Viewing Madness from a Safe Distance: A Study of the Mad Songs of Henry Carey (1689-1743);” Jennifer Cable

5:45-7:15 p.m.: Dinner

7:30-9:50 p.m.: Session X
Singing Bodies; Chair: Ruth Solie

“Fashioning an English Opera Singer: The Other Mrs. Robinson;” Kathryn Lowerre

“Coming to Terms with Jenny Lind in Victorian England;” Roberta Montemorra Marvin

“‘The Wretched Queen of Love’: Court Politics and Sexual Intrigue in John Blow’s Venus and Adonis;” Beth Hartman

Sunday, August 1:

Breakfast (until 8:45 a.m.)

Conferees depart; morning leisure activity TBA