AMSGNY Meetings

The Winter Meeting of the AMSGNY will take place online on Saturday, February 1, 2025.  All are welcome.  

The Zoom link is:

https://us02web.zoom.us/j/4861123413?pwd=c0podGRzbVVtZnUwd2pBMGpFVm41UT09

Program:

Performance Issues  10 AM-11 AM

Global Music Workshop Jam Sessions

Shirley Mak (Brown University)

 

“To Promote and Sustain”: A Case Study for Race, Gender, and Music in Women’s Barbershop Quartet Singing in the 1950s

Justin Sextro (Southern Illinois University}

 

Composer Issues  11:15 AM-12:15 PM

A Gift from the Union of Soviet Composers: A Regendl by Grigori Kompaneyets

David Schiller (University of Georgia)

 

The Hidden Hero and Double Trope: Leitmotivic Development and Narrative Meaning in Final Fantasy Tactics (1997)

Richard J. Anatone (Prince George's Community College)

 

Organology Issues  12:30 PM-1:30 PM 

Battle of the Bands: Adolphe Sax’s Sonic Fusillades and the Military Politics of Timbral Homogeneity

Samuel T. Nemeth (Ohio Wesleyan University)

 

Instruments Before Sound: Visual Techniques in the Violin making Workshop and Beyond

Juliet Glazer (University of Pennsylvania)

The Hidden Hero and Double Trope: Leitmotivic Development and Narrative Meaning in Final Fantasy Tactics (1997) Richard J. Anatone  {Prince George's Community College}

              Final Fantasy Tactics is widely celebrated for both its compelling story and leitmotivic soundtrack. Its most curious leitmotif is “Hero’s Theme”: doing little to instill optimism, it is instead presented as a lament in the singing style, reflecting the tragic nature of protagonist Ramza Beoulve (Day-O'Connell 2014). And yet, despite its mournful lyricism and lack of marches and fanfares, Ramza’s theme is successfully appropriated into other themes, many of which occupy the victorious and tragic realms of the heroic mode (Hatten 2014). The question arises: how can a theme that lacks such overt references to militarism be so easily transplanted into the heroic style? There seems to be something hidden within Ramza’s theme that suggests the heroic.

Using Ramza’s theme as a case study, I identify a new hidden hero topic: one that acts as a trope on the entire heroic topical field itself. I demonstrate ways in which this topic affords composers unique opportunities for narrative foreshadowing and commentary through what I call the double trope. By stripping the theme to its prototypical form, I reveal its hidden heroic nature through its intrinsic musical attributes associated with militarism (Bribitzer-Stull 2015, Monelle 2004). I then address several of its transformations and developmental variations as different tropes on the heroic style through their interaction with the prototype’s heroic identity. I conclude by addressing the double trope in its transformation “Memories,” which reveals layers of hidden narrative meaning regarding Ramza’s relationship with his childhood friend, their shared past, and their ill-fated quests that arise from their divergent military pursuits.

Richard Anatone currently serves as Professor of Music Theory and Coordinator of Applied Music at Prince George's Community College in Largo, MD. His research interests primarily surround leitmotivic design in narrative media. He has been published in Music Theory Spectrum, Music and the Moving Image, and the Journal of Sound and Music in Games. His edited collection The Music of Nobuo Uematsu in the Final Fantasy Series was published in 2022 by Intellect Publishing, and his co-edited collection Music and Remedated Storytelling: The Convergence and Divergence of Music in Video Games and Film will be published in 2025.

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Global Music Society Jam Sessions

Shirley Mak (Brown University)

Jam sessions are often seen as spontaneous events where musicians improvise together in easy conversation. What may not be apparent are the genre-specific conventions and shared musical idioms that drive such jams, such as in bluegrass or jazz jam sessions. What happens when jam sessions are organized as part of an intercultural experience? Almost annually since 2015, musicians with diverse musical and cultural backgrounds have collaborated in bands led by a faculty of professional musicians at the weeklong summer Global Musician Workshop (GMW). The workshop features nightly jam sessions that are optional, but are often well attended. These jam sessions usually include a national or cultural “theme,” such as “Persian/Iranian” or “Chinese.”

     Given the interculturality of the workshop, GMW jam sessions seemingly confirm the idea that music can forge bonds across cultural boundaries with more ease than spoken language. However, the diversity of the participants’ backgrounds also meant that not everyone felt equally comfortable participating in the jam sessions. Drawing on observations of past GMW sessions, and from interviews with participants, faculty, and administrators, I explore the GMW jam sessions as a space of cultural encounters. How do varying types of musical expertise affect the jamming experience? What are some unique obstacles and rewards? What might be the shared language of these intercultural jam sessions? By addressing these questions, I hope to contribute to the broader discourse around music as a means of community building and connection across cultural boundaries.

 

Shirley Mak is a Musicology/Ethnomusicology Ph.D. candidate at Brown University. Her dissertation research focuses on intercultural collaborative music making within the Silkroad Ensemble and Global Musician Workshop. Her interests also include issues of music and identity, the impact of globalization on music (including the diasporic and transnational in music studies, and world music), and the inclusion of postcolonial theories and global discourses in Western classical music pedagogy. She received her M.A. in Musicology from the University of Amsterdam, and her B.A. in Music from Queens College, CUNY.

Battle of the Bands: Adolphe Sax’s Sonic Fusillades and the Military Politics of Timbral Homogeneity

Samuel T. Nemeth (Ohio Wesleyan University)

The April 22, 1845 performance contest on the Champ de Mars—which Patrick Péronnet labeled a “musical war” and which I refer to as a “Battle of the Bands”—sparked comparisons between the new instruments of Belgian inventor Adolphe Sax and French military weaponry. Contemporary eyewitness accounts and satire from Le Charivari depicted players “armed” with weapons and even “slain” musical combatants. This event demonstrated the inextricability of militarism and musical instrumentation in mid-nineteenth century France. As I argue, the French military’s quest to improve its soundworld by adopting Sax’s instruments was inseparable from its standardizing of artillery (Valée) and its improving the lethality of its long-barreled firearms (Delvigne). Sax’s instruments provided audibility outdoors, high volume levels, and timbral homogeneity, delivering a massed core of sound—a tight grouping of “musical bullets”—with a high degree of accuracy.

But such a concentration of sound could also be dangerous. Reception of Sax’s instruments, including Sax trumpets and the gargantuan Bourdon Saxhorn, frequently described their destructive power. And in 1852, Sax unveiled his new Saxtubas during Halévy’s opera, Le Juif errant, and at a military ceremony on the Champ de Mars. Witnessing their massive volume and high concentration of sound, Le Ménestrel suggested that these “artillery of brass” would make the trumpets of Jericho seem miniscule and could cause listeners’ ears to bleed. Musical bombardments thus went hand-in-hand with an increasingly lethal military enterprise, fulfilling a definition of “sonic warfare” more than 150 years before Steve Goodman described the concept.

“To Promote and Sustain”: A Case Study for Race, Gender, and Music in Women’s Barbershop Quartet Singing in the 1950s

Justin Sextro  (Southern Illinois University, Carbondale)

 

This paper examines the Belles of Harmony, a women’s barbershop chorus from Peoria, Illinois, and their engagement with barbershop ideology in the 1950s. When they formed in 1948, the Belles entered a musical field dominated by white male performers and organizations, most notably the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (SPEBSQSA). Although a similar organization for women, Sweet Adelines, Incorporated (SAI), was founded three years before the Belles of Harmony, the public perception of barbershop as a male-dominated genre—characterized by four men in boater hats and striped vests—was already firmly established.

 

I argue that the participation of the Belles of Harmony in barbershop singing complicates our understanding of how race, gender, and music intersected in the formation and negotiation of barbershop ideology. Previous scholarship has deconstructed the racial mythologies associated with the genre, showing its debt to Black musical traditions; however, less attention has been paid to the role of women in shaping both barbershop’s musical and ideological discourse. Drawing on archival materials related to the Belles of Harmony’s 1950s choral concerts, I examine how this group positioned itself socially, musically, and ideologically within the barbershop tradition. These documents reveal that the Belles foregrounded women’s barbershop talent while also engaging with preexisting racial ideologies. As an independent organization that later joined Sweet Adelines, Inc., the Belles of Harmony provide a unique lens through which to broaden the historical narrative of organized barbershop singing and deepen our understanding of how gender and race were negotiated in mid-twentieth-century American music.

 

Justin Sextro is Assistant Professor and Humanities Librarian at Southern Illinois University in Carbondale. He is also PhD candidate in musicology at the University of Kansas. In addition to his work on women’s barbershop quartets, he actively researches music in video games. He has presented his work at the Society for American Music and the American Musicological Society.

A Gift from the Union of Soviet Composers: A Regendl by Grigori Kompaneyets

David Schiller (University of Georgia)

 

Grigori Kompaneyets (1881-1959) was a Ukrainian Jewish composer. Early in his career, he was associated with the (Russian) New Jewish School, and in the late 1920s, he worked in Palestine with the Habima Theatre. In the 1930s, he returned to the Soviet Union and worked there successfully, as a composer, conductor, and teacher. From 1940 to 1952, he was a professor at the Kyiv Conservatory.

As this biographical sketch suggests, Kompaneyets has a place in at least three music histories: Ukrainian, Soviet, and Jewish. But he also has a place in American music history! Among his other accomplishments, he composed A Regendl, a modern choral setting of a Yiddish children's song by Joel Engel. This piece had a significant role in the field of cultural diplomacy: it was presented as a gift from the Union of Soviet Composers to John Finley Williamson and the Westminster Chorus during their visit to Moscow, in 1934.

When the Westminster Chorus returned to the United States, Williamson gave A Regendl a prominent place in the group's repertoire, including a Carnegie Hall premiere. Thirty years later, in 1964, the Carey College Chorale in Hattiesburg, Mississippi, made the only known recording of A Regendl. Nevertheless, errors of mistranslation and misattribution, apparently dating back to Williamson himself, effectively erased Kompaneyets from A Regendl's American reception. He remains largely unmentioned in English-language musicology, and there is no entry for him in Grove Online. This presentation will reintroduce him to the Greater New York musicological community.

David Schiller is a musicologist and a retired faculty member of the Hugh Hodgson School of Music, University of Georgia, where he taught a wide range of courses in music history and music in general studies. His post-retirement publications include “Sacred Service: The Mass Bloch Never Wrote, the Two that Leonard Bernstein Did Write, and Shulamit Ran’s Credo/Ani Ma’amin,” in Ernest Bloch Studies (Cambridge University Press, 2016), and “The Shakespearean World of Music,” co-authored with the late Christy Desmet, in The Shakespearean World (Routledge, 2017). He is currently working with Joel Overall, Belmont University, on an edited collection of Kenneth Burke’s music and writings about music. His interest in the Ukrainian-Jewish composer Grigory Kompaneyets (1881-1959) grew out of this related exploration of New York City concert life in the 1920s and 1930s, especially as reflected in Burke’s concert reviews.

 The fall meeting will take place at the CUNY Graduate Center, room 3491, on Saturday, September 14.  The program, absracts, and bios follow:

10 AM – 12 Noon  Session 1—American Music

Should We Document the Dark Backwaters of Fame, Celebrity and Fandom?

Artis Wodehouse (Bronx, NY)

 

Failure to Cross Over?  Eva Gauthier and Jazz in the Concert Hall

Madison Spahn (CUNY Graduate Center)

 

What’s in a Name? The Story Behind the Stencil

William E. Hettrick (Hofstra University)

 

“The Grand Symphonic Vision”: Tracing Central Park and its Musical Landscapes, 1858-1874

Elizabeth Frickey (NYU)

 

12 Noon – 12:45 PM—Lunch

 

12:45 PM – 1 PM—Business Meeting 

 

1 PM – 3 PM Session 2—Operatic and Symphonic Music

Was Schoenberg Great?

Wayne Alpern (New York, NY)

 

The “Schatten Leitmotif”:  In/fertility Aesthetics in Strauss Die Frau ohne Schatten

Madison Schundele (CUNY Graduate Center)

 

The Other Program to Florence Price’s Ethiopia’s Shadow in America (1932)

Ruth Ochs (Princeton University)

 

Characterization Through Text-Setting in Mozart’s Entführung

Danielle Bastone Barrettara (Wurlitzer-Bruch Music Antiquarians)

 

 

Should We Document the Dark Backwaters of Fame, Celebrity and Fandom? 

by Artis Wodehouse

The George Gershwin/ Julia Van Norman 1927-1937 correspondence and the 1994 Horace Van Norman/Artis Wodehouse interviews 

Preserved in the Library of Congress in the Gershwin Collection are a series of letters exchanged between George Gershwin (1898-1937) and Julia Van Norman (1905-1996).  The extant letters from both sides were finally reunited at the Library of Congress in roughly 1990.

It is possible that a number of letters were either destroyed or lost, but the fact that so many survived — forty-two from Julia Van Norman to George Gershwin and nine from George Gershwin, to Julia Van Norman — provides testimony to the nature and significance of the relationship.

I became aware of this hitherto unknown correspondence in 1985 when Horace Van Norman — Julia Van Norman’s husband (1905-1995) —  approached me after a performance I had given in Palo Alto, California  In 1994, I conducted an extensive series of taped interviews with him, that —  while centering on his knowledge of the music of the Gershwin era (he was a musician and aspiring composer) —  also touched upon aspects of his situation with his wife and his wife’s relationship with Gershwin. I donated these taped interviews to Yale’s Oral History of American Music.

My paper will give an overview of both the correspondence and the 1994 interviews. It will also summarize information gleaned from these sources that may have value toward widening our understanding of the uniquely lived musical, cultural and social forces surrounding the lives of these three individuals. 

 

Biography

Artis Wodehouse is a pianist, harmoniumist, pianolist and MIDI editor. During the decade 1990-2000 she produced a number of CDs and print publications centering around piano rolls and 78-rpm recordings of Gershwin-era pianists and composers. Several of her interviews are available on academia.edu. Wodehouse’s most widely-distributed CD (issued 1993) is “Gershwin Plays Gershwin” on the Nonesuch label, which to date has sold a half-million copies. During the 1990s and early 2000s she also interviewed a number of people then still alive who had contact with either Gershwin or those in his musical orbit. Wodehouse holds a BM from the Manhattan School of Music, an MM from Yale, and a DMA from Stanford, each degree in piano performance. 

 

                                               Failure to Cross Over? Eva Gauthier and Jazz in the Concert Hall

                                                                                         Madison Spahn

 

In 1923, in a recital at New York’s Aeolian Hall, Canadian mezzo-soprano Eva Gauthier performed for the first time a set of American popular songs by George Gershwin, Irving Berlin, and Jerome Kern. Throughout the following two years, Gauthier toured with a program entitled “Java to Jazz,” which in addition to popular song featured her typical mélange of opera arias, contemporary art music by composers like Schoenberg and Ravel, and arrangements of traditional Javanese and Malay folk songs, which she had studied during her four years living in Java.

 

Though many composers, including Gershwin, received accolades for “uplifting” and “domesticating” jazz for the concert hall in the 1920s, Gauthier’s experiments with jazz were not universally well received. Many critics mocked her application of classical vocal technique to jazz and ragtime and questioned whether such music, associated with debauchery and mass consumption, belonged in the recital hall. In this paper, I consider this critical dichotomy and argue that three main factors contributed to the relatively unenthusiastic reception of Gauthier’s “Java to Jazz” programs: perceptions of cultural authenticity surrounding jazz performance, Gauthier’s perpetuation of a “highbrow” and intellectualizing stance towards popular music, and standards of propriety that functioned to exclude upper- and middle-class women from the jazz milieu. Exploring the sociocultural circumstances surrounding Gauthier’s performances provides a lens through which to examine the role that jazz played in larger debates about race, gender, and popular culture in the interwar period.

 

Bio:

 Madison Spahn is a doctoral student in historical musicology and women’s and gender studies at the City University of New York’s Graduate Center and an Adjunct Lecturer in music at Queens College. Her research focuses on late nineteenth- and early twentieth-century Franco-American musical relations, particularly through French chanson performance, representations of gender and sexuality through musical performance, and women as musical intellectuals and pedagogues.

 

Ms. Spahn holds an M.M. in Voice Performance from Boston Conservatory and a B.A. in music from Duke University. In addition to her scholarly work, she is an active performer and church musician.

 

What’s in a Name? The Story Behind the Stencil

William E. Hettrick

 

The term “stencil piano” is understood by those who have at least a basic knowledge of the history of the American piano industry as referring to a piano bearing a name other than that of its manufacturer. Most books on this history characterize the phenomenon as a means of deceiving the public and trace this illegitimate activity back to the New York manufacturer Joseph P. Hale, who was accused of the practice by the journalist John Christian Freund in 1875. But Hale was not the originator of this dubious distinction, for I have discovered a similar act of fraudulent dealings in keyboard instruments that took place some twenty years earlier. This paper traces the colorful history of the “stencil menace” from its origins up to the present day, evaluating types of associated activity both negative and positive and identifying  historical figures in the industry (including manufacturers, dealers, trade-journal editors, and politicians) who famously combatted or championed it. A handout includes lists of hundreds of stencil names (undocumented) drawn from two major sources.

 

               Recent publications by William E. Hettrick include Johann Herbeck, Mass in E Minor (A-R Editions, 2019); “Johann Herbeck’s Edition of Choral Works by Franz Schubert: History and Analysis,” Nineteenth-Century Music Review, 16 (2019), pp. 349–382; The American Piano Industry: Episodes in the History of a Great Enterprise (Pendragon Press; Edwin Mellen Press, 2020); “Out in Front: The American Cabinet Piano-Player at Home and Abroad,”  Journal of the American Musical Instrument Society, 49 (2023), pp. 5–60; and Johann Herbeck, Selected Sacred Works for Mixed Chorus and Men’s Chorus with Accompanying Instruments (A-R Editions, 2024).

 

      “The Grand Symphonic Vision”: Tracing Central Park and its Musical Landscapes, 1858-1874

                                                                      Elizabeth Frickey

In April of 1858, landscape architects Frederick Law Olmstead and Calvert Vaux were officially selected as the architects of what would become Central Park. Their plan would provide New Yorkers with 843 acres in which to experience not only an imagined countryside away from the stresses of urban life, but also a variety of recreational and cultural enrichments, including regular concerts performed by a saxhorn band under the direction of bandmaster Harvey B. Dodworth. These free public concerts drew thousands of listeners, especially “the wealthy, the aristocratic, the luxurious, or the lazy” and, according to more florid journalistic depictions, even charmed the “Hamburg swans” with “the notes of the great German composers sailing in the upper air.”

Musical performance has been a key component of Central Park’s identity and function with the New York City landscape since its inception. These early concerts mark only a small portion of the musical performances featured over the years, and yet the extensive exercise of control over the park’s musical output by the early Board of Directors has direct analogies with contemporary policies of the NYC Parks Department. This paper explores the early musical history of Central Park and its relationship to this constructed landscape: a landscape which also displaced hundreds of lower class and racial minority residents when it was constructed. By diving into archival sources, I examine more critically the social goals of Central Park and its musical diversions, as well as the Arendtian publics they were intended to serve. 

 

Bio: Elizabeth Frickey (she/her) is a Ph.D. student in musicology and MacCracken Fellow at New York University. Prior to her studies at NYU, she earned her master's degree in musicology at Indiana University and her bachelor’s degree in Instrumental Music Education from Florida State University. Her current research examines the cultural, ecological, and political impact of community gardens and other urban greenspaces through the lens of music and sound. Elizabeth has presented her work in numerous settings, including meetings of the American Musicological Society, Society for American Music, Society for Literature, Science, and the Arts, and the 2023 Music, Research, and Activism conference.

Was Schoenberg Great?

 Abstract

             Was Schoenberg great? We are beyond the stage where his music was just a promise or noble experiment, to one where it must now be weighed on the scales of artistic achievement. What is his legacy, not next to other modernists, but next to Bach and Mozart? Is he ever that original, that exalted, or profound? We might inquire, with Coleridge: what’s the difference between a great mind and a merely strong one?

 Can we ask, as one critic did of Henry James, whether Schoenberg was “merely excessively ingenious?” Is his music too self-conscious, extravagant, and pretentious? To what extent was he motivated by vanity and self-consciousness as a composer? To what degree are his ideas about him rather than music itself? Like Stravinsky, he had the gift of charisma, which makes up for a thousand faults. But are we attracted by his charisma more than his music? 

 Schoenberg may have been haunted more by the idea of the great artist rather than the great work of art. Music was a mode of identity and self-proclamation. Its function was autobiography, to defend and define himself. In some respects, Schoenberg could never get past himself. The force of character was so powerful that even he succumbed to its spell. His music became a manifesto, and that, rather than the music, became his raison d’être. Schoenberg was possessed by what Santayana calls an “intellectual ambition,” not just to hear his music performed, but to make himself revered and historically significant.

 

Wayne Alpern is the recipient a Lifetime Membership Award from the Society for Music Theory in 2010 bestowed “in recognition of truly outstanding contributions to the field of music theory.” He is a graduate of the doctoral program at CUNY Graduate Center and founded and directed the Mannes Institute for the Advancement of Music Theory from 2000–11. Alpern is an independent scholar writing a forthcoming book on Schenkerian Jurisprudence: The Influence of 19th-Century German Legal Theory on 20th-Century Musical Thought to be published by Olms. He was legal counsel for AMS for many years.

 

                    The “Schatten Leitmotif:” In/fertility Aesthetics in Strauss’ Die Frau ohne Schatten

                                                                                  Madison Schindele

Abstract: From mad divas wielding daggers to sopranos coughing blood, performances of disabled women, whether mad or tuberculosis-ridden, pervade the operatic repertoire. While opera scholarship on gender and disability has covered a range of disability topics, the common, gendered narrative of in/fertility has not yet been addressed. Informed by the social model of disability, in/fertility emerges as a construction of deviance; where reproduction functions as central to cultural conceptions of womanhood, in/fertility disables women from fulfilling this gendered expectation. My research addresses this gap by investigating in/fertility representation in Richard Strauss and Hugo von Hofmannsthal’s opera Die Frau ohne Schatten (1919). This paper will share my theorizing of musical in/fertility aesthetics identified in Die Frau ohne Schatten, specifically investigating Strauss’ “Schatten” leitmotif. The plot of Die Frau ohne Schatten centers on the barren Empress who must venture into the human world to buy a shadow, Hofmannsthal’s metaphor for fertility. Throughout the opera, each time the Empress’ lack of shadow is mentioned, the “Schatten” leitmotif, an arpeggiated, ascending [027] is sung or played across instruments. I argue that the “Schatten” leitmotif emerges as an in/fertility aesthetic, characterized by indeterminacy, a detachment from tonic contextualization, directional stasis, and repetition without closure. While my larger dissertation project includes a close reading of Hofmannsthal’s libretto, contextualizing the in/fertility narrative within the social context of reproduction in interwar Vienna, this paper argues that through the score of Die Frau ohne Schatten itself, in/fertility is employed as a musical aesthetic through the “Schatten” leitmotif.

Bio: Madison Schindele (she/her) is a PhD candidate in musicology at the Graduate Center and adjunct lecturer at Queens College. Her research centers on disability in opera, specifically, representations of infertility in German operas of the early 20th century. 

 

                     The Other Program to Florence Price’s Ethiopia’s Shadow in America (1932)

                                                                       Ruth Ochs

 

Florence Price’s Ethiopia’s Shadow in America is one of the composer’s boldest symphonic statements. It fully displays her artistic mission to explore reconciling African-American history and musical idioms into the rarefied and elitist realm of orchestral concert repertory. To help audiences understand Ethiopia’s Shadow in America, Price wrote a short narrative program to explain the music’s three-part journey. The program is published with the full score and often accompanies concert programs. 

 

This presentation will examine the degree to which Price’s words reflect the message suggested in the music. In particular, the music of the opening and close of Ethiopia’s Shadow in America will be considered for what imagery it vividly suggests beyond Price’s program. About the closing section, she shared a description of the African-American “adaptation” and the “fusion of his native and acquired impulses.” The “fusion” suggested in the music, however, is in no way one of hopeful reconciliation or uncomplicated equilibrium: her orchestration and musical figures depict discomfort and vivid harshness. Requiring performers and audiences to take Price at her sincerest in her music, the music’s disharmony with Price’s verbal program allows us to decode the nuanced precarity of her moment in musical history. She compels us to hear for ourselves that progress had not yet been achieved. Through a nuanced understanding of score and sound, Price’s Ethiopia’s Shadow in America acknowledges a vivid racial and cultural imbalance in twentieth-century America.

 

Bio: 

Dr. Ruth Ochs is a conductor, scholar, and educator based in central New Jersey. She is the conductor of the Princeton University Sinfonia, a co-curricular campus orchestra. The ensemble performs a wide variety of repertory, including regularly presenting new works by Princeton University undergraduate composers. Passionate about nourishing and inspiring musicians of all ages and aspirations, Dr. Ochs shares her time with community initiatives and is in her twentieth season as conductor of the Westminster Community Orchestra. As a scholar, she has focused on women composers and Polish music, and has published previously unpublished songs of Fanny (Mendelssohn) Hensel. She holds degrees in music, orchestral conducting, and music history, from Harvard University, the University of Texas at Austin, and Princeton University, respectively. She is currently Senior Lecturer in Princeton University’s Department of Music.

                                    Characterization Through Text-Setting in Mozart’s Entführung

                                                             Danielle Bastone Barrettara

On the subject of Mozart’s German-language text-setting, there are several studies that inventory the recurring rhythmic patterns with which Mozart set the various poetic meters of his Singspiel libretti (Lippmann 1978, Webster 1991, Schmid 2003). Although these surveys reveal much about the ways Mozart both observed and eschewed the text-setting conventions of his day, they do not consider the possible dramaturgic motivations behind his choices on any broad scale—that is, across a complete opera or character portrayal—and tend to favor Die Zauberflöte above his first Singspiel triumph, Die Entführung aus dem Serail.

This paper will identify and analyze two rhythmic patterns that Mozart reserves for specific dramaturgic purposes throughout the text-setting of the Entführung. The first is a syncopated setting, often paired with a rising melodic contour, that accompanies the heroine Konstanze’s many expressions of grief. This expressive association is so firmly established by Act II that Mozart can thereafter deploy the pattern in the orchestral accompaniment to wordlessly evoke her pain. The second is a downbeat-oriented pattern that, being sung exclusively by Turkish characters, becomes a distinguishing element of Turkish characterization that goes beyond the caricatured gestures of the alla turca idiom. Drawing from research on the compositional order of the opera (Melamed 2003), I will further suggest that this latter pattern may have informed the principal rhythmic motives of the “Turkish” overture. Together, these analyses will offer a new perspective on the Entführung, the dramaturgic subtleties of which are frequently undervalued amongst Mozart’s mature operas.

Danielle Bastone Barrettara is Head of Research at Wurlitzer-Bruck Music Antiquarians and holds a Ph.D. from The Graduate Center of the City University of New York. She is also an editor at the Music in Gotham project. Her work focuses on rhythm, text-setting, and meter in Mozart’s Singspiels. Danielle’s most recent article, on phrase structures in the Entführung, was published in Theory and Practice this spring, and her forthcoming study of text-setting in Mozart’s Zaide will appear in the same journal next year.

 

 

 

 

 

 

 

The spring meeting of the Greater New York Chapter of the AMS will take place on Saturday, May 18^th, over Zoom.  All are welcome to attend.   The Zoom code is https://us02web.zoom.us/j/4861123413?pwd=c0podGRzbVVtZnUwd2pBMGpFVm41UT09

10-11 AM Session 1—Popular Song

Who Are You, Miss Simone?: Vocal Androgyneity and the Acousmatic Question

Amanda Paruta (University at Buffalo (SUNY)

An “Over the Rainbow” Precedent? Nostalgia, Borrowing, and MGM’s THE WIZARD OF OZ (1939)

Laura Lynn Broadhurst (Rutgers University)

11:30-12  Business Meeting

12-12:30  Lunch Break

12:30-2:30 PM Session 2—Music from the 16^th-19^th Centuries

A Tapestry of Devotion: The 12 Lassus Chansons in Simon Goulart’s Cinquante Pseaumes de David (Heidelberg 1597)

Bethany Brinson (Eastman School of Music)

An American Business Romance:

The Career of John Valentine Steger, Piano Manufacturer

William E Hettrick (Hofstra University)

Tancrède’s Crusade: A Military View of Campra’s Opera

Catherine Ludlow (University of Washington)

Music Lessons for the Discerning Woman in Seventeenth Century Spain

Deborah Lawrence  (St. Mary’s College of Maryland)

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A Tapestry of Devotion: The 12 Lassus Chansons in Simon Goulart’s Cinquante Pseaumes de David (Heidelberg 1597)

     In 1597, Genevan Protestant cleric, poet, and editor Simon Goulart (1543-1628) compiled the Cinquante Pseaumes de David (Heidelberg 1597), a substantial volume of music printed by Jerôme Commelin and dedicated to the Amsterdam Collegium Musicum.  Of the 70 works within, 50 are strophic settings of Psalms set to compositions by Orlando di Lasso, in a hybrid kind of contrafacta where Goulart artfully superimposes pre-existing text onto Lassus’ pre-existing music.  Lassus was widely admired for his exceptional ability to integrate music with text in moving and meaningful ways, thereby imbuing the music with a sensitivity and poignancy that would have appealed to Goulart’s Protestant circles, even with the altered texts (only sacred or “expurgated” texts were acceptable for recreational singing).  In what ways does Goulart’s use of Lassus’ expressive abilities, particularly in the 12 five-voice French chansons featured, develop (and go beyond) the prevailing intentions of chansons spirituelles in order to create a "tapestry of devotion”?  By examining the text-music enmeshment that Goulart carefully weaves, I demonstrate Goulart’s prioritization of the affections as the listener-performer becomes “one” with the words. 

     Curiously, as Simon Groot suggests, Goulart tries to distance (rather than merely separate) listeners' attention from the original chanson lyrics, while at the same time retaining the potent text-united-to-music qualities.  Distancing listener-performers from associations may facilitate a personal internalization.  By exploring examples of affective integration in the twelve Lassus chansons, I illuminate the ways in which Goulart’s decision-making, both in compilation and reworking, takes inspiration from the music’s inherent expressive intentions. 

 

Bethany Brinson, originally from North Carolina, is a second-year Ph.D. student in musicology at the Eastman School of Music. Her research interests include 20th-century sound art and continued experimental and poststructural approaches to composition, particularly involving mimesis and naturalism. She has participated in intensive learning experiences to support and supplement her research, notably joining an immersive summer 2023 course abroad in France to study spectral music. In addition to her studies and scholarship, she maintains an active performing career, having collaborated frequently with composers, singers, instrumentalists, and ballet ensembles. She recently joined the collaborative piano staff at Nazareth University.

 Bethany graduated from Indiana University in 2022 with a B.M. in piano performance, a B.A. in mathematics (with highest distinction), and a minor in French. Motivated by the transformative power of music, she is pursuing a multifaceted career in teaching, writing, performing, composing, and collaborating. Outside of all things music, Bethany enjoys drawing, creative writing, birds, and spending time outdoors.

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Laura Lynn Broadhurst (Rutgers University)

In recent decades, the nostalgic reception of MGM’s The Wizard of Oz has led to considerable hagiography of the film. This paper challenges such adulatory commentary by disclosing a startling revelation: MGM’s more than likely borrowing of the title and opening plot device from a 1915 operetta entitled Over The Rainbow. I first clarify U.S. copyright law about titles, confirm the operetta’s popularity across the U.S. (particularly through 1929), and pose several key questions: did Oz lyricist Yip Harburg know about this operetta prior to his MGM assignment? Alternatively, did someone at MGM tell him about it? If so, who might that have been, and when could this have occurred? The ensuing discussion explores several topics: an overview of the operetta and its obvious parallels to MGM’s Oz (accompanied by images from a rare 1915 piano-vocal score acquired for this project); Harburg’s possible pre-Oz familiarity with the work; and numerous documented performances of the operetta in NYC (Harburg’s home city) and southern California (near innumerable MGM personnel). I then propose the most likely candidate to have introduced the operetta’s dramatic ideas to the 1939 movie: MGM screenwriter Florence Ryerson, with whom Harburg worked on Oz’s screenplay in spring/summer 1938. This crucial analysis is supported by several hitherto unpublished screenplay drafts from June 1938, demonstrating the operetta’s great impact on Oz’s prologue and Dorothy’s ever-famous ballad. A conclusion considers Harburg’s claims of having originally conceived the song’s title and narrative concept, especially in light of the overwhelming evidence to the contrary.

 

 

Laura Lynn Broadhurst received her PhD in Musicology in 2020 from Rutgers, where her dissertation presented the first archival study of Harold Arlen and Yip Harburg’s songs for MGM’s THE WIZARD OF OZ. In 2019, part of her dissertation was published as a chapter within a multi-authored Oxford University Press volume, and she is currently converting the entire manuscript for book publication. Broadhurst's principal research interest is source study of mid-twentieth-century American musical theater. Accordingly, she was invited by the Library of Congress to process numerous Arlen-related artifacts. She has taught a variety of courses at Rutgers and has presented widely. 

 

Raised in the NYC metro area within a family of professional musicians, Broadhurst was originally trained as a pianist and vocalist. Her first BM (Piano Performance) is from the University of Northern Colorado, where she was highly involved with UNC’s renowned vocal jazz program (highlighted by a GRAMMY award nomination for UNC’s Vocal Jazz I). She also holds a BM (Vocal Performance) and an MA (Music History) from the University of Washington (graduate assistant to Larry Starr). Before reentering academia for the PhD, Broadhurst was an active professional vocalist in numerous genres, including opera, oratorio, art song, contemporary concert music, jazz, and commercials/studio work. 

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An American Business Romance:

The Career of John Valentine Steger, Piano Manufacturer

 William E Hettrick (Hofstra University)

                Among the many German immigrants to America in the late nineteenth century who pursued piano manufacturing, Johann Valentin Steger stands out for his remarkable success. Arriving in New York in 1871 at the age of 17, he Americanized his name and became fluent in English. He held various jobs, earning enough capital to establish his first piano store in downtown Chicago in 1879. He had no experience in this field, but he possessed strong determination. In 1891 he opened his largest retail piano store, where he also began to manufacture his own instruments. The next step was his first factory, built in 1893 in a neighboring town that he paid to incorporate in 1896 as Steger, Illinois. As sales and profits increased, he enlarged his factory and created houses for his employees, offered at reasonable rates for rental or purchase. His charitable acts also included free Thanksgiving Day dinners for thousands of poor families, as well as profit-sharing benefits to his workmen, which averted the labor problems experienced by another empire-builder, George Pullman, in his own town not far away. Steger made only upright pianos until 1899, when he introduced a baby-grand model. He manufactured his pianos under two brands: his high-grade instrument with his own name, and a popular commercial line (openly advertised as a stencil piano) called the Singer.  A newspaper considered his career “one of the business romances of America.”  His 1909 nineteen-story Steger Building became a Chicago landmark. Steger had enemies, however, especially the trade-journal editor Marc Antony Blumenberg, who damned him as a tyrannical slave-driver. Steger sued for libel. His family blamed his sudden, dramatic death in 1916 on incitement caused by Blumenberg’s attack, but it couldn’t be proved. Carried on with some success by his two sons, Stager’s “business romance” was largely defunct by 1929 and was officially dissolved in 1949.

William E. Hettrick’s most recent publications are The American Piano Industry: Episodes in the History of a Great Enterprise (Pendragon Press; Edwin Mellen Press, 2020); “Out in Front: The American Cabinet Piano-Player at Home and Abroad,” Journal of the American Musical Instrument Society 49 (2023): 5–60; and Johann Herbeck: Selected Sacred Works, Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries 91 (A-R Editions, 2024).

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Music Lessons for the Discerning Woman in Seventeenth Century Spain

Deborah Lawrence 

(St. Mary’s College of Maryland)

 

 

Castiglione’s Il Cortegiano is well-known as the first of several printed courtesy manuals in the early modern period. Such books explicitly demonstrated how to behave in aristocratic circles, including what one should know about music. At the same time, printed popular fiction implicitly provided behavior models. Two such literary works are those of María de Zayas (1637 and 1647, respectively) in which young noblewomen and men at a soiree in Madrid take turns telling tales, often performing songs within their accounts. Additionally, music is an important feature in the framing narrative of these stories.

 

In her prologue introducing the first of these two novellas, Zayas primarily addresses her male readers, accusing them of withholding education and, therefore, power from women. In the narrative her characters promote the value of education for women, highlighting music education. Zayas’ women characters write their own ballad poetry and sonnets, sometimes composing the music, and accompany themselves on various instruments.

 

Carmen Y. Hsu[1] asserts that mastering music was a component of women’s acquisition of power, not just for themselves but also for the status of the men who associated with them. This paper will show how that power is embodied and taught in Zayas’ tales.

Tancrède’s Crusade: A Military View of Campra’s Opera

Catherine Ludlow (University of Washington)

 André Campra’s Tancrède (1702) is a tragédie en musique set during the First Crusade.  The story, inspired by scenes in Torquato Tasso’s La Gerusalemme liberata (Jerusalem Delivered, 1581), centers on the crusader knight Tancrède and his relationship with the Saracen princess Clorinde, herself a renowned warrior.  

 Tasso’s poem was immensely popular in the era, forming the basis for numerous paintings, plays, foreign literary works, and musical compositions, such as Jean-Baptiste Lully’s opera Armide (1686) and Claudio Monteverdi’s Combattimento di Tancredi e Clorinda (1624).  Campra’s opera differs from similar compositions in interesting manners: Unlike the Combattimento, for example, the central battle is referenced but never directly depicted; and unlike most early French opera, including Armide, Tancrède’s prologue seems strongly connected to the rest of the opera, featuring phrases echoed in later acts, French views of the Crusades and colonialism, and even a sort of battle plan for the whole Crusade.

This paper will examine Tancrède from a military perspective.  Antoine Danchet’s libretto will be compared with earlier versions of the Tancred story, and will be examined in light of contemporary French knowledge of the Crusades, such as that found in Louis Maimbourg’s influential Histoire des Croisades pour la délivrance de la Terre Sainte (1675).  The paper will include discussion of the remaining dance choreographies, particularly the prologue’s sarabande, its military and societal implications, and how they may inform (and be informed by) related movements.  Lastly, the goals and ideals of the prologue will be contrasted with the conclusion of the opera.

Catherine Ludlow is a doctoral student in music history at the University of Washington.  Her current research explores notions of power (both military and magical) in French Baroque opera, and how this was manifested in dance.  She previously focused on the long nineteenth century, examining French Realist set design c. 1900, and German settings of Lord Byron in the early 19th century.

Catherine provides course and technical support for the UW School of Public Health, occasionally teaches French Baroque dance in the Seattle area, and is the secretary-treasurer of the AMS Pacific Northwest chapter.

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Who Are You, Miss Simone?: Vocal Androgyneity and the Acousmatic Question 

 Amanda Paruta (University at Buffalo (SUNY) 

 

Nina Simone’s singing voice, celebrated as sumptuous, dark, and emotionally potent, amplified the voices of America’s most oppressed, namely Black American women. Throughout the 1960s and 70s, Simone performed at dozens of social justice protests and benefits, and regularly advocated for racial and gender equality within the concert hall. She cast a spell on listeners from across racial, gender, and class backgrounds, and her musical performances demonstrated an embodiment of concealed histories and practices from Western European and diasporic African traditions. This fugitive knowledge—knowledge that lingers but remains elusive— served as the foundation of her art, activism, and praxis, as demonstrated by the work of Daphne A Brooks (2021, 2011), Emily J. Lordi (2020, 2016), and Ruth Feldstein (2013). This paper seeks to extend their scholarship into the singing voice, suggesting that her vocal mechanism and expansive timbral capacity was crucial to her role as an entertainer and advocate.  

Inspired by Nina Sun Eidsheim’s musicological work on vocal timbre and race, I point to Simone’s voice as a locus of fugitivity. Posing what Eidsheim (2019) names the acousmatic question, the question of who is speaking, reveals a timbre and generic range that confounds Eurocentric definitions of gender and race. She built a praxis of invisibility around an androgynous singing timbre, audible in songs such as “Mississippi Goddam” (1963) and “Four Women,” (1966) which enabled her fluid occupation of several identities and thereby position herself as an ideal conduit for Civil Rights messaging. 

 Amanda Paruta is a PhD student in historical musicology and music theory at the University at Buffalo. She earned Bachelor of Arts degrees in music and anthropology from Buffalo State University and a Master of Music in musicology from Northwestern University. In 2023 she was awarded a Western New York Prosperity Fellowship through the University at Buffalo and Prentice Family Foundation to explore the relationship between communities and institutionalized musicking. Her public scholarship includes contributions to the Center for 21^st Century Music blog, Edge of the Center, and an essay, “Working Class Musicology,” published by Project Spectrum.