Program
PART I:
1900-1950 Harvard University, Cambridge, Massachusetts, USA
Oct. 30-Nov. 1, 2008
Throughout the weekend
"Nadia Boulanger and her American Composition Students"
An Exhibit in the Eda Kuhn Loeb Music Library, Harvard University
| 4:00-4:15 | Opening remarks and welcome |
| 4:15-5:15 | Keynote lecture: Michael Denning (Yale University): Decolonizing the Ear: The Work of Music in the Age of Electrical Reproduction |
| 5:30-6:30 | Reception |
| 6:30-7:15 | Pre-concert discussion with Betsy Jolas and Vivian Perlis |
| 8:00 | Concert with Amy Williams, Lisa Kaplan, Amy Briggs, and Winston Choi, piano (Paine Hall) featuring two world premieres: a newly-commissioned piece by Betsy Jolas, Teletalks for two pianos, and a first hearing of a recently discovered arrangement by the French-American composer Edgard Varèse of his orchestral work Amériques for two pianos, eight hands. |
| 8:15-9:00 | Breakfast and registration |
| 9:00-12:00 | Session 1: Performing National Identity Chair: Andrew Shenton [Boston University] |
| Dörte Schmidt (Universität der Künste, Berlin): In Spirit the Most American City in Europe: Amerikaner und Amerikabilder in Berlin zwischen den Weltkriegen [Americans and Concepts of America in Berlin between the World Wars] | |
| Mary Simonson (Colgate University): Dancing Wagner, Dancing Europe: Isadora Duncan and Wagnerism in the American Imagination | |
| Celia Applegate (University of Rochester): Music at the Fairs: A Paradigm of Internationalism? | |
| Christopher Moore (University of Ottawa): Charles Koechlin's America: Reflections on a Cultural Menace | |
| 1:30-3:45 | Session 2: Touring on the Other Side Chair: Felix Meyer [Paul Sacher Foundation] |
| James Deaville (Carleton University): Performing Black Identity on the Blue Danube: The Songs of African American Entertainers in Jahrhundertwende Vienna | |
| Tobias Bleek (Initiativkreis Ruhrgebiet): “Take Jazz Seriously!” USA-Reisen europäischer Komponisten in den 1920er Jahren [US Travels by European Composers in the 1920s] | |
| Electra Yourke (New York City): “Dear Dorothy”: The Trans-Atlantic Correspondence between Nicolas Slonimsky and his Wife Dorothy Adlow in 1932 | |
| 3:45-4:15 | Coffee break |
| 4:15-5:45 | Session 3: Networks of Pedagogy and Patronage Chair: Wolgang Rather [Ludwig-Maximilians-Universität] |
| Jeanice Brooks (University of Southampton): “New Links between Them”: Modernist Historiographies and the Concerts of Nadia Boulanger | |
| Giselher Schubert (Hindemith-Institut): Verschobene Horizonte: Hindemith und das deutsche Musikleben nach 1945 [Displaced Horizons: Hindemith and German Musical Culture after 1945] | |
| 5:45-7:45 | Dinner Break |
| 8:00 | Concert with the Chiara String Quartet (Blodgett Artists-in-Residence, Harvard University) (Paine Hall), featuring Different Trains by Steve Reich and other works |
| 8:15-9:00 | Breakfast and registration |
| 9:00-12:00 | Session 4: Exile and Emigration Chair: Joseph Auner [Tufts University] |
| Brigid Cohen (University of North Carolina, Chapel Hill): Wolpe's Migrant Cosmopolitanism: “The Business of One’s Art and One’s Human Relationships” | |
| Eckhard John (Deutsches Volksliedarchiv): Migration der Zukunftsmusik: Zur russischen Musikeremigration in die USA [Migration of Zukunftsmusik: On the Emigration of Russian Musicians to the USA] | |
| Pietro Cavallotti (Humboldt Universität zu Berlin): Dodekaphonie als Musiksprache der Emigranten: Die ersten Exiljahre von Hanns Eisler, Ernst Krenek und Stefan Wolpe [Dodecaphony as the Musical language of the Émigrés: The Early Exile Years of Hanns Eisler, Ernst Krenek, and Stefan Wolpe] | |
| Jonathan Hiam (New York Public Library): Democracy and Structuralism: the Reemergence of the Verein für musikalische Privataufführungen [Society for Private Musical Performances] at Black Mountain College, 1944 | |
| 1:30-3:45 | Session 5: Wartime Concerns Chair: Judith Tick [Northeastern University] |
| David Schiff (Reed College): Oklahoma! and the Threat of Nazism | |
| William Brooks (University of York): A Child Went Forth: Hanns Eisler, American Progressives, and Folk Song | |
| Annegret Fauser (University of North Carolina, Chapel Hill): Music for the Allies: Representations of Nationhood during World War II | |
| 3:45-4:15 | Coffee break |
| 4:30-5:30 | Concert with Bruce Brubaker, piano (New England Conservatory). Music by Bussotti, Brown, and Curran. |
| 5:30-6:30 | Closing reception in the Spaulding Room (Eda Kuhn Loeb Music Library) |
PART II:
1950-2000 Ludwig-Maximilians-Universität, Munich, Germany
May 7-9, 2009
| 4:00-6:00 | Keynote lecture: Berndt Ostendorf (Ludwig-Maximilians-Universität): Growing up in the Sixties: Contradictions of a Frankfurt School Fan of American Music |
| Steve Reich in conversation with Paul Hillier (Hilliard Ensemble) | |
| 6:30-7:30 | Reception |
| 8:00 | Concert with the Chiara String Quartet (Blodgett Artists-in-Residence, Harvard University) featuring Different Trains by Steve Reich and other works |
| 9:00- 12:00 | Session 1: Cultural Politics in the Cold War |
| Penny Von Eschen (University of Michigan, Ann Arbor): Jazz Ambassadors Play the Cold War: The Eastern Bloc Tours | |
| Zbigniew Granat (Nazareth College): An East Side Story: Polish Soil, American Jazz, and the Thing that Grew | |
| Emily Abrams Ansari (Harvard University; University of Western Ontario): “A Serious and Delicate Mission”: The Government-Funded European Tours of the Boston Symphony Orchestra and the New York Philharmonic, 1952-1968 | |
| Claudia Vincis (Luigi Nono Archives): “To Nono: a No”: Luigi Nono and his Intolleranza 1965 in the US | |
| 2:30-5:30 | Session 2: Musical Languages: Convergences and Divergences |
| Hermann Danuser (Humboldt Universität zu Berlin): Postmoderne – diesseits / jenseits von Atlantik und Moderne [Postmodernism on Both Sides of the Atlantic (and of Modernism)] | |
| Felix Wörner (University of North Carolina, Chapel Hill): Transmitting Schoenberg's Legacy into a New World | |
| Angela De Benedictis (Pavia University): Indeterminacy and Open Work in the United States and Europe: Freedom from Control vs. Control of Freedom | |
| 8:00 | Concert with the Bugallo-Williams Piano Duo featuring two European premieres: a newly-commissioned piece by Betsy Jolas for two pianos, and a first hearing of a previously unknown arrangement by the French-American composer Edgard Varèse of his orchestral work, Amériques, for two pianos, eight hands. |
| 9:00-11:45 | Session 3: Technological Intersections Chair: Martin Supper (Berlin) |
| Amy Beal (University of California, Santa Cruz): Musica Elettronica Viva and the Art Ensemble of Chicago: Technology, Tradition, and Improvisation in Self-Exile, ca. 1970 | |
| Nicola Scaldaferri (University of Milan): The Voice and the Tape: Musical, Aesthetic, and Techological Interactions in the European Electronic Studios during the 50s | |
| Veniero Rizzardi (University of Venezia): The Complete Birth of the Loop: Terry Riley in Paris | |
| 1:30-3:45 | Session 4: Institutional Havens and Confrontations |
| Martin Brody (Wellesley College, American Academy in Rome): Cold War Genius: Music and Cultural Diplomacy at the American Academy in Rome | |
| Max Noubel (University of Bourgogne): The Ensemble InterContemporain and Its America | |
| Steve Swayne (Dartmouth College): Irresistible Vision Meets Immovable Reality: William Schuman and the Lincoln Center Festivals of the 1960s | |
| 4:30-6:45 | Session 5: Questioning Hierarchies, Challenging Boundaries |
| David Nicholls (University of Southampton): “All Made of [Classical] Tunes”: Towards a Taxonomy of Rock’s Art Music Borrowings | |
| Claudia di Luzio (Humboldt Universität zu Berlin): “L'opera è aperta”: Luciano Berios experimentelles Musiktheater der amerikanischen Jahre [Luciano Berio’s Experimental Music Theater: The American Years] | |
| J. Griffith Rollefson (University of Wisconsin, Madison): Musical (African) Americanization in the New Europe: Hip Hop, Race, and the Cultural Politics of Postcoloniality in Contemporary Paris, Berlin, and London | |
| 7:30 | Concert with Bruce Brubaker, piano (New England Conservatory). Music by Bussotti, Brown, and Curran. |