Biddle Music Building, Room 101
Jeremy Begbie (Duke Divinity School)
"Disquieting Conversations: Bach, Modernity and God"
Jeremy S. Begbie is Thomas A. Langford Research Professorship in Theology at Duke Divinity School. Educated largely in Scotland, before entering the theological world he read music and philosophy at Edinburgh University, studying composition with Kenneth Leighton. Holding piano performing and teaching qualifications, he was recently made a Fellow of the Royal School of Church Music. He has taught widely in the UK, North America and South Africa. He is an Affiliated Lecturer in the Faculty of Music at the University of Cambridge and a Senior Member of Wolfson College, Cambridge. He is author of a number of books, including Theology, Music and Time (CUP) and Music, Modernity, and God (OUP).
Lawrence Kramer (Fordham University)
"Music and the Rise of Narrative"
Lawrence Kramer is Distinguished Professor in the Departments of English and Music at Fordham University. He holds a B.A. from the University of Pennsylvania and M.Phil. and Ph.D. degrees from Yale University. His books include the seminal Music as Cultural Practice: 1800-1900 (University of California Press, 1990), as well as Interpreting Music (2010), Why Classical Music Still Matters (2007), Opera and Modern Culture: Wagner and Strauss (2004), Musical Meaning: Toward a Critical History (2001), and many others. He has been the editor of 19th Century Music since 1993 and is the author of over 100 articles and chapters.
Co-sponsored by the German Department.
Biddle Music Building, Room 101
Benjamin Levy (University of California, Santa Barbara)
Benjamin Levy is an Assistant Professor of Music Theory at the University of California, Santa Barbara. He specializes in contemporary music and has presented and published research on Iannis Xenakis, Morton Feldman, and György Ligeti. Dr. Levy received the Society for Music Theory's Emerging Scholar Award in 2011 for his article, ‘Shades of the Studio: Electronic Influences on Ligeti's Apparitions’, and he is currently working on a book tracing the composer's radical change in style during the 1950s and 60s, based on study of the composer's sketches held at the Paul Sacher Foundation. In addition, he is the translator and editor of the Schoenberg-Webern Correspondence, which will be published as volume 6 of Oxford University Press's Schoenberg in Words series. Dr. Levy holds a doctorate from the University of Maryland, and has taught at Towson University, the Peabody Conservatory at Johns Hopkins University, and Arizona State University.
Alexander Goehr, the eminent British composer, visited Duke’s Music Department on April 7, 2014.
Following a lively lunch with Composition and Musicology students, Goehr spoke publicly about his music in a discussion moderated by Professor Philip Rupprecht. As well as sharing personal impressions of the 1950s Darmstadt Summer Courses in New Music--at which he gained early professional performances—Goehr spoke (among other topics) of his own rhythmic language as a composer, and his attitude to setting texts; he also introduced his 2011 orchestral piece, When Adam Fell (in a recording by the BBC Symphony Orchestra under Oliver Knussen).
(Click the image above for additional pictures.)
Goehr’s Duke visit was planned in conjunction with his week-long residency at UNC Chapel Hill at the invitation of Professor Stefan Litwin, who organized a Goehr portrait concert at UNC’s Person Recital Hall on 9 April. Among the performers, in the composer’s presence, were Duke Ph.D. candidate in Musicology, Katharina Uhde (violin), performing in the Largo Siciliano (2012) with Litwin (piano) and Saar Berger (horn). The program also included Goehr’s Quintet, “Five Objects Darkly” (1996), selections from his Songs from the Japanese; the Kafka settings The Law of the Quadrille (performed by Professor Louise Toppin, soprano); and the solo-clarinet Paraphrase on the Dramatic Madrigal “Il Combattimento di Tancredi e Clorinda” by Claudio Monteverdi (1969), by visiting artist Ib Hausmann.
Stefan Litwin; Katharina Uhde; Alexander Goehr; Philip Rupprecht, at the Goehr portrait concert, Person Recital Hall, UNC Chapel Hill.
Thursday, January 23 @ 5:30 pm
Smith Warehouse, Bay 4, 1st floor
*Reception precedes lecture at 5 pm*
Lydia Goehr (Columbia University)
“Music and Painting: Reviewing the Mediums of Voice, Ear, & Instrument”
Lydia Goehr is Professor of Philosophy at Columbia University. She is a recipient of Mellon, Getty, and Guggenheim Fellowships, and in 1997 was the Visiting Ernest Bloch Professor in the Music Department at U. California, Berkeley, where she gave a series of lectures on Richard Wagner. She has been a Trustee of the American Society for Aesthetics and is a member of the New York Institute of the Humanities. In 2012, she was awarded the H. Colin Slim Award by the American Musicological Society for an article on Wagner's Die Meistersinger. Lydia Goehr is the author of The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (1992; second edition with a new essay, 2007, with translations in Greek and Chinese); The Quest for Voice: Music, Politics, and the Limits of Philosophy [essays on Richard Wagner] (1998); Elective Affinities: Musical Essays on the History of Aesthetic Theory [essays on Adorno and Danto] (2008), and co-editor with Daniel Herwitz of The Don Giovanni Moment. Essays on the legacy of an Opera (2006).
Presented in association with the Department of Philosophy, PAL (Philosophy, Arts, Literature) Center, & the Audiovisualities Lab at the Franklin Humanities Institute.
Monday, February 3 @ 4:15 pm
Room 104, Biddle Music Building
Eric Wen (Juilliard, Curtis School of Music)
"An Unprecedented Network of Disorientations, Dissonances, Rhythmic Obscurities, and Atmospheric Dislocations: The Introduction to Mozart's 'Dissonance Quartet'"
Eric Wen teaches at Juilliard and the Curtis Institute of Music, where he has served as Chair of the Musical Studies Department. He has taught at Goldsmith's and King's Colleges at the University of London, the Guildhall School, and Royal Academy of Music in London. A specialist in Schenkerian analysis, he has published in journals including "The Journal of Music Theory," "Music Analysis," "Music Theory Online," and "Theory and Practice," as well as in essay collections, and has read papers on Schenkerian topics at a number of universities and conferences, including at all four International Schenker Symposiums from 1985-2006. He was the editor of Strad magazine and The Musical Times, and is principal editor of violin music for Carl Fischer Music Publishers.
Friday, March 21 @ 4 pm
Room 101, Biddle Music Building
Jacqueline Waeber (Duke University)
Jacqueline Waeber is Associate Professor of Music at Duke. Her research interests include Melodrama and related genres, from opera to film; music, theatrical practices and visual cultures; French musical aesthetics and practice, Jean-Jacques Rousseau's musical thought, the 'chanson populaire.'