Musicology Lecture Series: Spring 2015

naomi waltham smith
Friday, January 30 @ 4 pm
Biddle Music Building, Library Seminar Room
Naomi Waltham-Smith (University of Pennsylvania)
"Beethoven's Blush"
Naomi Waltham-Smith's research sits at the intersection of music theory and Continental philosophy. She is interested in how the critical resources of recent French and Italian thought might be deployed to interrogate the ethical significance of the processes and structures of music and listening. Her works engages with the thought of Aristotle, Heidegger, Agamben, Badiou, Deleuze, Derrida, and Nancy among others. She is currently writing a book on Music and Belonging Between Restoration and Revolution. Construing the twin notions of belonging as ownership and as inclusion in a community as a binary system for constructing an ontology both of humanity and of German instrumental music, this project explores how the stylistic and structural characteristics of the Classical style register a crisis of belonging in modernity and at times threaten to halt the workings of this binary machine.
Christian Thorau
Friday, February 6 @ 4 pm
Biddle Music Building, Library Seminar Room
Christian Thorau (Universität Potsdam)
“What Ought to be Heard: Touristic Listening and the Proliferation of Musicological Knowledge”

Christian Thorau studied music, musicology, history and semiotics at the University of Berlin and the University of the Arts Berlin. In 2008-09, he was a Fellow at the National Humanities Center and a Senior Fellow at IFK - International Research Center for Cultural Studies Vienna (research project "Guided Listening and the Touristic Gaze - The Emergence of Baedeker's Musical"). His research interests include listening to music in historical change, the history of bourgeois music culture, theory and practice of music analysis, and musical semiotics.
thomas kelly
Friday, February 20 @ 5 pm
Biddle Music Building, Library Seminar Room
Thomas Forrest Kelly (Harvard University)
"Words, Music, and Image in the Medieval Exultet Rolls"

Thomas Forrest Kelly received his B.A. from the University of North Carolina at Chapel Hill and spent two years on a Fulbright in France studying musicology, chant, and organ. He holds a Ph.D. from Harvard University with a dissertation on office tropes. He has taught at Wellesley, Smith, Amherst, and at Oberlin, where he directed the Historical Performance Program and served as acting Dean of the Conservatory. He is Morton B. Knafel Professor of Music at Harvard University. Professor Kelly's main fields of interest are chant and performance practice. He won the Otto Kinkeldey Award of the American Musicological Society for The Beneventan Chant (Cambridge University Press, 1989). Other books include First Nights: Five Musical Premieres, (Yale University Press, 2000) and First Nights at the Opera (Yale, 2004). He is a member of the American Academy of Arts and Sciences, an Honorary Citizen of the city of Benevento, and a Chevalier de l'Ordre des Arts et Lettres of the French Republic.

Co-sponsored by Duke Initiatives in Theology & the Arts; Medieval-Renaissance Studies
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Friday, April 10 @ 4 pm
Biddle Music Building, Library Seminar Room

Candace Bailey (North Carolina Central University)
“The Transmission of Cultural Codes in the Antebellum South: Binder’s Volumes as Musical Commonplace Books”

Duke alumna Candace Bailey (Ph.D. 1992) is the author of numerous books about keyboard music and Music and the Southern Belle: From Accomplished Lady to Confederate Composer,(SIU, 2010). She is currently working on a volume of essays entitled Beyond Public and Private: Music in Early Modern Britain, which she is co-editing with Linda Austern and Amanda Eubanks-Winkler. Her research interests include British keyboard music of the 17th and early 18th century, as well as women and music in the antebellum American South. She is a Professor in the Music Department at North Carolina Central University and has recently received an award from the National Endowment for the Humanities for her project, "Music and the Performance of Women's Culture in the South, 1840-1870." She is a visiting Professor this year in the Duke University Department of Music.

Presented by the NCCU-Duke Lecture Exchange Series
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Musicology Lecture Series: Fall 2014

Jeremy Begbie
Friday, August 29 @ 4 pm
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
Thursday, September 11@ 3:30 pm
Biddle Music Building, Library Seminar Room

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.

Benjamin Levy
Friday, October 24 @ 4 pm
Biddle Music Building, Room 101

Benjamin Levy (University of California, Santa Barbara)
"Dissonance, Demonization, and Redemption:  The Meaning of Twelve-Tone
Music in Ligeti's Hungarian-Period Works"

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.
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Composer Alexander Goehr at Duke

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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). 

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(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.

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Stefan Litwin; Katharina Uhde; Alexander Goehr; Philip Rupprecht, at the Goehr portrait concert, Person Recital Hall, UNC Chapel Hill.
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