Musicology Lecture Series: Spring 2015

Wednesday, December 17, 2014
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.
 

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.
 

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
 

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