Jann Pasler | Writing Through Music

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PROFESSIONAL PAPERS AT CONFERENCES AND FESTIVALS

PROFESSIONAL PAPERS AT NATIONAL AND INTERNATIONAL CONFERENCES

“The Treasures of Gallica, or how digital sound, visual, and print archives have transformed research,” IAML/ IMS, New York, Juilliard, (22 June 2015)

“Colonial Governance as heard: Colonial Radio and the Power of Music from Morocco to Tunisia,” Middle Eastern Studies Association, Washington DC (25 November 2014).

“Race and the Pre-Modern between the Wars: La musique ancienne et moderne from Algiers to Casablanca,” Symposium: Early Music Revivals and their Neoclassical Echoes (1870-1970), Melbourne, Australia (12 September 2014).

“Colonialisms and Musical Practices: France,” 18th Biennial International Conference on Nineteenth-Century Music, Toronto, Canada (20 June 2014).

“Taking Root in the Public Sphere: Indigenous Music in North Africa under the French,” Music in the Public Sphere Conference, Wissenschaftkolleg, Berlin, Germany (27 April 2014).

“Legitimacy through shared musical tastes? The challenges and agendas of French republicanism in the colonies,” Symposium: ”Formes autochtones de gouvernance et de démocratie dans les pays non occidentaux,” Institut d’études avancées, Nantes, France (17 April 2014).

“Race and the Pre-Modern between the Wars: La musique ancienne et moderne from Algiers to Casablanca,” Annual Meeting of the American Musicological Society, Pittsburgh, PA (8 November 2013).

“M. Daubresse: Critique musicale, sociologue de la musique … et une femme,” Francophone Music Criticism, 1789-1914 Paris, France (2 July 2013).

“Léon Azoulay and the Early Phonograph: The Problematics of Transcription and Translation,” “Resonant Bodies: Landscapes of Acoustic Tension” Symposium, Institute for Critical Inquiry, Berlin (14 June 2013).

“Narrativité et couleurs dans L’Afrique et L’Asie d’après Tiepolo de Hugues Dufourt,” Première rencontre internationale: Narratologie et les arts: L’Art comme texte. Approches narratologiques, sémiotiques, transmédiatiques,” Institut Hongrois, Paris (8 December 2012).

“Massenet and his Students in North Africa: The Making of a Franco-Mediterranean Culture,” International Conference: Massenet and the Mediterranean World, Lucca, Italy, (1 December 2012).

“’Rara,’ ou Ravel et ses amis, les Apaches, Journée d’études, Maurice Ravel et son temps, Université de Montréal, Montreal (16 November 2012).

Keynote speaker:

Le “quotidien du passé” aux archives: déconstruire et reconstruire les histoires, de la métropole aux colonies,” Colloque international, Recherches en musicologie: nouvelles perspectives, Société française de musicologie/Ecole normale supérieure, Lyon, France (22 September 2012)

“Reading “along the grain” in colonial opera criticism: Humor, Banality, and the Meaning of French Music,” Francophone Music Criticism, 1789-1914 Paris (12 July 2012)

“The Cosmopolitan Composer: Saint-Saëns,” International Musicological Society, Rome, Italy (7 July 2012)

Keynote speaker:

“From military bands to opera directed by women: Performing Frenchness in the colonies,” International Conference of Nineteenth-century Music, Edinburgh, Scotland (27-30 June 2012)

“The Dance Craze: Politics and Meaning in Debussy’s Dances dans le style ancien,” Colloque international Debussy, Cité de la musique, Paris (5 February 2012)

Keynote speaker:

The Race Question and the Colonial Implications of Early Ethnomusicology in the French empire, 1860–1930s,” Radical Music History Conference, Sibelius Academy, Helsinki, Finland  (8 December  2011)

“Performing Frenchness: Music at the Colonial Edge,” National meeting of the American Musicological Society, San Francisco  (11 November 2011)

“Sacred Music in the African missions: Gregorian Chant, Cantiques, and Indigenous Musical Expression,” Pontificio Istituto di Musica Sacra, Rome Italy (28 May 2011)

“Stravinsky’s The Flood and T.S. Eliot’s Four Quartets : Time and Symbolic Structure,” Stravinsky Festival, Georgetown University, The Stravinsky Project, Washington, D.C. (8 April 2011)

Readings from Roger Shattuck’s “The Devil’s Dance: Stravinsky’s Corporal Imagination,”with Mitchell Morris, The Stravinsky Project, Washington, D.C. (8 April 2011)

“The Music Criticism of Gaston Knosp: Newspaper Journalism in Tonkin and Early Ethnomusicological Texts,” La Critique musicale francophone belge dans une perspective internationale, International conference, Université libre de Bruxelles, Brussels, Belgium (18 December 2010)

“Hybridité musicale: Réponse ou défi à la colonisation en Afrique?” Congrès international des historiens, Amsterdam (22 August 2010)

“Wednesdays at Le Figaro: Music, Performance, and Public Taste,” 16th Biennial Conference on 19th-Century Music, Southampton, UK (11 July 2010)

“La Musique à l’Exposition 1889,” Journée d’études: La musique dans les expositions universelles,  Institut de recherché sur le patrimoine musical en France ( IRPMF), Bibliothèthe Nationale, Paris (4 June 2010)

“Saint-Saëns: Africa et ses promenades en Afrique,” Le Concerto pour piano français à l’épreuve des modernités, Palazzetto Bru Zane (Centre de musique romantique française), Venice (7 May 2010)

“La ‘Question de l’Opéra’ aux débuts de la Troisième République : luxe national ou bien public,” « Le Répertoire de l’Opéra de Paris (1671-2009) : analyse et interprétation » Institut de recherche sur le patrimoine musical en France, Opéra Bastille, Paris  (11 December 2009)

“Wednesdays at Le Figaro: Music, Performance, and Public Taste,” French Music Criticism, 1789-1914, McGill University, Montreal Canada (November 8, 2009).

“The Problems of Narrative in 20th c. Music,” Sixth Biennial International Conference on Music Since 1900, Keele University, UK  (5 July 2009)

“Music as Public Utility: A Theory of Musical Value,” National Meeting of the American Musicological Society, Nashville, TN (7 November 2008)

“L’Utilité publique de la musique sous la Troisième République,” Colloque: De la musique au politique Institut d’études politiques de Paris (20 June 2008)

“Experiencing Time in Messiaen’s Quartet for the End of Time,” Space, Time and Music. The Third Annual ECHO Conference, UCLA, (30 May 2008)

“Rethinking Musical Modernism in France and What’s at Stake,” in the session, “Early French Musical Modernism: Its Sources and Idioms,” National Meeting of the American Musicological Society, Quebec City, Canada (3 November 2007)

“Modernism/Modernity, on Walter Frisch’s German Modernism: Music and the Arts.” Annual Meeting of the German Studies Association, San Diego (5 October 2007)

“Reading beyond the Music Reviews: the Benefits of Context,” French Music Criticism, 1789-1914, Institute of Musical Research, University of London, London (4 July 2007)

“Mélisande and the Idea of music,” International Claude Debussy Congress, University of Texas, Austin (October 28, 2006)

Keynote speaker:

“Race and Nation: Musical Acclimatization and the Chansons populaires in Third Republic France” at the Music, Race, and Identity Symposium, UNC, Chapel Hill (14 October 2006)

Keynote speaker:

“Promoting Colonialism: Musical Instruments as Emblems of Race and Culture,” at the Other Spaces interdisciplinary conference, Duke University (30 September 2006)

“Music as Public Utility in Third Republic France,” Music and the Public Sphere Conference, UCLA (12 May 2006)

“Forging French Identity: the Political Significance of la musique ancienne et moderne,” National Meeting of the American Musicological Society, Washington, D.C. (28 October 2005)

“Japonisme and the Problem of Assimilation,” Orientalism, Representation, and the Arts Symposium, UCLA (13 May 2005)

“Japonisme and the Problem of Assimilation,” Centennial Symposium on Madame Butterfly, Lucca, Italy (28 May 2004)

“Mélisande and the Idea of Music,” Symposium on Debussy’s Pélleas et Mélisande, Center for European Studies, Harvard University (17 October 2003)

“Contingencies of Meaning in Transcriptions and Excerpts: Popularizing Wagner in France,” The Case of Wagner, Center for Modern and Contemporary Studies, UCLA, (10 May 2003)

“Contingencies of Meaning in the Context of Diverse Uses: Popularizing Samson et Dalila,” Symposium on Musical Meaning, University of Texas, Austin (January 26, 2003)

“Race, Identity, and Difference: Musical Acclimatization and the Chansons Populaires in Third Republic France,” Western Music and Racial Discourses, 1883-1933, Royal Holloway College, University of London (October 11, 2002)

“Déconstruire d’Indy,” Vincent d’Indy et son temps, organized by the Société Française de Musicologie et Gesellschaft für Musikforschung, Bibliothèque Nationale, Paris, France (September 26, 2002)

“The Utility of Musical Instruments in the Racial and Colonial Agendas of late 19th-century France,” International Musicological Society, Leuven, Belgium  (August 7, 2002)

“Pauline Oliveros and the Space between,” Sounding the margins, a 40 year retrospective of the works of Pauline Oliveros, San Francisco (June 1, 2002)

“Time and Symbolic Structure in Stravinsky’s The Flood,” Stravinsky Festival, University of North Carolina, Chapel Hill (28 April 2002)

“Cosmopolitan Paris Before the War,” Pre-concert lecture, Bard Music Festival: Debussy and His World, Bard College, Annandale-on-Hudson, NY (August 18, 2001).

“Preparation for the Prix de Rome Competition: Instruction at the Conservatory,” Musical Education in Europe (1770-1914): Compositional, Institutional and Political Challenges, sponsored by the European Science Foundation, “Musical Life in Europe, 1600-1900,” Paris, France (June 9, 2001).

“Comtesse Greffulhe, the Queen of Music, and Concerts as a Form of Diplomacy,” Paper presented at the conference, The Musician as Entrepreneur and Opportunist, 1600-1900, William Andrews Clark Memorial Library, UCLA, Los Angeles (June 2, 2001).

Respondent and Session chair, “Session 4: Performance,” The Art of David Tudor, a Symposium organized by the Getty Research Institute, Los Angeles, CA (May 19, 2001).

“D’Indy and Ironies in the Making of a Reputation,” Paper presented to the International Conference, Vincent d’Indy and His Times: Intersections of Music, Art, and Politics In Early 20th-Century France, Trinity College, Hartford, CT (May 11, 2001).

“Imagining the Exotic Other: Musical Instruments in the Illustrated Press and Ethnographic Exhibitions of late 19th-century France,” Paper presented to the Conference, Exhibiting Culture, Displaying race,” Organized by the Interdisciplinary 19th Century Studies Association, Eugene, Oregon, (April 21, 2001).

“State politics and the French Aesthetics of Prix-de-Rome cantatas, part 2,”  Musical Education in Europe (1770-1914): Compositional, Institutional and Political Challenges, sponsored by the European Science Foundation, “Musical Life in Europe, 1600-1900,” Maintz, Germany (December 1, 2000.)

“Democracy, Ethics, and Commerce: the Concerts populaires in late 19th c. France,” Les sociétés de musique en Europe, 1700-1920. Structures, practiques musicales et sociabilités, sponsored by the European Science Foundation, “Musical Life in Europe, 1600-1900,”  Zurich, Switzerland (7 October 7, 2000).

“Orient/Occident: The French Concept of ‘the West’ and their Theory of Assimilation,” Paper presented at the International Symposium, From Musical Exoticism to World Music, London, England (July 8, 2000).

“State Politics and the ‘French’ Aesthetics of the Prix-de-Rome cantatas, 1870-1900.” Paper presented at the International Conference on Nineteenth-Century Music, London, England (July 1, 2000)

“Popularizing classical music: the contribution of popular venues.” National Meeting of the American Musicological Society, Kansas City  (November 4, 1999)

“State Politics and the ‘French’ Aesthetics of the Prix-de-Rome cantatas, 1870-1900.” Paper presented at the conference, “Musical Education in Europe (1770-1914): Compositional, Institutional and Political Challenges,” sponsored by the European Science Foundation, “Musical Life in Europe, 1600-1900,” Brussels, Belgium (October 30, 1999)

“Music in service of public utility in four late 19th c. French concert societies.” Paper presented at the conference, “Concert et publics en Europe entre 1700 et 1900,” sponsored by the European Science Foundation, “Musical Life in Europe 1600-1900,” Göttingen, Germany (March 26, 1999)

Bleu horizon and beyond: The politics of Initiation à la musique (1935).” Paper presented at the international conference, Myth and Reality: Music in the 1930s, Royal Holloway University, London, England (October 24, 1998)

“Forming Useful Citizens: Music of public utility in 19th century France.” Invited paper for the Research Committee, “Sociology of the Arts” (RC 37), at the World Congress of the International Sociological Association, Montreal, Canada (July 31, 1998) (withdrawn because of illness)

“The Ironies of Gender in the Music of Augusta Holmès.” Paper presented at the bi-annual conference, Feminist Theory and Music 4, Charlottesville, VA (June 6, 1997)

“Seminar teaching and critical discourse in the classroom.” Paper presented to a Panel on Music Curriculum, National Meeting of the American Musicological Society, Baltimore (November 8, 1996)

“Building a public for orchestral music: Les Concerts Colonne.” Paper presented at the Conference, Concert et public: mutation de la vie musicale     en Europe de 1780 à 1914, organized by the Max-Planck Institut für Geschichte, Göttingen, la Mission Historique Française en Allemagne, and the Ecole des Hautes Etudes en Sciences Sociales, Paris (June 27, 1996)

“Reinterpreting Indian Music:  Race, Orientalism and Distinction.”  Paper delivered to the 40th Annual Meeting of the Society for Ethnomusicology, Los Angeles (October 20, 1995)

“Making Alliances through Music:  Russia as embraced by the French.” Paper presented to the International Conference on 19th Century Music, University of Surrey, England (July 15, 1994)

“The Social Roots of Innovation in Fin-de-siècle France.”  Paper presented to the Symposium, “1900-1920: Music, Politics, and the Transcendental Strain,” UC Berkeley (April 24, 1992)

“Inventing a tradition:  John Cage’s Composition in Retrospect., “John Cage at Stanford” Symposium, Stanford Humanities Center, Stanford University (January 28, 1992)

“Robert Erickson:  An American Independent,” Paper presented to the 34. Ferienkurse für Neue Musik, Darmstadt, Germany.  (August 4, 1988)

“Is there an American Musical Identity?” Opening address of the 34. Ferienkurse für  Neue Musik, Darmstadt, Germany.  (August 1, 1988)

“The Making of a Reputation.”  Paper presented to the 59th Annual Meeting of the Pacific Sociological Association, Las Vegas, Nevada.  (April 8, 1988)

“Stravinsky and Paris.”  Paper presented to the Stravinsky:  the late works Symposium, Colorado Music Festival, Boulder, Colorado.  (July 23, 1987)

“Time and Symbolic Structure in T.S. Eliot’s Four Quartets and Stravinsky’s The Flood.”  Paper presented to the Stravinsky:  the late works Symposium, Colorado Music Festival, Boulder, Colorado.  (July 19, 1987)

“Music is not music until:  A musicologist’s perspective.”  Paper presented to the Comparative Literatures Section at the National Meeting of the Modern Languages Association, San Francisco (December 29, 1991)

“Concert Programs and their Narratives as Emblems of Ideology.”  Paper presented to the National Meeting of the American Musicological Association, Chicago, Illinois (November 8, 1991)

“The chanson populaire as malleable symbol in turn-of-the-century France.” Paper presented to the Fourth Symposium of the International Musicological Society, Osaka, Japan (July 1990).

“Cocteau and New Music.” Paper presented to the symposium, “Jean Cocteau and the Parisian Avant-Garde,” University of California, Irvine (February 19, 1989).

“Reinterpreting Indian Music:  Delage and Roussel.”  Paper presented to the Symposium of the International Musicological Society and Festival of Music, Melbourne, Australia.  (September 2, 1988)

“Apaches in Paris:  The Making of a Turn-of-the-Century Art World.”  Paper presented to the National Meeting of the American Musicological Society, Cleveland, Ohio.  (November 8, 1986)

“The Apaches and Other Turn-of-the-Century Parisian Art Worlds.”  Paper presented to the 12th Annual Conference “Social Theory, Politics, and the Arts,” University of California, San Diego.  (October 18, 1986)

“The Ballets Russes:  Music and Spectacle in Stravinsky’s Rite of Spring.”  Paper presented to the La Belle Epoque:  1885-1914 Symposium, Colorado Music Festival, Boulder, Colorado.  (July 24, 1986)

“The ‘Sacred Battalion’ for Debussy’s Pelléas et Mélisande and the Making of a Turn-of-the-Century Art World.”  Paper presented to the La Belle Epoque:  1885-1914 Symposium (organized by Roger Shattuck and the Colorado Music Festival), Boulder, Colorado.  (July 21, 1986)

“Déodat de Séverac, la Schola Cantorum, et les Apaches.”  Paper presented to the “Hommage à Déodat de Séverac” Symposium, Abbaye de Fontfroide, France.  (July 16, 1986)

“Narrative and Narrativity in Music.”  Paper presented to the 20th Anniversary Meeting of the International Society for the Study of Time, Dartington Hall, Totnes, Devon, England. (July 9, 1986)

“Maurice Delage (1879-1961) and his Concept of Exoticism.”  Paper presented to the joint meeting of the Pacific Northwest, Northern California, and Pacific Southwest Chapters of the American Musicological Society, University of California, Berkeley.  (April 27, 1986)

Respondent to the four papers of the Debussy session at the National Meeting of the American Musicological Society, Vancouver, Canada.  (November 7, 1985)

“Social and Political Forces behind the scandal of Debussy’s Pelléas et Mélisande.” Paper presented to the 11th Annual Conference, “Social Theory, Politics, and the Arts,”  Adelphi University, Garden City, NY.  (October 27, 1985)

“A Sociology of the Apaches:  ‘Sacred Battalion’ for Pelléas.”  Paper presented at National Meeting of the American Musicological Society, Philadelphia.  (October 27, 1984)

“From Petrushka to The Rite of Spring.”  Paper presented at National Meeting of the American Musicological Society, Ann Arbor.  (November 5, 1982)

“The Influence of Visual Thinking on Stravinsky’s Music.”  Paper presented at the International Stravinsky Symposium, La Jolla.  (September 11, 1982)

“Song As a Mode of Criticism:  Debussy’s Le Balcon.”  Paper presented at Pacific Southwest Chapter Meeting of the American Musicological Society.  (February 20, 1982)

“Timbre and the Compositional Process, Debussy’s Brouillards.”  Paper presented at Mid-West Chapter Meeting of the American Musicological Society  (April, 1981)

 

OTHER PROFESSIONAL LECTURES AT UNIVERSITIES AND FESTIVALS

“Colonial Governance as ‘heard’: Colonial Radio and the Power of Music from Tunisia to Morocco,” University of Chicago (6 February 2015)

“The Colonial Implications of Early Music Ethnographies,” University of North Carolina, Chapel Hill (25 October 2014)

“Performing Frenchness in the Colonies: From military bands to opera directed by women,” University of Melbourne (11 September 2014)

“Entre l’anarchie et l’accord: La musique expérimentale américaine de Cage à Oliveros,” La Folle Journée Festival, Nantes, France (31 January, 2 February 2014)

“Performing Frenchness in the Colonies,” Department of Music, Yale University (28 February 2013)

“Performance in a colonial context: Deconstructing our assumptions,” Juilliard Graduate Program, New York (27 November 2012)

“L’Afrique centrale et occidentale:  Herbert Pepper, Eliane Pepper, et l’Anthologie de la musique africaine,” Université de Montréal (22 November 2012)

“Maroc: Résistance à la modernitéAlexis Chottin, Prosper Ricard, et le Service des Arts Indigènes ,” Université de Montréal (20 November 2012)

 “Algérie et Tunisie: L’invention de la musique Arabo-Andalouse: Salvador Daniel et Jules Rouanet, Antonin Laffage et le Baron d’Erlange,” Université de Montréal (15 November 2012)

“Indochine: Gaston Knosp et la musicologie comparative,” Université de Montréal (13 November 2012)

“La musique ancienne et moderne,” Saint-Saens and his World, Bard Music Festival, New York, (18 August 2012)

“Exploring Western Music Past and Present,” Saint-Saens and his World, Bard Music Festival, New York, (18 August 2012)

“Saint-Saëns as Cosmopolitan,” on the panel, “Prodigy, Polymath, Globetrotter, and Reactionary,” Saint-Saens and his World, Bard Music Festival, New York, (11 August 2012)

“The Dynamics of Identity in fin-de-siècle French Music,” Rey Longyear Lecture, University of Kentucky (27 March 2012)

“Musical Hybridity in Flux: Representing Race, Colonial Policy, and Modernity in French North Africa, 1860s-1930s,” Eastman School of Music, University of Rochester (22 March 2012)

“L’Initiation a la musique (1935): Politics and music for radio listeners,” Workshop on Interwar French Music, University of Ottawa, Nov 5-6, 2011

“French Music at the Helsinki Philharmonic: 1880s-1930s,” on the panel, “Sibelius and the Twentieth Century: Sibelius and his World, Bard Music Festival, Bard College, New York (21 August 2011)

“Déconstruire identité et réputation: les stratégies de carrière des compositeurs français de la Belle Epoque,” Ecole des Hautes Etudes en Sciences Sociales (EHESS), Sociologie du travail et des arts (Pierre-Michel Menger) Paris (25 May 2011)

“Race et musicologie dans la France des années 1890,” New York University, Histoire transnationale des pensées raciales XVIII-XXe siècles (Carole Reynaud-Paligot), Paris (23 May 2011)

“La Démocratisation du plaisir: Concurrence et stratégies de survie parmi les orchestres parisiens de la Belle Epoque,” Ecole des Hautes Etudes en Sciences Sociales (EHESS), Sociologie du travail et des arts (Pierre-Michel Menger) Paris (18 May 2011)

“La Question raciale et les implications coloniales des ethnomusicologies dans l’empire français avant 1932,” Ecole des Hautes Etudes en Sciences Sociales (EHESS), Musique et sciences sociales (Esteban Buch et Laure Schnapper), Paris (21 March 2011)

“Hybridité musicale: race, colonisation et modernité dans l’ethnomusicologie du Maghreb (1860-1940),” Ecole des Hautes Etudes en Sciences Sociales (EHESS), Relations, représentations, confrontations: Anthropologies du monde arabe (François Pouillon) Paris (16 March 2011)

Respondent, Tanner Lectures of Leon Botstein, UC Berkeley, (9-11 March 2011)

“Femmes oeuvrant pour la modernité: compositrices, interprètes, et mécènes (1870-1918),” Maison Méditerranéenne des Sciences de l’Homme, Aix-en-Provence (10 June 2010)

“La Fête de la musique: Origines, signification, éclat international,” Université Pop’, Le Lieu Unique (Scène national de Nantes), Nantes (3 June 2010)

“Repenser l’histoire de la Troisième République: Ce que la musique nous apprend,” Université Paris 1, Histoire culturelle de l’Europe (Christophe Charle), Paris (13 April 2010)

“Musique et pratiques musicales: Dynamique identitaire de Paris aux colonies,” Institut d’études avancées de Nantes, Nantes, France (1 April 2010)

“Dynamique identitaire: Musique et Nation sous la Troisième République,” Université de Dijon, Dijon, France (22 March 2010)

“Music, Musical Practices and the Dynamics of French Identity: From the Third Republic to World Music Day,” CUNY Graduate Center, New York (8 March 2010)

“Musique et Nation sous la Troisième République,” Ecole des Hautes Etudes en Sciences Sociales (EHESS), Musique et sciences sociales (Esteban Buch et Laure Schnapper), Paris (1 March 2010)

“De l’utilité de la musique: La Troisième République à la Fête de la musique,” Académie royale des sciences, belles lettres, et beaux-arts, Brussels, Belgium (4 February 2010)

“De l’utilité de la musique: Une théorie de la valeur,” Université libre de Bruxelles, (3 February 2010)

“The Dynamics of Identity in Fin de Siècle French Music,” Institute of French Studies, New York University, New York City (November 17, 2009)

“The Dynamics of Identity in Fin de Siècle French Music,” Distinguished University Lecture, University of Wisconsin, Madison (November 4, 2009)

“Wagner in Paris,” Bard Music Festival, Bard College, New York (16 August 2009)

Geballe Research Workshop presentation, “The Value of Music,” Stanford University (January 13, 2009)

“”Music as Public Utility: A Theory of Musical Value,” Alexander Lecture, Music Department, Stanford University (January 12, 2009)

“The Dynamics of Identity in Fin de siècle French Music,” Music Department, Columbia University (November 21, 2008)

“Experiencing Time in Messiaen’s Quartet for the End of Time,” ROMP (The Carter-Messiaen Project), Reed College/Chamber Music Northwest, Portland, Oregon (25 January 2008)

“Music as Public Utility: From Horace to World Music Day,” Williams College (6 November 2007)

“Listening to Pauline Oliveros: From Bye Bye Butterfly and the Sonic Meditations to Deep Listening,” Williams College (6 November 2007)

“Promoting Colonialism: Musical Instruments as Emblems of Race and Culture,” Williams College (5 November 2007)

“Music as Public Utility: From Horace to World Music Day,” School of Music, University of Michigan (22 March 2007)

“Forging French Identity” the Political Significance of la musique ancienne et moderne,” School of Music, Trinity College, University of Dublin, Ireland (7 March 2006)

“Japan and the Problem of Assimilation,” School of Music, Trinity College, University of Dublin, Ireland (6 March 2006)

“Contingencies of Meaning in Transcriptions and Excerpts,” Music Department, King’s College, London, UK (2 November 2005)

“Four Parisian concert societies and their contributions to public utility,” Music Department, UC Davis (24 February 2005)

“Déconstruire d’Indy, ou la problématique des reputations de compositeurs,” Institut de Hautes Etudes, Brussels (15 December 2004)

“Rethinking the popular in late 19th Century French Music,” Music Department, Case Western Reserve University, Cleveland, Ohio (22 April 2004)

“Writing Music History as a Woman,” Women’s Center, Case Western Reserve University, Cleveland, Ohio (26 February 2004)

“Contingencies of Meaning in the Context of Diverse Uses: Popularizing Samson et Dalila,“ Cornell University, Ithaca, New York (22 October 2003)

“Apprendre à aimer la musique: les pratiques sociales, éthiques et esthétiques des amateurs à la fin du 19e siècle, DEA Musique et sciences sociales de l’Ecole des hautes études en sciences sociales: Aimer la musique. Sociologie de la musique, histoire de l’amateur, musicologie du goût, Paris, France (June 11, 2002)

“Challenging the trickle-down theory of cultural hegemony: Concerts at the Bon marché,” Departmental seminar, Music Department, UCSD (4 March 2002)

“Les programmes de concerts à Paris de 1870 à 1900: Notions du concert, sources, et problématiques,” lecture presented to the seminar, Le Concert en France de la fin de l’Ancien Régime à la première guerre mondiale, Institut universitaire de France, Paris, France (1 February 2002)

“Imaging the Exotic Other: Musical instruments in the Illustrated Press and Ethnographic Exhibitions in late 19th-century France,” University of Southern California, Los Angeles, CA (February 23, 2001).

“Le Concert en France en 1900. Modélisation de la vie de concert en France et dans les colonies,” Invited lecture for the DEA, Patrimoine musical régional, Université de Rouen, France (December, 14, 2000.

“Ideologies of the Popular: Ethics and Morality in the Music Culture of late 19th C. Paris,                          Distinguished Lecture Series, Department of Musicology, UCLA (February 29, 2000).

“Musicologies at the Millenium: development or recapitulation,” Paper presented at the Joint Meeting of the Pacific Southwest Chapter of the American Musicological Society and the Society for Ethnomusicology, Southern California Chapter, University of San Diego (February 25, 2000)

“Ideologies of the Popular: Domesticating Art Music in late 19th century Paris,” Department of Music, UC Santa Barbara (February 4, 2000).

“The politics of love, beauty, and charm: Music’s public utility in late 19th c.  France,” Paper presented to the UCSD Humanities Center  (February 3, 1999).

“Postmodernism and beyond.” Paper presented to the Music Department, University of Iowa (March 1998)

“The political usefulness of the feminine in 19th century French Music.” Paper presented to the Music Department, University of Iowa (March 1998)

“Useful Music, or How music was used in 19th century Paris.” Paper presented to the Department of Music, University of Calgary, Canada (March 20, 1997).

“New Directions in Musicology:  Knowledge, Voice and Values.”  Claremont Graduate School Music Program Colloquium (October 11, 1995).

Interview:  “The Story of Western Music:  Late 19th Century France and England.”  BBC World Service, broadcast worldwide (December 31, 1994).

“When Music Talks Back:  Meaning in Late 19th Century French Music.” Paper delivered to the Music Department, Stanford University (May 9, 1994)

“Moving beyond the Modern-Postmodern Dialectic.” Paper delivered in the Distinguished Lecture Series in Musicology, Music Department, UCLA (February 1993).

“Autour de la Comtesse Greffulhe:  pouvoir social et innovation musicale.” Invited lecture delivered at the Musée d’Orsay, Paris, France (December 5, 1992)

“Sound-space:  Cage and Metaphor.”  Paper presented to the interdisciplinary symposium, “Creating Environments: Nature, Space, and Form” at the UCSD School of Architecture (April 11, 1992).

“Concert Programs and their Narratives as Emblems of Ideology.”  Paper presented to the Music Department, Brandeis University, Waltham, Mass. (March 1992).

“Postmodernism, Narrativity, and the Art of Memory.”  Paper presented at the Music Department Colloquium, Columbia University, New York, N.Y. (March 1992)

“Postmodernism, Narrativity, and the Art of Memory.”  Paper presented to the Musicology Colloquium Department of Music, Stanford University (January 27, 1992)

“Problèmes du post-modernisme IV:  Conclusions,” D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (December 21, 1991)

“Problèmes du post-modernisme III:  en Europe,” D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (December 20, 1991)

“Programmes de Concerts et leurs récits comme ‘emblème’ de l’idéologie,” D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (December 19, 1991)

“Problèmes du post-modernisme II:  les postmodernismes américains,” D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (December 14, 1991)

“Problèmes du post-modernisme I:  le modernisme,” D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (December 13, 1991)

“Visual iconography, video and other wide-band methods of documentation used in my research.”  Presentation of my research to the graduate seminar, Music 201, Seminar in Documentation, UC Santa Cruz (November 22, 1991).

“Stravinsky.”  Six-hour seminar for the D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (December 21, 1990)

“L’histoire sociale de la musique.”  D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (December 20, 1990)

“Le tournant du siècle.”  Six-hour seminar for the doctoral students of the D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (December 14, 1990)

“Reinterpreting Indian Music: Roussel and Delage.” Paper presented to the Festival of French Romantic Music, Agnes Scott College, Atlanta, Georgia (February 26, 1990);  also presented at Spellman College, Atlanta, Georgia (February 27, 1990).

“Religion, Patriotism, and Progress as Musical Ideologies in turn-of-the-century Paris.” Paper presented to the Festival of French Romantic Music, Agnes Scott College, Atlanta, Georgia (February 26, 1990).

“From Berlioz to Debussy: The Social Roots of Innovation.” Paper presented to the Festival of French Romantic Music, Agnes Scott College, Atlanta, Georgia (February 25, 1990); also presented at Kennesaw College, Kennesaw, Georgia  (February 28, 1990).

“Le compositeur, son monde musical, et son public en collaboration,” D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (November 25, 1989).

“Le compositeur en face de son public,” D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (November 24, 1989).

“Le compositeur dans son monde musicale,” D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (November 18, 1989).

“L’histoire sociale de la musique et la sociologie de la musique,” D.E.A. Musique et Musicologie du XXe Siècle, C.N.R.S./I.R.C.A.M., Paris, France (November 17, 1989).

“Stravinsky and the Ballets Russes: Cultural and Artistic Collaboration as the Impetus for Revolutionary Innovation,” The Arts and Russia in Revolution, a Classics in Context Festival, Humana National Headquarters, Louisville, Kentucky (September 11, 1989).

“Stravinsky in Context, III,” The Arts and Russia in Revolution, a Classics in Context Festival, Louisville Symphony, Louisville, Kentucky (September 10, 1989).

“Stravinsky in Context, II,” The Arts and Russia in Revolution, a Classics in Context Festival, Louisville Symphony, Louisville, Kentucky (September 10, 1989).

“Stravinsky in Context, I, ” The Arts and Russia in Revolution, a Classics in Context Festival, Louisville Symphony, Louisville, Kentucky (September 7, 1989).

“La Gestion des carrières musicales au début du XXe siècle:  stratégies personnelles et contraintes compositionelles.”  Paper presented to the Seminaire d’histoire sociale de la musique, Centre d’Information et de Documentation “Recherche Musicale” of the Centre Nationale de la Recherche Scientifique, Paris, France.  (December 7, 1988)

“Institutionalized Aesthetic Diversity at the University of California.”  Paper presented to the 34. Ferienkurse fur Neue Musik, Darmstadt, Germany.  (August 5, 1988)

“The Making of a Reputation:  Fauré, Debussy, and Ravel.”  Paper presented to the Music Department of the University of California, Davis.  (May 22, 1987)

“De Petrouchka au Sacre du printemps:  correspondences entre les arts.”  Paper presented at the Centre National de la Recherche Scientifique Paris.  (March 1, 1984)

“Stravinsky et ses amis parisiens, les Apaches.”  Paper presented at Centre National de la Recherche Scientifique, Paris.  (February 9, 1984)

“Choreography and Musical Form in Debussy’s Jeux.”  Paper presented on Music Department Colloquium, University of California at Berkeley.  (May 26, 1982)

 

PANEL PARTICIPATION

Chair, “Musical Mediations: Universality, Globalization, Aesthetics,” Music and Diplomacy Conference, Harvard University, Boston, MA (2 March 2013).

Chair, “Narratologie et musique: théories narratologiques,” première rencontre internationale: Narratologie et les arts: L’Art comme texte. Approches narratologiques, sémiotiques, transmédiatiques,” Institut Hongrois, Paris (8 December 2012)

Panelist/Respondent, “Round Table: Massenet Studies: New Perspectives,” International Conference: Massenet and the Mediterranean World, Lucca, Italy, (2 December 2012)

Panelist, “Interpreting Stravinsky,” The Stravinsky Project, Mansion at Strathmore, Washington DC (10 April 2011)

Panelist, “Stravinsky and Film,” The Stravinsky Project, National Gallery of Art, Washington DC (9 April 2011)

Panelist, “Stravinsky’s Russian Accent,” The Stravinsky Project, Music Center at Strathmore, Washington DC (8 April 2011)

Chair, “Contemplating Transcription,” 16th Biennial Conference on 19th-Century Music, Southampton, UK (9 July 2010)

Chair,  “The Third Anthony Pople Memorial Lecture,” Sixth Biennial International Conference on Music Since 1900, Keele University, UK  (4 July 2009)

Conceptual organization: Presidential Forum: “Diversity: Strengths and Challenges,” National Meeting of the American Musicological Society, Quebec City, Canada, 2 November 2007

Chair, “Americans in Paris,” Society of American Music, Eugene, Oregon (18 February 2005)

Panelist, “Changing 20th century Ideas on 20th-Century Music: Old and New Scholarly Thinking,” Pacific Southwest Chapter of the American Musicological Society (27 February 1999)

Panelist, “The Juggling act: Music faculty positions in the 1990s,” Invited Presentation by the AMS Committee on Career-related Issues, National Meeting of the American Musicological Society, Phoenix, October 30, 1997

Co-organizer of the Round-table, “Directions in Musicology,” at the 16th International Congress of the International Musicological Society, August 16, 1997

Chair, “Broadcasting and the media,” 16th International Congress of the International Musicological Society, London, August 15, 1997

Chair, “Putting the Score in Its Place: Satie, Cage, and the Musical,” at the National Meeting of the American Musicological Society, Baltimore, Maryland, November 7, 1996

Chair,  “Women in Public,” National Meeting of the American Musicological Society, New York, November 5, 1995

Chair, “Negotiating Colonial and Post-colonial Identities,” 40th Annual Meeting of the Society for Ethnomusicology, Los Angeles, October 20, 1995

Chair, “Feminisms Across Generations,” Feminist Theory and Music III Conference, UC Riverside, June 17, 1995

Chair and Panelist:  “Retheorizing Music.”  Study Session, National Meeting of the American Musicological Society, Minneapolis, October 28, 1994

Panelist in a special session, “Musicology and Sociology in Dialogue,” at the National Meeting of the American Musicological Society  November 8, 1992

Chair, Debussy session, National Meeting of the American Musicological Society, Vancouver, Canada, November 7, 1985.

Chair, Stravinsky session,  National Meeting of the American Musicological Society, Ann Arbor.  November 5, 1982