Jann Pasler | Writing Through Music

WritingThroughMusic.com

PUBLICATIONS

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BOOKS

La République, la musique, et le citoyen, 1871-1914
(Editions Gallimard, Bibliothèque des histoires, March 2015)(679 pages). website

AWARDS:
Prix de l’essai of the Prix des Muses, 2016, for the best books on music published in France in 2015, Fondation Singer-Polignac, Paris.

RADIO PROGRAMS on La République, la musique, et le citoyen, 1871-1914:
Emmanuel Laurentin, “La fabrique de l’histoire,” France Culture (30 minutes, 20 April 2015 ) website

Jean Lebrun, “La marche de l’histoire,” France Inter (30 minutes, 28 April 2015 ) website

David Christoffel, three thirty minute programs for Geneva, Radio Télévision Suisse (recorded 15 April 2015, programs already edited), airing dates TBA.

David Christoffel, two two-hour interviews with music for “Le printemps des arts,” Radio Parfaite, Monte Carlo, 22 March and 7 April 2016 at http://www.printempsdesarts.mc/ and https://soundcloud.com/la-radio-parfaite

Philippe Venturi, France Musique, 1 April 2016

REVIEWS: L.L. “Au notes citoyens,” Livres hebdo, (20 March 2015); Pierre Karila-Cohen, “Fanfares et flonfons, c’est la France,” Le Monde: (23 April 2015) website ; D.K. “Histoire,” La Libération, ( 2 April 2015 ); Aliocha Wald Lasowskim, philosophe, “La musique une partition commune,” L‘Humanité, (20 April 2015 ); Thierry Bouzard, ” La musique et le citoyen,” Présent , (4 April 2015); Jeannine Hayat, “La musique est au fondement du pacte républicain,” (7 April 2015) Huffingtonpost.fr. website; “La République la musique, et le citoyen: L’avis du libraire,” website (27 April 2015); Vincent Petit, « Jann Pasler, La République, la musique et le citoyen 1871-1914 », Les comptes rendus, Lectures,  2015, (5 mai 2015 ) website ; Maïté Bouyssy, “Dites-le en musique!” La Quinzaine littéraire (1-15 June 2015): p. 20., website  Frederick Casadesus, “La République, la musique, et le citoyen,” (2 June 2015) website; Referred to in: Jean-Pierre Robin, “Pourquoi la Suisse a inscrit la formation musicale dans sa Constitution,” Le Figaro (15 June 2015); La lettre du musician (15 June 2015); “Les concerts qui ont fait la France,” Books (19 June 2015), Review and long excerpt from chapter 3 reprinted here: website;Philippe Zwang, “Livres de musique,” Historiens et géographes (May-June 2015); Vincent Giroud, “Musique et citoyenneté,” (6 August 2015) website

PRESENTATIONS:
Sorbonne, Départment de musique, 14 April 2015
Bibliothèque historique de la Ville de Paris, 5 May 2015
Bibliothèque Nationale, Café des livres, 26 September 2015

Saint-Saëns and His World
(Princeton University Press: 2012) (419 pages) as editor and author. website
Authored the introduction, commissioned 8 major articles and wrote or co-authored two of them; selected 25 documents (by or about Saint-Saëns), wrote 6 of the essays presenting them and commissioned 15 of these; and translated or co-translated 14 of the documents and contributor essays.

RADIO PROGRAMS on Saint-Saëns and His World:
BBC, October 2012

REVIEWS: Choice, French Studies (July 2013): 424-25; Classical Music Magazine; H-France.

Composing the Citizen: Music as Public Utility in Third Republic France
(University of California Press, May 2009) (810 pages). website

AWARDS:
ASCAP Deems Taylor Award for the best symphonic book, 2010.
Finalist, Kinkeldey Award from the American Musicological Society for the best book in musicology, 2010.
Publication subvention from the American Musicological Society, 2009.

RADIO PROGRAMS on Composing the Citizen:

“Note contre note avec Martine Kaufmann,” Radio France Musique, Paris (18 December 2009) (90 minutes)

“Opéra du Samedi” with Sylvia Ecuyer, Radio Canada (27 March 2010) (40 minutes)

REVIEWS:
Cover interview the week of July 2, 2009, on Rorotoko (New York), “Music as an art that links leisure and personal enjoyment with the social good: Jann Pasler on her book, Composing the Citizen: Music as Public Utility in Third Republic France,” online journal for “cutting edge intellectual nonfiction” website.

Featured book for H-France Forum, Volume 5, Issue 2 (Spring 2010), No. 5: four reviews (by Charles Rearick, Jeffrey Jackson, Jolanta Pekacz, Barbara Kelly), and a response essay by Jann Pasler [pdf]

Choice; Current Musicology 88 (fall 2009): 109-116; Southwest Journal of Cultures (29 Nov 2009); Perspective [Revue de l’Institut national d’histoire de l’art] 3 (Sept 2009): 480; French Studies 64, no. 3 (July 2010): 359-60; voiceXchange 4,1 (summer 2010): 38-41; Journal of Interdisciplinary History 41,2 (autumn 2010): 287-88; Cultural and Social History (2010): 402-403; JAMS (December 2010): 690-703; Transpositions: Musiques et sciences sociales (Paris) (February 2011); Notes of the American Music Library Association (March 2011): 512-515; Journal of the Royal Musical Association 136/1 (2011), 195-99; Revue de musicologie 97 (2011) [pdf], Journal of Musicological Research 31/1 (2012): 49-53; Fontes Artis Musicae (Jan-March 2012): 72 [pdf]

Round Table, EHESS, Paris (25 May 2011), with four papers reviewing the book, including by Christophe Charle, Hervé Lacombe, Geza Zur Nieden, and Samuel Llano.

Writing Through Music: Essays on Music, Culture, and Politics (Oxford University Press, 2008; paperback edition, 2014) (526 pages). website

REVIEWS: Revue belge de musicologie LXII (2009): 182 [pdf]; Music Humana (Korea); H-France Review (September 2009); 495-98; Revue de musicologie (2010): 249-51 [pdf]; Music and Letters 91 (May 2010): 275-77.

Confronting Stravinsky: Man, Musician, and Modernist (University of California Press, 1986; as editor and author; Paperback edition, 1988) (380 pages).

REVIEWS: JAMS (fall 1988): 547-558 [pdf]; Times Literary Supplement (13 February 1987): 159; Library Journal (15 February 1987); Choice (April 1987); Perspectives of New Music (winter 1989): 246-262 [pdf]; Musical Times (May 1987): 269; Los Angeles Times (14 June 1987), Slavic and East European Journal (n.d.), Opera Quarterly (4 (1988); Journal of Music Theory 34,1 (Spring 1990): 120-130. [pdf], Music Theory Spectrum 29 (2007): 256.

Debussy, Stravinsky, and the Ballets Russes: The Emergence of a New Musical Logic, Ph.D. Dissertation, University of Chicago, 1981.

 

BOOKS-IN-PROGRESS

Listening to Race in France, 1870-1940 (proposal under submission, Oxford University Press)

Sounding the French Empire: Colonial Ethnographies of Music, 1860-1960 (in French: Presse de l’Université de Montréal,in English: in discussion with University of Chicago Press).

Performing Frenchness: Music, Colonial Culture, and Governance in the French Empire, 1870-1940.

 

DOCUMENTARY FILMS

The Great Ceremony to Straighten the World, as writer, director, producer, videographer website

a video documentary, 55 minutes, completed July 1994.
VHS, 1991-2004 distributed to the educational market worldwide by the University of
California Extension Media Center.
DVD and VHS: 2004- distributed to the educational market worldwide by Berkeley Media.

AWARDS:
Association for Asian Studies National Meeting honoree, Washington DC (April 1995);
American Anthropological Society Annual Meeting
Visual Anthropology Film and Video Festival, Washington DC (November 1995).

Taksu: Music in the Life of Bali, as writer, director, producer, videographer website

a video documentary, 24 minutes, completed March 1991.
VHS, 1991-2004 distributed to the educational market worldwide by the University of California Extension Media Center
DVD and VHS: 2004- distributed to the educational market worldwide by Berkeley Media.

AWARDS:
Association for Asian Studies National Meeting, Washington, DC (March 1992.
Louisville Film and Video Festival Honorable Mention and Juror’s Merit Award (June 1992);
Eighth Annual International Women’s Films and Video Festival Award;
Numerous other festivals and exhibitions including the “Court Arts of Indonesia” exhibition at the
Arthur Sackler Gallery, Smithsonian Institution, Washington, DC (1991);
Excerpts included in the CD-ROM World Beat (Medio Multimedia, 1994).

REVIEWS: Notes of the Music Library Association (September 1994): 264-66. [pdf]

UCSD Conversations: Steinberg, Pasler, Deverell show ID # 1562, 60 minutes,
broadcast numerous times on UCSD-TV.

 

RESEARCH ARTICLES (REFEREED)

“The Evolution of a Book in Music, Dialogue, and Analysis,” Preface to Jonathan Kramer, Postmodern Music, Postmodern Listening, ed. Robert Carl (New York: Bloomsbury Academic, 2016), submitted for publication.

“Massenet en Tunisie française, italienne, et arabe,” Mélanges offerts à Guy Gosselin, ed. Nicolas Dufetel et Vincent Cotro (Rennes, Presses universitaires de Rennes, 2016), submitted for publication

[pdf]“’Disguised Publicity’ and the Performativity of Taste: Musical Scores in French Magazines and Newspapers of the Belle Epoque,” in The Idea of Art Music in a Commercial World, ed. Christina Bashford and Roberta Marvin (Suffolk, Boydell and Brewer, 2016) (Music in Society and Culture), in press

[pdf]“Writing for Radio Listeners in the 1930s: National Identity, Canonization and Transnational Consensus from New York to Paris,” Musical Quarterly 98/3 (fall 2015): 212-262.

“Bleu horizon Politics and Music for Radio Listeners: L’Initiation à la musique (1935),” in Authority, Advocacy, Legacy: Music Criticism in France (1918-1939), ed. Barbara Kelly and Christopher Moore (University of Rochester Press), in press.

[pdf]“Saint-Saëns: Africa et ses promenades en Afrique,” Le Concerto pour piano français à l’épreuve des modernités, ed. Alexandre Dratwicki (Lyon: Symmétrie), in press

“La Musique comme pratique intellectuelle, 1913-1962,” in La Vie intellectuelle en France, ed. Christophe Charle (Paris: Seuil, 2015), in press

“Challenging the boundaries of gender, class and nation: Female musicians, composers, critics, musicologist, and patrons, 1870-1917,” in Genre, Révolution, Transgression ed. Jacques Guilhaumou, Karine Lambert, Anne Montenach, (Aix-en-Provence, Presses universitaires de Provence, 2015), 205-26.

[pdf]“The Making of a Franco-Mediterranean Culture: Massenet and His Students in Algeria and the Côte d’Azur,” Massenet and the Mediterranean World, edited by Simone Ciolfi, Ad Parnassum Studies, 6 (Bologna: Ut Orpheus Edizioni, 2015), 103-132.

[pdf]“The Racial and Colonial Implications of Early French Music Ethnography, 1860s–1930s,”inCritical Music Historiography: Probing Canons, Ideologies, and Institutions, ed. Markus Mantere and Vesa Kurkela (Farnham, Surrey: Ashgate, 2015), 17-43.

[pdf]“Magnus Synnestvedt: Musical tastes, Cultural Diplomacy and the Parisian Avant-Garde, 1902-08, “ Svensk tidskrift för musikforskning, 96:2 (2014): 71-102.

[pdf]“Sonic Anthropology in 1900: The Challenge of Transcribing Non-Western Music and Language,” Twentieth-Century Music (London, 2014): 7-36

“La Danse: Le Gaulois à ses abonnés, 1888,” in Quatre siècles d’édition musicale, ed. Joann Elart, Etienne Jardin, Patrick Taïeb (Brussels … Vienna: Peter Lang, 2014): 293-298.

[pdf]“Camille Saint-Saëns and Stoic Cosmopolitanism: Patriotic, Moral, Cultural, and Political,” Journal of the American Musicological Society vol 66/2 (2013): 539-545.

[pdf]“Sacred Music in the African Missions: Gregorian Chant, Cantiques, and Indigenous Expression,” Atti del Congresso Internazionale di Musica Sacra (Rome: Libreria Editrice Vaticana, 2013), 1287-1309.

[pdf]“Hugues Dufourt’s Cinematic Dynamism:Space, Timbre, and Time in L’Afrique d’après Tiepolo,Oxford Handbook of Sound and Image in Digital Media, ed. Carol Vernallis, John Richardson, and Amy Herzog (New York: Oxford University Press, 2013), 642-662.

Correspondences et la synesthésie: Debussy en lecture critique des Cinq Poèmes de Baudelaire,” in Bruxelles ou la convergence des arts (1880-1914), ed. Malou Haine (Paris : Vrin, 2013) : 89-106.

[pdf]“Musical Hybridity in Flux: Representing Race, Colonial Policy, and Modernity in French North Africa, 1860s-1930s,” Afrika Zamani (Journal of the Association of African Historians, Dakar) 20 (2012): 21-68.

“Magnus Synnestvedt: Les goûts musicaux d’un intermédiaire culturel et ami de l’avant-garde parisienne, 1902-1908,” in La France dans la musique nordique, eds. Jean Gribenski, Daniel Grimley,Helena Tyrväinen (Liège: Mardaga), in press.

[pdf]“The Music Criticism of Gaston Knosp: From Newspaper Journalism in Tonkin to Comparative Musicology,” Revue belge de musicologie lxvi (2012): 203-222.

“Negotiating the Space Between: Pauline Oliveros’s Challenge to Listeners,” in Anthology of Essays on Deep Listening, ed. Monique Buzzarte (Deep Listening Publications, 2012): 263-271.

“Listening to Race and Nation: Music at the l’Exposition 1889,” Musique, Images, Instruments (Revue francaise d’organologie et d’iconographie musicale, Paris) 13 (2012): 53-74.

“Business, with Politics and Humor: Saint-Saëns and his Publisher” in Saint-Saëns and His World ed. Jann Pasler (Princeton: University Press: 2012), 26-32.

Florence Launay and Jann Pasler, “Le Maître and the ‘Strange Woman,’ Marie Jaëll: Two Composer-performers in Resonance,” in Saint-Saëns and His World ed. Jann Pasler (Princeton: Princeton University Press: 2012), 85-101.

“Saint-Saëns: Algerian by Adoption,” in Saint-Saëns and His World ed. Jann Pasler (Princeton: Princeton University Press: 2012), 173-84.

“Friendship and Music in Indochina,” in Saint-Saëns and His World ed. Jann Pasler (Princeton: Princeton University Press: 2012), 184-191.

“Saint-Saëns and the Ancient World: from Africa to Greece,” in Saint-Saëns and His World ed. Jann Pasler (Princeton University Press: 2012), 232-59.

“Saint-Saëns/d’Indy: In Dialogue,” in Saint-Saëns and His World ed. Jann Pasler (Princeton: Princeton University Press: 2012), 287-303.

“Saint-Saëns and Advocacy of Music Education in Elementary School,” in Saint-Saëns and His World ed. Jann Pasler (Princeton: Princeton University Press: 2012), 304-09.

Byron Adams and Jann Pasler, “Saint-Saëns and the Future of Music,” in Saint-Saëns and His World ed. Jann Pasler (Princeton: Princeton University Press: 2012), 312-18.

“Classe sociale, genre, et formation musicale : préparer le prix de Rome au Conservatoire de Paris entre 1871 et 1900,” Romantisme n. 153 (October 2011), 85-100.

[pdf] “Hugues Dufourt’s ‘Manifesto of the music of our times’: Narratives without History in L’Afrique and L’Asie d’après Tiepolo,” Perspectives of New Music, vol. 49, no. 1-2 (summer 2011): 198-231.

“De l’utilité publique de la musique :  Une théorie de la valeur,” Bulletin de la classe des arts, 2010 (Bruxelles: Editions de l’Académie royale de Belgique, 2011), 57-78.

“Au Service de la Démocratie: L’Utilité publique de la musique de la Troisième République à la Fête de la musique,” L’Institution musicale, ed. Damien Mahiet and Jean-Michel Bardez (Paris: Delatour, 2011), 13-31.

“Politique nationale et esthétique française dans les cantates du prix de Rome (1870-1900), Le Prix de Rome de Musique (1803-1968) ed. Alexandre Dratwicki and Julia Lu (Lyon: Symmétrie, 2011), 323-346.

[pdf] “Mélisande’s Charm and the Truth of her Music,” in Rethinking Debussy, ed. Elliott Antokoletz and Marianne Wheeldon (New York: Oxford University Press, 2011), 55-75.

“The ‘Question of Opera’ in the early Third Republic: National Luxury or Public Good?” Le Répertoire de l’Opéra de Paris (1671-2009) : Analyse et interprétation, ed. Michel Noiray and Solveig Serre (Paris: Ecole de Chartes, 2010), 163-174.

[pdf]“Politics, Biblical Debates, and Judith in French Dramatic Music after 1870,” in The Sword of Judith: Essays, Sources, Images, ed. Henrike Lahnemann, Elena Ciletti, John Nassichuck (Cambridge, UK: Open Book Publishers, 2010), 393-414.

[pdf]“Experiencing Time in the Quartet for the End of Time,” in La la la Maistre Henry. Mélanges de musicologie en hommage à Henri Vanhulst, ed. Valerie Dufour (Turnhout: Brepols, Collection musical, 2009), 477-485.

[pdf]“Theorizing Race in 19th-century France: Music as Emblem of Identity,” Musical Quarterly 89, 4 (Winter
2006): 459-504.

[pdf]“Political Anxieties and Musical Reception: Japonisme and the Problem of Assimilation,” Madama Butterfly: L’orientalisme di fine secolo, l’approccio pucciniano, la ricezione (Florence: Leo S. Olschki, 2008), 17-53.

“Four organizations, four agendas: Expanding the public for serious music in late 19th-century Paris,” Organisateurs et formes d’organisation du concert institutionnalisation et pratiques, eds. Hans Erich Bödeker and Patrice Veit (Berlin: Berliner Wissensschafts-Verlag, 2008), 333-56.

[pdf]“Race and Nation: Musical Acclimatization and the Chansons Populaires in Third Republic France,” Western Music and Race, ed. Julie Brown (Cambridge: Cambridge University Press, 2007), 147-67.

          AWARD: American Musicological Society, Ruth Solie award for the best collected volume in musicology, 2007

[pdf]“A Sociology of les Apaches: Sacred Battalion for Pelléas,” Berlioz and Debussy: sources, contexts and legacies, ed. Barbara Kelly and Kerry Murphy (London: Ashgate, 2007), 148-166.

[pdf]“Deconstructing d’Indy, or the problem of a composer’s reputation” 19th-Century Music, 30, 3 (spring 2007): 230-56.

“Une nouvelle écoute de la Révolution au début de la Troisième République” in Melpomène: Musique, esthétique et société en France au XIXe siècle, ed.Damien Colas, Florence Gétreau, Malou Haine (Liège: Mardaga, 2007), 199-216.

[pdf]“Democracy, Ethics, and Commerce: the Concerts populaires Movement in the late 19th-century France,” in Les Sociétés de musique en Europe, 1700-1920. Structures, pratiques musicales et sociabilités, eds. Hans Erich Bödeker, Patrice Veit (Berlin: Berliner Wissensschafts-Verlag, 2007), 455-479.

[pdf]“Contingencies of Meaning in Transcriptions and Excerpts: Popularizing Samson et Dalila,” in Approaches to Meaning in Music, ed. Byron Almén and Edward Pearsall (Bloomington: Indiana University Press 2006), 170-213.

[pdf]“Boretzian Discourse and History,” Perspectives of New Music vol. 43, no. 2(summer 2005/winter 2006), 177-191.

[pdf]“Déconstruire d’Indy,” Revue de musicologie 2 (2005), 369-400.

“State Politics and the ‘French’ Aesthetics of the Prix-de-Rome cantatas, 1870-1900,” Musical Education in Europe (1770-1914): Compositional, Institutional and Political Challenges, vol. 2, ed. Michel Noiray and Michael Fend (Berlin: Berliner Wissensschafts-Verlag, 2005), 585-622.

“Resituating the Spectral Revolution: French Antecedents and the Dialectic of Discontinuity and Continuity in Debussy’s Jeux” in Aspects of Time in the Creation of Music, a special issue of Musicae Scientiae 3 (2004) ed. Irene Deliège and Max Paddison (Liege, Belgium, 2004), 125-140.

[pdf]“The Utility of Musical Instruments in the Racial and Colonial Agendas of Late Nineteenth-Century France,” Journal of the Royal Musical Association Vol. 129, No. 1 (Spring 2004), 24-76.

          AWARD: American Musicological Society, Colin Slim award for the best article in musicology by a senior scholar in any language and in any country, 2005

 “Countess Greffulhe as Entrepreneur: Negotiating Class, Gender, and Nation” in The Musician as Entrepreneur, 1700-1914 Managers, Charlatans, and Idealists, ed. William Weber (Bloomington: Indiana University Press, 2004), 221-255.

“Material Culture and Postmodern Positivism: Rethinking the “Popular” in late 19th c. French Music,” in Historical Musicology: Sources, Methods, Interpretations, ed. Roberta Marvin, Michael Marissen, and Stephen Crist (Rochester, NY: University of Rochester Press, 2004), 356-387.

“Writing Music History as a Woman and Postmodernist” in Musical Thoughts in the Twenty-First Century. Beyond Boundaries and Fields, ed. Takashi Funayama (Tokyo, 2003), 163-208.

[pdf]“Crossdressing in Saint-Saëns’ Le Rouet d’Omphale: Ambiguities of Gender and Politics” in Queer Episodes in Music and Modern Identity, ed. Lloyd Whitesell and Sophie Fuller (Urbana: University of Illinois Press, 2002), 191-215.

“Building a public for orchestral music: Les Concerts Colonne,” in Le Concert et son public: Mutations de la vie musicale en Europe de 1780 à 1914 (Paris: Edition de la Maison des Sciences de l’homme, 2002), 209-240.

“Race, Orientalism, and Distinction in the Wake of the Yellow Peril,” Western Music and its Others, ed. Georgina Born and Dave Hesmondhalgh (Berkeley: University of California Press, 2000): 86-118.

Reprint of “India and its music in the French imagination before 1913,” in Music, intercultural aspects: a collection of essays. Ed. S.A.K. Turkka (Mumbai: Indian Musicological Society, 1999)

“Timbre, Voice-leading and the Musical Arabesque in Debussy’s Piano Music,” Debussy in Performance, ed. James Briscoe (New Haven: Yale University Press, 1999): 225-255.

“The Ironies of Gender, or Virility and Politics in the Music of Augusta Holmès,” Women and Music 2 (Fall 1998): 1-25.

“Directions in Musicology,” Acta Musicologica [Journal of the International Musicological Society, Basel, Switzerland] (May 1997): 15-20.

“India and its Music in the French Imagination before 1913,” Journal of the Indian Musicological Society [Baroda, India] vol. 27 (January-December 1996): 27-51.

“Reinterpreting Indian Music: Maurice Delage and Albert Roussel,” Music-Cultures in Contact, Convergences and Collisions, ed. Margaret Kartomi and Stephen Blum, Australian Studies in History, Philosophy, and Social Studies of Music (Sydney: Currency Press, 1994): 122-157.

Reprint: “Reinterpreting Indian Music: Maurice Delage and Albert Roussel,” Music-Cultures in Contact, ed. Margaret Kartomi and Stephen Blum (Basel: Gordon and Breach, 1994): 122-157.

“Inventing a tradition: John Cage’s Composition in Retrospect,” in John Cage: Composed in America, ed. Marjorie Perloff and Charles Junkerman (Chicago: University of Chicago Press 1994): 125-143.

“Concert Programs and their Narratives as Emblems of Ideology,” International Journal of Musicology 2 (Frankfurt am Main: Peter Lang, 1993): 249-308.

“John Cage: Releasing Spirit in Life and Music” [in Japanese]. Invited article for Music Today, vol. 18 special issue on John Cage (Tokyo, April 1993): 39-43.

“Postmodernism, Narrativity, and the Art of Memory,” Contemporary Music Review, vol. 7, part 2 (London: Gordon and Breach, 1993): 3-32.

[pdf]“New Music as Confrontation: the Musical Sources of Cocteau’s Identity,” Musical Quarterly (Fall 1991): 255-278.

“Intention and Indeterminacy in John Cage’s I-VI,” Parnassus 16, no. 2 (June 1991): 359-375.

“The chanson populaire as malleable symbol in turn-of-the-century France” in Tradition and its future in music, ed. Y. Tokumaru et al. (Tokyo, Osaka, Japan: Mita Press, 1991), 203-210.

[pdf]“France: Conflicting Notions of Progress,” in Man and Music: The Late Romantic Era, vol. 5 ed. Jim Samson (London: Macmillan, 1991), 389-416.

[pdf]“Pelléas and Power: The Reception of Debussy’s Opera,” in Music at the Turn of Century, ed. Joseph Kerman (Berkeley: 1990): 129-150

[pdf]“La Schola Cantorum et les Apaches: L’enjeu du pouvoir artistique ou Séverac médiateur et critique,” in La Musique: du théorique au politique ed. Hugues Dufourt and Joel-Marie Fauquet (Paris: Klincksieck, 1990), 313-343.

“Narrative and Narrativity in Music,” in Time and Mind: Interdisciplinary Issues. The Study of Time VI, ed. J.T. Fraser (Madison, CT: International Universities Press, 1989), 232-257.

“Musique et spectacle dans Petrouchka et Le Sacre du printemps,” Inharmoniques, special number, D’un art à l’autre, les zones de défi 5 (June 1989): 42-63.

“Musique et Institution aux Etats-Unis,” Inharmoniques, special number on “Musiques, identités,” (May 1987): 104-134.

“Opéra et Pouvoir. Forces à l’oeuvre derrière le scandale du Pelléasde Debussy,” translated by Odette Filloux and Jann Pasler, La Musique et le Pouvoir, edited by Hugues Dufourt and Joel-Marie Fauquet (Paris: Aux Amateurs de Livres, 1987): 147-177

[pdf]“Pelléas and Power: Forces behind the Reception of Debussy’s Opera,” 19th Century Music, X/3 (Spring 1987): 243-264.

“Music and Spectacle in Petrushka and The Rite of Spring” in Confronting Stravinsky: Man, Musician, and Modernist, ed. Jann Pasler (Berkeley: University of California Press, 1986), 53-81.

“Issues in Stravinsky Research,” Confronting Stravinsky: Man , Musician, and Modernist, ed. Jann Pasler (Berkeley: University of California Press, 1986), ix-xix.

[pdf]“Stravinsky and the Apaches,” Musical Times (June, 1982): 403-407.

[pdf]“Debussy, Jeux: Playing with Time and Form,” 19th Century Music (June, 1982): 60-72.

“The Choreography for The Rite of Spring: Stravinsky’s Visualization of Music,” Dance Magazine (April, 1981): 66-69.

 

REVIEW ARTICLES

[pdf]“Debussy the man, his music, and his legacy: An overview of current research,” Notes of the Music Library Association (December 2012): 197-216.

[pdf]“Re-Reading Saint-Saëns,” review-article of Roger Nichols, ed., trans. Camille Saint-Saëns on Music and Musicians, Music and Letters 92,2 (spring 2011): 273-79.

[pdf] Ralph P. Locke, Musical Exoticism: Images and Reflections, in H-France Review vol.11, no. 134 (June 2011) (on-line)

[pdf]D. Kern Holoman, The Société des Concerts du Conservatoire, 1828-1967, Music and Letters (December 2010).

[pdf]Annegret Fauser, Musical Encounters at the 1889 Paris World’s Fair, Journal of the American Musicological Society 61, no. 2 (2008): 438-45.

Clair Rowden, Jules Massenet. Thais. Dossier de presse parisienne (1894), Music and Letters 83, no. 2 (May 2002): 315-317.

Steven Huebner, French Opera at the Fin de siècle: Wagnerism, Nationalism, and Style. Notes of the

American Music Library Assn (March 2001), 644-647.

Judit Frigyesi, Béla Bartok and Turn-of-the Century Budapest, Journal of the Royal Musical Association, vol. 125, 2 (2000), 314-322.

[pdf]Kathryn Bergeron, Decadent Enchantments: The Revival of Gregorian Chant at Solesmes, Journal of the American Musicological Society (Summer 1999): 370-383.

Larry Kramer, Classical Music, Postmodern Knowledge, Notes of the Music Library Association (March 1997): 756-761.

“Two concerts for International Women’s Day,” IAWM Journal [International Alliance for Women in Music] 2,3 (October 1996): 26-27.

“Some Thoughts on Susan McClary’s Feminine Endings,” Perspectives of New Music 30/2 (Summer 1992): 202-205.

[pdf]“Stravinsky: Insights and Oversights,” Musical Times (October 1986): 557-559.

“Ernst Krenek–In Retrospect,” Perspectives of New Music (Fall/winter 1985): 424-432.

[pdf]“St. Francis of Assisi at the Opera” Musical Times (March 1984): 149-151.

“Pelléas et Mélisande in Geneva.” Musical Times (January 1984): 42-43.

[pdf]“Stravinsky and His Craft: Trends in Stravinsky Criticism and Research,” Musical Times (October 1983): 605-609.

“The Cunning Little Vixen, Janacek,” Opera Quarterly (Summer 1983): 180-183.

DICTIONARY ARTICLES

The New Grove Dictionary of Music and Musicians 2nd edition (London: Macmillan, 2000), also available at www.grovemusic.com.

“Paris, 1870–the present,” 19: 111-121, 124-125. (9612words)

“Nature of Musicology,” 17: 488-492, 526-528. (6000 words)

“Postmodernism,” 20: 213-216. (4200 words)

“Impressionism,” 12: 90-94. (3364 words)

“Théodore Dubois,” 7: 630-632. (3100 words)

“Maurice Delage,” 7: 145-147. (2330 words)

“Florent Schmitt,” 22: 542-545. (2063 words)

“Neo-Romanticism,” 17: 756-757. (820 words)

“Les Apaches,” 1: 772. (563 words)

“Susan McClary,” 15: 451 (223 words)

“Modern and Postmodern Music,” Encyclopedia of Time, ed. Samuel Macey (New York: Garland, 1995)

“Louise Haenel de Cronenthal,” The New Grove Dictionary of Women Composers, ed. Julie Sadie (London: Macmillan, 1994): 206-207.

“Déodat de Séverac,” The New Grove Dictionary of Opera, ed. Stanley Sadie (London: Macmillan, 1992): 334.

OTHER PUBLISHED ARTICLES

“Deconstructing Saint-Saëns,” Saint-Saëns and His World, Festival Program, August 2012.

“Expanding the French Musical Palette: Orientalism in France,” Program notes, American Symphony Orchestra, New York City (10 February 2012).

Translated or co-translated Saint-Saëns’ writings in Saint-Saëns and His World, ed. Pasler (Princeton: Princeton University Press, 2012):

Saint-Saëns, “Changes on the Moon (1889),
Saint-Saëns, “On Optical Illusions” (1911),
Saint-Saëns, “On the Stars” (1913);
Saint-Saëns, Letter to Durand (21 November 1891);
Saint-Saëns/Massenet correspondence (1894-96);
Saint-Saëns, Preface to an Edition of Rameau (1895);
Saint-Saëns, “Musical Evolution” (1906);
Saint-Saëns, The Ideas of Vincent d’Indy (1919) and the correspondence Saint-Saëns/d’Indy (1919)
Saint-Saëns, “Report to the Minister” (1881).

Translated or co-translated contributor essays in Saint-Saëns and His World, ed. Pasler (Princeton: Princeton University Press, 2012):

Branger, “Rivals and Friends: Saint-Saëns, Massenet, and Thais,
Schnapper, “Saint-Saëns: President of the Society of Composers (1887-1891);”
Soret, Saint-Saëns, Writer;
Duchesneau, “The Fox in the Sheep’s Pen, or Saint-Saëns at the Société Musicale Indépendente;”
Launay and Pasler, “Le Maître and the ‘Strange Woman,’ Marie Jaëll: Two Composer-performers in Resonance.”

“Politique nationale et prix de Rome,” in Claude Debussy, Musique du Prix de Rome (Glossa Music, Spain), 23-35.

“Stanley Sadie (1930-2005),” Newsletter of the American Musicological Society (August 2005), 22-23.

“An Interview with Pauline Oliveros,” AWC-News/Forum, vol. 9 (Spring/summer 1991): 8-14.

Translation: “Musique et spectacle dans Petrouchka et Le Sacre du printemps,” Inharmoniques, special number, “d’un art à l’autre, les zones de défi” (June 1989): 42-63.

Pasler, Jann. “Célestin Deliège, “Stravinsky. IdeologyLanguage,” edited and translated by Jann

Pasler, Perspectives of New Music, Vol. 26, no. 6 (Winter 1988): 82-106.

Pasler, Jann, Amy, Gilbert. “Aspects of the Religious Music of Igor Stravinsky,” translated by Nancy François and Jann Pasler, in Confronting Stravinsky: Man, Musician, and Modernist, University of California Press, 1986.

“Igor and Friends.” San Diego Magazine (September, 1982): 171-175.

“A Century of Igor Stravinsky (1882-1982).” KUSC, Los Angeles, Program Guide (June, 1982): 14-15.