Orientalism program


	ORIENTALISM, REPRESENTATION, AND THE ARTS A symposium and concert Orientalism, as a historic body of writings about the “Orient” and a mode of portraying the “Orientals,” has been a major topic of interest among contemporary scholars. Since Said’s groundbreaking book on the subject, issues of representation, knowledge, and power have been a major concern among literary critics, philosophers, historians, social scientists, and those who study the arts and humanities. In this symposium, the basic arguments and counterarguments within the Orientalist discourse will be introduced and discussed. Primary attention is also devoted to more general issues of musical representation, and in a related vein, to the various depictions of the “other” in Romantic paintings, early photography, cinema, television, and popular dance. Friday and Saturday, May 13-14, 2005 Symposium - Free of charge Concert - $7 general admission, $3 students (with ID) and seniors UCLA Faculty Center (Friday) and Schoenberg Music Bldg (Saturday) SYMPOSIUM FRIDAY, MAY13 UCLA Faculty Center 9am-12:00pm General Welcome Timothy Rice and Christopher Waterman The “Exotic” in Western Art Music “Whirling Fanatics: Orientalism, Politics, and Religious Rivalry in Western Operatic Representation of the Orient” Nasser al-Taee, The University of Tennesse at Knoxville "Orientalism and the Style Hongrois" Jonathan Bellman, The University of Northern Colorado “Japonisme and the Problem of Assimilation” Jann Pasler, The University of California, San Diego "Beyond Orientalism? Reciprocal Conversations Today" Glenn Watkins, The University of Michigan Anthony Seeger (UCLA), chair 12:00 - 1:30pm Lunch 1:30-3:30pm Depictions of the “Other” in Opera "Savage Lully" Olivia Bloechl, UCLA "Images of the Other: Cultural Politics and French Colonial Opera Productions (1764-1789)” David Powers, Independent Scholar “Singing ‘blackface’: The Look and Sound of ‘Blackness’ in Opera.” Naomi Andre, The University of Michigan "The Politics of Indian-White Relations In 'Shanewis’” Tara Browner, UCLA Cheryl Keyes (UCLA), chair 3:45-5:15pm Lecture recitals on Sheet Music Imagery "Asian Representations in the Popular Music Eye" Judy Tsou, The University of Washington "'Rebecca Came Back from Mecca' and Other Follies from the Annals of American Orientalism" Jonathan Friedlander, UCLA Lorraine Sakata (UCLA), chair Vocal Performance by Mitchell Morris (UCLA), accompanied by Olivia Bloechl SATURDAY, MAY14 Jan Popper Theater, Schoenberg Music Building 9-10:30am The Appropriation of Musical Identities "Cuban Nationalism under the Shadow of Art Negré: Alejo Carpentier's Afrocubanismo." Tamara Levitz, UCLA “The Popular, the Indian and the Mexican in the Music of Manuel M. Ponce” Leonora Saavedra, The University of California at Riverside “Jivin' Jim Crow in Stormy Weather: An (Accidental?) Parable of Black America” Raymond Knapp, UCLA (chair) 10:45am-12:00pm Orientalizing the Orientals “Orientals Orientalizing Themselves: Themes from Egyptian Music and Film” A.J. Racy, UCLA “Domesticating Exoticism: Walt Disney and the East” Elizabeth Upton, UCLA Nazir Jairazbhoy (UCLA), chair and respondent 12:00 - 1:30pm Lunch 1:30-3:00pm Sound and Image: A Panel Discussion on Music in Film, Theater, and Television Paul Chihara Mitchell Morris Hanay Geiogamah Timothy Rice Roger Kendall, chair 3:15-5:00pm The Cultural Industry of Orientalism “Orienting Orientalism” Saree Makdisi, UCLA “World Music Discourses” Timothy Taylor, UCLA Vinay Lal (UCLA), chair and respondent. CONCERT SATURDAY, MAY 14 Schoenberg Hall 8:00pm UCLA Philharmonia Orchestra Jon Robertson, conductor $7 general admission, $3 students (with ID) and seniors Tickets available at the UCLA Central Ticket Office (310) 825-2101 and at the Schoenberg Hall Box Office one hour before the concert An evening of classic orientalist works as well as concerto-like music featuring faculty artists from the Department of Ethnomusicology. The program includes Arab music with A.J. Racy; Chinese music with LI Chi; and mariachi music with Jesus Guzman and Los Camperos de Nati Cano. For further information call: (310) 825-8381 or email: donnaa@arts.ucla.edu PARTICIPANTS Naomi André is Associate Professor of Women's Studies at the University of Michigan, and received a Ph.D. in music from Harvard University. Her research focuses on nineteenth-century Italian opera, women in music, and race and ethnicity in opera. She is author of Voicing Gender: Castrati, Travesti and the Second Woman (forthcoming from Indiana Press, 2005), has published essays on Verdi and Schoenberg, and contributed several articles for The New Grove Dictionary of Women Composers, The New Grove Dictionary of Music and Musicians, and The International Dictionary of Black Musicians. Jonathan Bellman , Professor of Music and Chair of the Department of Music History and Literature at the University of Northern Colorado, earned piano performance degrees from the University of California, Santa Barbara and the University of Illinois, and he completed his D.M.A. in Piano Performance Practices at Stanford University in 1990. Before coming to UNC, he taught music history and piano performance at Stanford and at the University of Richmond. His first two books, The Style Hongrois in the Music of Western Europe (1993), and The Exotic in Western Music (1998; a collection of essays by himself and others), were published by Northeastern University Press; his third book, A Short Guide to Writing about Music (2000) is a textbook published by Longman. His articles have appeared in Nineteenth-Century Music, Early Music, The Pendragon Review, Historical Performance, The Journal of Musicology, and The New Grove Dictionary of Music (2nd edition). During the academic year 2004-05, he gave papers at the Durham University in England, the Fryderyk Chopin Institute in Warsaw, and the University of Tennessee. His research interests include transcultural music, the music and performance practices of Frédéric Chopin, and the Schumann-Brahms circle. Olivia Bloechl received her Ph.D. in musicology at the University of Pennsylvania in 2002. She taught at Bucknell University before joining the musicology faculty at UCLA in 2004. Bloechl's research focuses on music and colonialism in the north Atlantic world in the sixteenth through eighteenth centuries, and she is completing a book entitled Native American Song at the Frontiers of Early Modern Music. An article on early Protestant representations of Native American music appears in The Musical Quarterly, and her work is forthcoming in the Journal of Popular Music Studies and the Journal of Musicology. Her secondary interests include spiritual hearing in religious subcultures, and metaphysics of the voice in nineteenth-century European piano music. Tara Browner is Associate Professor in Ethnomusicology and American Indian Studies at UCLA. Her research focuses on Native North American music and dance; Native North American contemporary music; musical imagery of Indians in popular culture; and indigenous concepts of music theory and American music. Browner holds a Ph.D. in Music History: Musicology from the University of Michigan and M.M. in Percussion Performance from the University of Colorado, Boulder. She is the author of Heartbeat of the People: Music and Dance of the Northern Pow-Wow (2002) editor of Music of the First Nations: Collected Essays on Native North American Music (forthcoming, University of Illinois Press) and is currently working on an musical edition drawn from pow-wow performance for the series Music in the United States of America (MUSA). She has also published in several major journals including Ethnomusicology, The Journal of Musicological Research, and American Music. In addition to her scholarly activities, she is a pow-wow dancer in the Women's Southern Cloth tradition and a professional percussionist and timpanist. Paul Seiko Chihara received his doctorate degree from Cornell University in 1965 as a student of Robert Palmer. Mr. Chihara also studied with the renowned pedagogue Nadia Boulanger in Paris, Ernst Pepping in Berlin, and with Gunther Schuller at Tanglewood, summer home of the Boston Symphony. With Toru Takemitsu, Chihara was composer-in-residence at the Marlboro Music Festival in Vermont in 1971. Chihara, currently on the faculty at UCLA, was also the first composer-in-residence of the Los Angeles Chamber Orchestra. Chihara's prize-winning concert works have been performed in most major cities and arts centers in the U.S. and Europe. His numerous commissions and awards include those from The Lili Boulanger Memorial Award, the Guggenheim Foundation, the Fulbright Fellowship, the Aaron Copland Fund, and National Endowment for the Arts, as well as from the Boston Symphony Orchestra, the London Symphony Orchestra, the Los Angeles Philharmonic, the New Japan Philharmonic, the Cleveland Orchestra, the New Juilliard Ensemble, and the Orpheus Chamber Orchestra. In addition to his many concert works, Professor Chihara has composed scores for over 90 motion pictures and television series. He has worked with such luminaries as directors Sidney Lumet, Louis Malle, Michael Ritchie, and Arthur Penn. His movie credits include Prince of the City, The Morning After, and Crossing Delancey. His works for television include China Beach, Noble House, Brave New World, An American Family, and 100 Centre Street. Mr. Chihara also served as music supervisor at Buena Vista Pictures (Walt Disney Co.). Jonathan Friedlander serves jointly as assistant director of the Center for Near Eastern Studies and outreach director of the UCLA International Institute. His pioneering research, publications and ongoing field studies focus on the Middle East in the United States, as seen through the prism of immigration and ethnicity, and the parallax of American popular culture. This interest and other components of his work are complemented by innovative websites Friedlander has created for the University and the profession at large. Hanay Geiogamah , a Kiowa/Delaware born and raised in Oklahoma, is a member of the faculty in the Department of Theater and the Interdepartmental Program in American Indian Studies. He taught at Colorado College and the University of Washington before coming to UCLA, is an internationally renowned scholar and playwright, and one of the founders of the American Indian Dance Theater. As a writer, director, choreographer, producer and teacher of American Indian performing arts, Geiogamah’s work spans theater, film, television, dance, and critical studies of media and culture. He is the author of more than a dozen plays, the editor of Stories of Our Way: An Anthology of 12 American Indian Plays, Voices of the Seventh Generation: A Native American Theater Anthology and coeditor of A Reader for American Indian Theater Studies. Jesus Guzman is currently the musical director of Los Camperos de Nati Cano, a world-renowned mariachi ensemble. The group was one of four mariachi ensembles featured on Linda Ronstadt's best-selling album Canciones de Mi Padre (Songs of My Father). The ensemble was also featured on two subsequent Ronstadt albums, Mas Canciones (More Songs) and Canciones de Siempre (Eternal Songs) and on the Grammy Awards show in 1989. In the early 1980s, Mr. Guzman performed for six years with the world-renowned Tijuana-based group Mariachi International. He then came to Los Angeles and worked with Mariachi Los Galleros until 1989, when he joined Los Camperos. Mr. Guzman has recently led workshops in Fresno, California, and Tucson, Arizona. In 1995, he performed at the White House for President Bill Clinton. He is currently director of the Music of Mexico Ensemble for the UCLA Department of Ethnomusicology. Roger Kendall is Professor of Systematic Musicology at UCLA. He has co-authored an invited chapter on music perception and cognition for the Ecological Psychology volume of the Handbook on Perception, as well as a chapter on comparative music psychology for Psychology of Music (second edition). His current research interests include comparative perceptual and acoustical analyses of natural versus synthetic and sampled orchestral timbres and spectra, tuning models and perception of the slendro mode in the Gamelan, expressive music performance modeled in terms of communication theory, and perception of meaning in film music. His computer program, the Music Experiment Development System (MEDS), permits flexible, object-oriented construction and analysis of perceptual and psychoacoustical experiments, and is used internationally. Kendall serves as consulting editor for Music Perception. Raymond Knapp is Professor of Musicology at UCLA. His principal research interests are in music from the 18th through 20th centuries, and he has published and given talks on Landini, Haydn, Mozart, Beethoven, Wagner, Brahms, Dvorák, Mahler, Tchaikovsky, Bartók, and various topics relating to the American musical and film music. His articles appear in Nineteenth-Century Music, The Journal of the American Musicological Society, The Journal of Musicological Research, Acta musicologica, American Music, Cambridge Opera Journal, and Brahms Studies, among others. His books, Brahms and the Challenge of the Symphony; Symphonic Metamorposes: Subjectivity and Alienation in Mahler’s Re-Cycled Songs; and The American Musical and the Formation of National Identity were published in 1997, 2003, and 2004, respectively, and he has now completed a second book on the American musical. Vinay Lal is Associate Professor of History at UCLA. He studied literature, history, and philosophy as an undergraduate, and earned his B.A. and M.A. from the Humanities Center at Johns Hopkins University , and his Ph.D from University of Chicago. He was a William R. Kenan Fellow, Society of Fellows in the Humanities, and Lecturer in History, at Columbia University in 1992-93. Lal was elected a Fellow of the World Academy of Art and Science in February 2000. Lal has written regularly on a wide variety of subjects for periodicals in the US, India, and Britain. His other recent books include The History of History: Politics and Scholarship in Modern India (Delhi: Oxford UP, 2003), Empire of Knowledge: Culture and Plurality in the Global Economy (London: Pluto Press, 2002), and an edited work entitled Dissenting Knowledges, Open Futures: The Multiple Selves and Strange Destinations of Ashis Nandy (Delhi: Oxford UP, 2000). He has also published South Asian Cultural Studies: A Bibliography (Delhi: Manohar, 1996), a special edited issue of the journal Emergences on "Islands" (November 2000), a guest-edited issue of the journal Futures on the social sciences (Vol. 34, no. 1; February 2002), and a new edition of an old ethnography, The History of Railway Thieves (reprinted, 1996). Tamara Levitz is Associate Professor of Musicology at UCLA, and came to UCLA after ten years at McGill University in Montréal, Canada. She specializes in musical modernism in Europe and the Americas, and has taught and published in the past on the Weimar Republic, American experimentalism, Stravinsky, early John Cage, Kurt Weill, Yoko Ono, the discipline of musicology, and popular music of the1960s. She is currently working on a book on “visualized music”—or collaborative projects of music and dance in Europe and the Americas between the wars, and is particularly interested in performance, the relationship between modern dance and composition, the nature of history and memory, the media, and the cultural meaning of music. LI Chi is a highly accomplished performing artist on the erhu, the Chinese two-string bowed fiddle. After graduating from the Conservatory of Chinese Music in 1982, she served as erhu soloist for the National Traditional Orchestra of China (the most renowned orchestra of Chinese musical instruments). In the 1980s, she frequently performed in presidential concerts in Beijing. In the United States she has been featured in concerts held at prestigious venues such as Madison Square Garden, the Lincoln Center, the Ronald Reagan Building in Washington DC, the Waldorf Astoria Hotel in New York and the Jacob Javits Convention Center in New York. She is co-founder of the American Chinese Performing Arts Institute, advisor to the Los Angeles Chinese Music Ensemble, and director of the San Francisco Valley Chinese Music Ensemble. She is currently director of the Music of China Ensemble for the UCLA Department of Ethnomusicology. Saree Makdisi is Professor of English at UCLA, and the author of Romantic Imperialism: Universal Empire and the Culture of Modernity (Cambridge University Press, 1998) and William Blake and the Impossible History of the 1790s (University of Chicago Press, 2003), in addition to a number of articles in venues from the journals Critical Inquiry, SAQ and Boundary 2 to Studies in Romanticism, The Cambridge Companion to Blake, and the Cambridge Companion to English Literature, 1740-1830. In addition to his work on eighteenth and nineteenth century British literature and culture, he also works on a wide range of topics both stemming and departing from his interest in modernity and imperialism, including the cultures of globalization, neo-colonialism, contemporary Arabic political culture, the question of Palestine, critical theory, philosophy and Marxism. Mitchell Morris is Associate Professor of Musicology at UCLA, and specializes in music at the fin-de-siècle, Russian and Soviet music, 20th century American music, opera, rock and soul, and gay/lesbian studies. He has published essays on gay men and opera, disco and progressive rock, musical ethics, and contemporary music in journals such as repercussions and American Music as well as in collections such as Beyond Structural Hearing?, Musicology and Difference, En travesti, and Audible Traces. His book, entitled The Persistence of Sentiment: Essays on Pop Music in the 70s, is forthcoming from the University of California Press. Jann Pasler , Ph.D., University of Chicago (1981) and Professor of Music, UC San Diego (1981-present). Musicologist, pianist, and documentary filmmaker, Pasler has published widely on contemporary American and French music, modernism and postmodernism, and especially the music culture of Belle Epoque Paris. Her work has been honored by three fellowships of the National Endowment for the Humanities, a UC President's fellowship, and a Senior Fellowship at the Stanford Humanities Center. Her video documentaries, Taksu: Music in the life of Bali (1991) and The Great Ceremony to Straighten the World (1994), distributed internationally, have been shown at film festivals and national meetings of the Association for Asian Studies and the American Anthropological Society. In 2003-04, she was the Flora Stone Mather Visiting Professor at Case Western Reserve University. Pasler is currently completing Useful Music, or Why Music Mattered in Third Republic France for the University of California Press. David M. Powers completed graduate studies in musicology at The University of Chicago and is the first African-American to earn a doctorate in that university’s department of music, after which she held a two-year postdoctoral position at University of North Carolina-Chapel Hill, and then joined the faculty at University of Illinois at Chicago. Dr. Powers will present an excerpt from a larger study she is currently preparing--a book that explores the ways in which France contributed to the shaping of the concept of “the other” by focusing on opera performances in the French Caribbean colonies during the eighteenth century, the level of participation of black artists (free and enslaved), and the conditions under which they were allowed to perform. Dr. Powers’ project has evoked the interest of colleagues in related fields--evidenced by the numerous papers presented at several national and international conferences as well as awards she has won. These include the Pan-African Conference, The University of Ghana-Accra (December, 1994); the African American Music and Europe International Conference, Université de la Sorbonne Nouvelle, Paris, France (April, 1996); Association of Caribbean Studies Annual Conference, Johannesburg, South Africa (July, 1999), and regional meetings of the American Musicological Society. Dr. Powers was awarded First Place in the 1996 Scholarly Papers Competition of the National Opera Association and was a recipient of the Camargo Foundation Resident Fellowship in Cassis, France (1998), and an “Honorable Mention” by the National Writers Association (2001) for an article, “Blacks in opera—The Long Tradition.” A.J. Racy is Professor of Ethnomusicology at UCLA, and also a virtuoso performer and composer of the music of the Middle East. He has given concerts in major North American theaters such as Carnegie Hall, the Kennedy Center, and the Dorothy Chandler Pavilion. In Lebanon, where he was born, he has performed regularly on television and presented a weekly radio program on world music. He is also the author of numerous scholarly publications on Middle Eastern music including his book, Making Music in the Arab World: The Culture and Artistry of Tarab (Cambridge University Press, 2003). Racy is a master of many traditional instruments, particularly the nay, a reed-flute, and the buzuq, a long-necked fretted lute. He also performs on other folk and urban instruments including the 'ud, a short-necked lute, the mizmar, a double-reed instrument, the rababah, a spike-fiddle, and the mijwiz, a double-pipe reed instrument. Racy has composed and performed music for television, feature, and documentary films including The Arabs, shown on British Television and PBS in the U.S. His music has been released on cassettes and CDs including the Lyrichord albums Ancient Egypt, Taqasim, which presents improvisation duets with Simon Shaheen, and Mystical Legacies, which contains selections from his L.A. Festival concert with percussionist Souhail Kaspar. Inspired by both Western and Middle Eastern traditions, Racy composed and arranged Zaman Suite for the Kronos Quartet. Timothy Rice is Professor of Ethnomusicology at UCLA, and also chair of that department. He is founding co-editor of the ten-volume Garland Encyclopedia of World Music and the author of May it Fill Your Soul: Experiencing Bulgarian Music (University of Chicago Press, 1994). His research, based on numerous field trips to the Balkans since 1969, has been published in major journals, including Ethnomusicology, Yearbook for Traditional Music, and Journal of American Folklore. He has also published articles on ethnomusicological methods, cross-cultural music theory, and music education. Rice has served his academic field in a variety of ways, including editing a collection of scholarly essays, Cross-Cultural Perspectives on Music, serving as editor of Ethnomusicology, and acting as treasurer and member of the board of directors of the Society for Ethnomusicology. He is currently president of the Society for Ethnomusicology. Jon Robertson is Professor of Music at UCLA and conductor of the UCLA Philharmonia. He is also conductor and music director of the Redlands Symphony Orchestra, and is currently in his twenty-second successful season with them. From 1979 to 1987 Robertson served as conductor and music director of the Kristiansand Symphony Orchestra in Norway. As guest conductor, Robertson made his debut with the San Francisco Symphony at Stern Grove to critical acclaim and returned for its subscription series in Davies Hall. Among other guest conducting appearances, Robertson has conducted in China with the Beijing Central Philharmonic; in Sweden with the Gavele Symphony; and with the Armenian Philharmonic Orchestra where he was named Principal Guest Conductor. Robertson has served two years on the National Endowment for the Arts orchestral review panel and three years as a panelist for the California Arts Council Organizational Grants and Touring Panel. Leonora Saavedra is Associate Professor of Music at University of California, Riverside. She studied performance and historical musicology in Mexico, France, Germany and the USA, and holds degrees from the University of Pittsburgh and the Université de Paris IV-Sorbonne. From 1985 to 1988 she was the director of the Centro Nacional de Investigación, Documentación e Información Musical (CENIDIM) in Mexico City. Her recent research centers upon the changing constructions of self and other in the Mexican musical imaginary, and upon the role of historiography in transmitting and sustaining such constructions. Her work embraces all living musical traditions of Mexico and their histories, and she is particularly interested in the ways in which nations negotiate internal and external relations of power through the representation of the national in music. Professor Saavedra’s comparative study of the social thought of Carlos Chávez and Charles Seeger appeared recently in Understanding Charles Seeger, Pioneer in American Musicology (University of Illinois). She is one of the founders of the Mexican journal Pauta, and her work has also appeared in Vuelta, Plural, the Inter-American Music Review, Boletín Casa de las Américas, New Grove, Diccionario de la Música Española e Hispanoamericana, and other periodicals, collective volumes and encyclopedias Nasser Al-Taee is Assistant professor of Musicology at the University of Tennessee, Knoxville. He specializes in eighteenth-century constructs of Orientalism as well as in the political, social, and cultural exchange between East and West. Al-Taee holds a B.A. in Music from the University of Washington, and M.A. and Ph. D in musicology from UCLA where he served as a visiting assistant professor. He has published in The Opera Quarterly, Popular Music, ECHO, and Pride, and is currently working on two books: the first on musical exoticism in eighteenth-century opera; the second on the music of the Middle East. Timothy Taylor is Associate Professor of Ethnomusicology at UCLA. He is the author of Global Pop: World Music, World Markets (Routledge, 1997), Strange Sounds: Music, Technology and Culture (Routledge, 2001), and numerous articles on various popular and classical musics. His interests include globalization, technology, race, ethnicity, consumption, tourism, and gender. He has received a fellowship from the National Humanities Center, as well as a junior fellowship and the Charles A. Ryskamp Fellowship from the American Council of Learned Societies. He is currently writing two books: a study of five hundred years of music and difference (to be published by Duke University Press), and a history of music used in advertising from early radio to the present. Judy Tsou is lecturer in music and Head of the Music Library at the University of Washington. Her research interests include sociological aspects of music (especially gender and race), American popular music, and music archives. She is the editor of Cecilia Reclaimed: Feminist Perspectives on Gender and Music (1994; winner of the CHOICE Outstanding Academic Book award and the Susan Koppelman feminist editing award). She is the author of “Gendering Race: Stereotypes of Chinese Americans in Popular Sheet Music” (repercussions, vol. 6, no. 2) and has presented numerous papers at conferences including the Society for American Music, the American Musicological Society, and the International Musicological Society. Her current research is on cultural and gender identities in Rodgers and Hammerstein‚s Flower Drum Song and its revision by David Henry Hwang. She is currently on the editorial board of the Journal of the American Musicological Society, a council member, and chair of the Membership and Professional Development Committee of the society. She served on the AMS Committee on the Status of Women from 1993-2003, both as a member and chair. She is also active in the International Association of Music Libraries, serving as chair of the Archives and Documentation Centres Branch. She is also a member of the editorial board of Women in Music: A Journal of Gender and Culture. She served on the Board of Directors of the Society for American Music (1998-2001), was a member-at-large of the Music Library Association (1994-96), and was a fellow at the Doreen B. Townsend Center for the Humanities at the University of California, Berkeley (1996-97). Elizabeth Randell Upton is Assistant Professor of Musicology at UCLA, specializing in Medieval music, with a particular concentration on the formes fixes chansons of the fourteenth and fifteenth centuries. Her dissertation focused on the Chantilly codex, the most important collection of late fourteenth-century chansons; and had published in the journal Studi Musicali and the collections New Perspectives on the Chantilly Manuscript, and Goth: Undead Subculture. Other research interests include Tin Pan Alley and Hollywood musicals, film music, and such issues as musical historiography, codicology, performance practices, and questions of audience and listening, particularly for love songs in a multitude of time periods . Glenn Watkins , is Earl V. Moore Professor of Music History and Musicology emeritus at the University of Michigan, with is a specializations in Renaissance and 20th-century studies. Recipient of a Fulbright Award (England), an American Council of Learned Societies Grant, and Senior Fellowships from the National Endowment for the Humanities and the University of Michigan Institute for the Humanities, he has published numerous articles, reviews and editions including a critical study of Gesualdo, which carries a Preface by Igor Stravinsky (Oxford University Press, 1973) and was a 1974 National Book Award nominee. In 2005 he was only the second musician to be awarded the Premio Internazionale Carlo Gesualdo. Professor Watkins’s comprehensive text Soundings (Schirmer Books, 1988) is a synthetic overview of music in the 20th century, and his book Pyramids at the Louvre (Harvard University Press, 1994) argues the idea of collage as a foundation for musical Modernism and a catalyst for the rise of Postmodernism. His most recent book, Proof Through the Night: Music and the Great War (Univ. of California Press, 2003) investigates the variable roles of music during World War I primarily from the angle of the Entente nation’s perceived threat of German hegemony.

ORIENTALISM, REPRESENTATION, AND THE ARTS
A symposium and concert

Orientalism, as a historic body of writings about the “Orient” and a mode of portraying the “Orientals,” has been a major topic of interest among contemporary scholars. Since Said’s groundbreaking book on the subject, issues of representation, knowledge, and power have been a major concern among literary critics, philosophers, historians, social scientists, and those who study the arts and humanities. In this symposium, the basic arguments and counterarguments within the Orientalist discourse will be introduced and discussed. Primary attention is also devoted to more general issues of musical representation, and in a related vein, to the various depictions of the “other” in Romantic paintings, early photography, cinema, television, and popular dance.

Friday and Saturday, May 13-14, 2005

Symposium - Free of charge
Concert - $7 general admission, $3 students (with ID) and seniors
UCLA Faculty Center (Friday) and Schoenberg Music Bldg (Saturday)

SYMPOSIUM

FRIDAY, MAY13
UCLA Faculty Center

9am-12:00pm

General Welcome
Timothy Rice and Christopher Waterman

The “Exotic” in Western Art Music

“Whirling Fanatics: Orientalism, Politics, and Religious Rivalry in Western Operatic Representation of the Orient”
Nasser al-Taee, The University of Tennesse at Knoxville

"Orientalism and the Style Hongrois"
Jonathan Bellman, The University of Northern Colorado

“Japonisme and the Problem of Assimilation”
Jann Pasler, The University of California, San Diego

"Beyond Orientalism? Reciprocal Conversations Today"
Glenn Watkins, The University of Michigan

Anthony Seeger (UCLA), chair

12:00 - 1:30pm

Lunch

1:30-3:30pm

Depictions of the “Other” in Opera

"Savage Lully"
Olivia Bloechl, UCLA

"Images of the Other: Cultural Politics and French Colonial Opera Productions (1764-1789)”
David Powers, Independent Scholar

“Singing ‘blackface’: The Look and Sound of ‘Blackness’ in Opera.”
Naomi Andre, The University of Michigan

"The Politics of Indian-White Relations In 'Shanewis’”
Tara Browner, UCLA

Cheryl Keyes (UCLA), chair

3:45-5:15pm

Lecture recitals on Sheet Music Imagery

"Asian Representations in the Popular Music Eye"
Judy Tsou, The University of Washington

"'Rebecca Came Back from Mecca' and Other Follies from the Annals of American Orientalism"
Jonathan Friedlander, UCLA

Lorraine Sakata (UCLA), chair

Vocal Performance by Mitchell Morris (UCLA), accompanied by Olivia Bloechl

SATURDAY, MAY14
Jan Popper Theater, Schoenberg Music Building

9-10:30am

The Appropriation of Musical Identities

"Cuban Nationalism under the Shadow of Art Negré: Alejo Carpentier's Afrocubanismo."
Tamara Levitz, UCLA

“The Popular, the Indian and the Mexican in the Music of Manuel M. Ponce”
Leonora Saavedra, The University of California at Riverside

“Jivin' Jim Crow in Stormy Weather: An (Accidental?) Parable of Black America”
Raymond Knapp, UCLA (chair)

10:45am-12:00pm

Orientalizing the Orientals

“Orientals Orientalizing Themselves: Themes from Egyptian Music and Film”
A.J. Racy, UCLA

“Domesticating Exoticism: Walt Disney and the East”
Elizabeth Upton, UCLA

Nazir Jairazbhoy (UCLA), chair and respondent

12:00 - 1:30pm

Lunch

1:30-3:00pm

Sound and Image: A Panel Discussion on Music in Film, Theater, and Television

Paul Chihara
Mitchell Morris
Hanay Geiogamah
Timothy Rice
Roger Kendall, chair

3:15-5:00pm

The Cultural Industry of Orientalism

“Orienting Orientalism”
Saree Makdisi, UCLA

“World Music Discourses”
Timothy Taylor, UCLA

Vinay Lal (UCLA), chair and respondent.

CONCERT

SATURDAY, MAY 14
Schoenberg Hall

8:00pm

UCLA Philharmonia Orchestra
Jon Robertson, conductor

$7 general admission, $3 students (with ID) and seniors
Tickets available at the UCLA Central Ticket Office (310) 825-2101
and at the Schoenberg Hall Box Office one hour before the concert

An evening of classic orientalist works as well as concerto-like music featuring faculty artists from the Department of Ethnomusicology. The program includes Arab music with A.J. Racy; Chinese music with LI Chi; and mariachi music with Jesus Guzman and Los Camperos de Nati Cano.

For further information call: (310) 825-8381 or email: donnaa@arts.ucla.edu

PARTICIPANTS

Naomi André is Associate Professor of Women's Studies at the University of Michigan, and received a Ph.D. in music from Harvard University. Her research focuses on nineteenth-century Italian opera, women in music, and race and ethnicity in opera. She is author of Voicing Gender: Castrati, Travesti and the Second Woman (forthcoming from Indiana Press, 2005), has published essays on Verdi and Schoenberg, and contributed several articles for The New Grove Dictionary of Women Composers, The New Grove Dictionary of Music and Musicians, and The International Dictionary of Black Musicians.

Jonathan Bellman , Professor of Music and Chair of the Department of Music History and Literature at the University of Northern Colorado, earned piano performance degrees from the University of California, Santa Barbara and the University of Illinois, and he completed his D.M.A. in Piano Performance Practices at Stanford University in 1990. Before coming to UNC, he taught music history and piano performance at Stanford and at the University of Richmond.

His first two books, The Style Hongrois in the Music of Western Europe (1993), and The Exotic in Western Music (1998; a collection of essays by himself and others), were published by Northeastern University Press; his third book, A Short Guide to Writing about Music (2000) is a textbook published by Longman. His articles have appeared in Nineteenth-Century Music, Early Music, The Pendragon Review, Historical Performance, The Journal of Musicology, and The New Grove Dictionary of Music (2nd edition). During the academic year 2004-05, he gave papers at the Durham University in England, the Fryderyk Chopin Institute in Warsaw, and the University of Tennessee. His research interests include transcultural music, the music and performance practices of Frédéric Chopin, and the Schumann-Brahms circle.

Olivia Bloechl received her Ph.D. in musicology at the University of Pennsylvania in 2002. She taught at Bucknell University before joining the musicology faculty at UCLA in 2004. Bloechl's research focuses on music and colonialism in the north Atlantic world in the sixteenth through eighteenth centuries, and she is completing a book entitled Native American Song at the Frontiers of Early Modern Music. An article on early Protestant representations of Native American music appears in The Musical Quarterly, and her work is forthcoming in the Journal of Popular Music Studies and the Journal of Musicology. Her secondary interests include spiritual hearing in religious subcultures, and metaphysics of the voice in nineteenth-century European piano music.

Tara Browner is Associate Professor in Ethnomusicology and American Indian Studies at UCLA. Her research focuses on Native North American music and dance; Native North American contemporary music; musical imagery of Indians in popular culture; and indigenous concepts of music theory and American music. Browner holds a Ph.D. in Music History: Musicology from the University of Michigan and M.M. in Percussion Performance from the University of Colorado, Boulder. She is the author of Heartbeat of the People: Music and Dance of the Northern Pow-Wow (2002) editor of Music of the First Nations: Collected Essays on Native North American Music (forthcoming, University of Illinois Press) and is currently working on an musical edition drawn from pow-wow performance for the series Music in the United States of America (MUSA). She has also published in several major journals including Ethnomusicology, The Journal of Musicological Research, and American Music. In addition to her scholarly activities, she is a pow-wow dancer in the Women's Southern Cloth tradition and a professional percussionist and timpanist.

Paul Seiko Chihara received his doctorate degree from Cornell University in 1965 as a student of Robert Palmer. Mr. Chihara also studied with the renowned pedagogue Nadia Boulanger in Paris, Ernst Pepping in Berlin, and with Gunther Schuller at Tanglewood, summer home of the Boston Symphony. With Toru Takemitsu, Chihara was composer-in-residence at the Marlboro Music Festival in Vermont in 1971. Chihara, currently on the faculty at UCLA, was also the first composer-in-residence of the Los Angeles Chamber Orchestra.

Chihara's prize-winning concert works have been performed in most major cities and arts centers in the U.S. and Europe. His numerous commissions and awards include those from The Lili Boulanger Memorial Award, the Guggenheim Foundation, the Fulbright Fellowship, the Aaron Copland Fund, and National Endowment for the Arts, as well as from the Boston Symphony Orchestra, the London Symphony Orchestra, the Los Angeles Philharmonic, the New Japan Philharmonic, the Cleveland Orchestra, the New Juilliard Ensemble, and the Orpheus Chamber Orchestra.

In addition to his many concert works, Professor Chihara has composed scores for over 90 motion pictures and television series. He has worked with such luminaries as directors Sidney Lumet, Louis Malle, Michael Ritchie, and Arthur Penn. His movie credits include Prince of the City, The Morning After, and Crossing Delancey. His works for television include China Beach, Noble House, Brave New World, An American Family, and 100 Centre Street. Mr. Chihara also served as music supervisor at Buena Vista Pictures (Walt Disney Co.).

Jonathan Friedlander serves jointly as assistant director of the Center for Near Eastern Studies and outreach director of the UCLA International Institute. His pioneering research, publications and ongoing field studies focus on the Middle East in the United States, as seen through the prism of immigration and ethnicity, and the parallax of American popular culture. This interest and other components of his work are complemented by innovative websites Friedlander has created for the University and the profession at large.

Hanay Geiogamah , a Kiowa/Delaware born and raised in Oklahoma, is a member of the faculty in the Department of Theater and the Interdepartmental Program in American Indian Studies. He taught at Colorado College and the University of Washington before coming to UCLA, is an internationally renowned scholar and playwright, and one of the founders of the American Indian Dance Theater. As a writer, director, choreographer, producer and teacher of American Indian performing arts, Geiogamah’s work spans theater, film, television, dance, and critical studies of media and culture.

He is the author of more than a dozen plays, the editor of Stories of Our Way: An Anthology of 12 American Indian Plays, Voices of the Seventh Generation: A Native American Theater Anthology and coeditor of A Reader for American Indian Theater Studies.

Jesus Guzman is currently the musical director of Los Camperos de Nati Cano, a world-renowned mariachi ensemble. The group was one of four mariachi ensembles featured on Linda Ronstadt's best-selling album Canciones de Mi Padre (Songs of My Father). The ensemble was also featured on two subsequent Ronstadt albums, Mas Canciones (More Songs) and Canciones de Siempre (Eternal Songs) and on the Grammy Awards show in 1989. In the early 1980s, Mr. Guzman performed for six years with the world-renowned Tijuana-based group Mariachi International. He then came to Los Angeles and worked with Mariachi Los Galleros until 1989, when he joined Los Camperos. Mr. Guzman has recently led workshops in Fresno, California, and Tucson, Arizona. In 1995, he performed at the White House for President Bill Clinton. He is currently director of the Music of Mexico Ensemble for the UCLA Department of Ethnomusicology.

Roger Kendall is Professor of Systematic Musicology at UCLA. He has co-authored an invited chapter on music perception and cognition for the Ecological Psychology volume of the Handbook on Perception, as well as a chapter on comparative music psychology for Psychology of Music (second edition). His current research interests include comparative perceptual and acoustical analyses of natural versus synthetic and sampled orchestral timbres and spectra, tuning models and perception of the slendro mode in the Gamelan, expressive music performance modeled in terms of communication theory, and perception of meaning in film music. His computer program, the Music Experiment Development System (MEDS), permits flexible, object-oriented construction and analysis of perceptual and psychoacoustical experiments, and is used internationally. Kendall serves as consulting editor for Music Perception.

Raymond Knapp is Professor of Musicology at UCLA. His principal research interests are in music from the 18th through 20th centuries, and he has published and given talks on Landini, Haydn, Mozart, Beethoven, Wagner, Brahms, Dvorák, Mahler, Tchaikovsky, Bartók, and various topics relating to the American musical and film music. His articles appear in Nineteenth-Century Music, The Journal of the American Musicological Society, The Journal of Musicological Research, Acta musicologica, American Music, Cambridge Opera Journal, and Brahms Studies, among others. His books, Brahms and the Challenge of the Symphony; Symphonic Metamorposes: Subjectivity and Alienation in Mahler’s Re-Cycled Songs; and The American Musical and the Formation of National Identity were published in 1997, 2003, and 2004, respectively, and he has now completed a second book on the American musical.

Vinay Lal is Associate Professor of History at UCLA. He studied literature, history, and philosophy as an undergraduate, and earned his B.A. and M.A. from the Humanities Center at Johns Hopkins University , and his Ph.D from University of Chicago. He was a William R. Kenan Fellow, Society of Fellows in the Humanities, and Lecturer in History, at Columbia University in 1992-93. Lal was elected a Fellow of the World Academy of Art and Science in February 2000.

Lal has written regularly on a wide variety of subjects for periodicals in the US, India, and Britain. His other recent books include The History of History: Politics and Scholarship in Modern India (Delhi: Oxford UP, 2003), Empire of Knowledge: Culture and Plurality in the Global Economy (London: Pluto Press, 2002), and an edited work entitled Dissenting Knowledges, Open Futures: The Multiple Selves and Strange Destinations of Ashis Nandy (Delhi: Oxford UP, 2000). He has also published South Asian Cultural Studies: A Bibliography (Delhi: Manohar, 1996), a special edited issue of the journal Emergences on "Islands" (November 2000), a guest-edited issue of the journal Futures on the social sciences (Vol. 34, no. 1; February 2002), and a new edition of an old ethnography, The History of Railway Thieves (reprinted, 1996).

Tamara Levitz is Associate Professor of Musicology at UCLA, and came to UCLA after ten years at McGill University in Montréal, Canada. She specializes in musical modernism in Europe and the Americas, and has taught and published in the past on the Weimar Republic, American experimentalism, Stravinsky, early John Cage, Kurt Weill, Yoko Ono, the discipline of musicology, and popular music of the1960s. She is currently working on a book on “visualized music”—or collaborative projects of music and dance in Europe and the Americas between the wars, and is particularly interested in performance, the relationship between modern dance and composition, the nature of history and memory, the media, and the cultural meaning of music.

LI Chi is a highly accomplished performing artist on the erhu, the Chinese two-string bowed fiddle. After graduating from the Conservatory of Chinese Music in 1982, she served as erhu soloist for the National Traditional Orchestra of China (the most renowned orchestra of Chinese musical instruments). In the 1980s, she frequently performed in presidential concerts in Beijing. In the United States she has been featured in concerts held at prestigious venues such as Madison Square Garden, the Lincoln Center, the Ronald Reagan Building in Washington DC, the Waldorf Astoria Hotel in New York and the Jacob Javits Convention Center in New York. She is co-founder of the American Chinese Performing Arts Institute, advisor to the Los Angeles Chinese Music Ensemble, and director of the San Francisco Valley Chinese Music Ensemble. She is currently director of the Music of China Ensemble for the UCLA Department of Ethnomusicology.

Saree Makdisi is Professor of English at UCLA, and the author of Romantic Imperialism: Universal Empire and the Culture of Modernity (Cambridge University Press, 1998) and William Blake and the Impossible History of the 1790s (University of Chicago Press, 2003), in addition to a number of articles in venues from the journals Critical Inquiry, SAQ and Boundary 2 to Studies in Romanticism, The Cambridge Companion to Blake, and the Cambridge Companion to English Literature, 1740-1830. In addition to his work on eighteenth and nineteenth century British literature and culture, he also works on a wide range of topics both stemming and departing from his interest in modernity and imperialism, including the cultures of globalization, neo-colonialism, contemporary Arabic political culture, the question of Palestine, critical theory, philosophy and Marxism.

Mitchell Morris is Associate Professor of Musicology at UCLA, and specializes in music at the fin-de-siècle, Russian and Soviet music, 20th century American music, opera, rock and soul, and gay/lesbian studies. He has published essays on gay men and opera, disco and progressive rock, musical ethics, and contemporary music in journals such as repercussions and American Music as well as in collections such as Beyond Structural Hearing?, Musicology and Difference, En travesti, and Audible Traces. His book, entitled The Persistence of Sentiment: Essays on Pop Music in the 70s, is forthcoming from the University of California Press.

Jann Pasler , Ph.D., University of Chicago (1981) and Professor of Music, UC San Diego (1981-present). Musicologist, pianist, and documentary filmmaker, Pasler has published widely on contemporary American and French music, modernism and postmodernism, and especially the music culture of Belle Epoque Paris. Her work has been honored by three fellowships of the National Endowment for the Humanities, a UC President's fellowship, and a Senior Fellowship at the Stanford Humanities Center. Her video documentaries, Taksu: Music in the life of Bali (1991) and The Great Ceremony to Straighten the World (1994), distributed internationally, have been shown at film festivals and national meetings of the Association for Asian Studies and the American Anthropological Society. In 2003-04, she was the Flora Stone Mather Visiting Professor at Case Western Reserve University. Pasler is currently completing Useful Music, or Why Music Mattered in Third Republic France for the University of California Press.

David M. Powers completed graduate studies in musicology at The University of Chicago and is the first African-American to earn a doctorate in that university’s department of music, after which she held a two-year postdoctoral position at University of North Carolina-Chapel Hill, and then joined the faculty at University of Illinois at Chicago. Dr. Powers will present an excerpt from a larger study she is currently preparing--a book that explores the ways in which France contributed to the shaping of the concept of “the other” by focusing on opera performances in the French Caribbean colonies during the eighteenth century, the level of participation of black artists (free and enslaved), and the conditions under which they were allowed to perform.

Dr. Powers’ project has evoked the interest of colleagues in related fields--evidenced by the numerous papers presented at several national and international conferences as well as awards she has won. These include the Pan-African Conference, The University of Ghana-Accra (December, 1994); the African American Music and Europe International Conference, Université de la Sorbonne Nouvelle, Paris, France (April, 1996); Association of Caribbean Studies Annual Conference, Johannesburg, South Africa (July, 1999), and regional meetings of the American Musicological Society. Dr. Powers was awarded First Place in the 1996 Scholarly Papers Competition of the National Opera Association and was a recipient of the Camargo Foundation Resident Fellowship in Cassis, France (1998), and an “Honorable Mention” by the National Writers Association (2001) for an article, “Blacks in opera—The Long Tradition.”

A.J. Racy is Professor of Ethnomusicology at UCLA, and also a virtuoso performer and composer of the music of the Middle East. He has given concerts in major North American theaters such as Carnegie Hall, the Kennedy Center, and the Dorothy Chandler Pavilion. In Lebanon, where he was born, he has performed regularly on television and presented a weekly radio program on world music. He is also the author of numerous scholarly publications on Middle Eastern music including his book, Making Music in the Arab World: The Culture and Artistry of Tarab (Cambridge University Press, 2003). Racy is a master of many traditional instruments, particularly the nay, a reed-flute, and the buzuq, a long-necked fretted lute. He also performs on other folk and urban instruments including the 'ud, a short-necked lute, the mizmar, a double-reed instrument, the rababah, a spike-fiddle, and the mijwiz, a double-pipe reed instrument. Racy has composed and performed music for television, feature, and documentary films including The Arabs, shown on British Television and PBS in the U.S. His music has been released on cassettes and CDs including the Lyrichord albums Ancient Egypt, Taqasim, which presents improvisation duets with Simon Shaheen, and Mystical Legacies, which contains selections from his L.A. Festival concert with percussionist Souhail Kaspar. Inspired by both Western and Middle Eastern traditions, Racy composed and arranged Zaman Suite for the Kronos Quartet.

Timothy Rice is Professor of Ethnomusicology at UCLA, and also chair of that department. He is founding co-editor of the ten-volume Garland Encyclopedia of World Music and the author of May it Fill Your Soul: Experiencing Bulgarian Music (University of Chicago Press, 1994). His research, based on numerous field trips to the Balkans since 1969, has been published in major journals, including Ethnomusicology, Yearbook for Traditional Music, and Journal of American Folklore. He has also published articles on ethnomusicological methods, cross-cultural music theory, and music education. Rice has served his academic field in a variety of ways, including editing a collection of scholarly essays, Cross-Cultural Perspectives on Music, serving as editor of Ethnomusicology, and acting as treasurer and member of the board of directors of the Society for Ethnomusicology. He is currently president of the Society for Ethnomusicology.

Jon Robertson is Professor of Music at UCLA and conductor of the UCLA Philharmonia. He is also conductor and music director of the Redlands Symphony Orchestra, and is currently in his twenty-second successful season with them. From 1979 to 1987 Robertson served as conductor and music director of the Kristiansand Symphony Orchestra in Norway. As guest conductor, Robertson made his debut with the San Francisco Symphony at Stern Grove to critical acclaim and returned for its subscription series in Davies Hall. Among other guest conducting appearances, Robertson has conducted in China with the Beijing Central Philharmonic; in Sweden with the Gavele Symphony; and with the Armenian Philharmonic Orchestra where he was named Principal Guest Conductor. Robertson has served two years on the National Endowment for the Arts orchestral review panel and three years as a panelist for the California Arts Council Organizational Grants and Touring Panel.

Leonora Saavedra is Associate Professor of Music at University of California, Riverside. She studied performance and historical musicology in Mexico, France, Germany and the USA, and holds degrees from the University of Pittsburgh and the Université de Paris IV-Sorbonne. From 1985 to 1988 she was the director of the Centro Nacional de Investigación, Documentación e Información Musical (CENIDIM) in Mexico City. Her recent research centers upon the changing constructions of self and other in the Mexican musical imaginary, and upon the role of historiography in transmitting and sustaining such constructions. Her work embraces all living musical traditions of Mexico and their histories, and she is particularly interested in the ways in which nations negotiate internal and external relations of power through the representation of the national in music.

Professor Saavedra’s comparative study of the social thought of Carlos Chávez and Charles Seeger appeared recently in Understanding Charles Seeger, Pioneer in American Musicology (University of Illinois). She is one of the founders of the Mexican journal Pauta, and her work has also appeared in Vuelta, Plural, the Inter-American Music Review, Boletín Casa de las Américas, New Grove, Diccionario de la Música Española e Hispanoamericana, and other periodicals, collective volumes and encyclopedias

Nasser Al-Taee is Assistant professor of Musicology at the University of Tennessee, Knoxville. He specializes in eighteenth-century constructs of Orientalism as well as in the political, social, and cultural exchange between East and West. Al-Taee holds a B.A. in Music from the University of Washington, and M.A. and Ph. D in musicology from UCLA where he served as a visiting assistant professor. He has published in The Opera Quarterly, Popular Music, ECHO, and Pride, and is currently working on two books: the first on musical exoticism in eighteenth-century opera; the second on the music of the Middle East.

Timothy Taylor is Associate Professor of Ethnomusicology at UCLA. He is the author of Global Pop: World Music, World Markets (Routledge, 1997), Strange Sounds: Music, Technology and Culture (Routledge, 2001), and numerous articles on various popular and classical musics. His interests include globalization, technology, race, ethnicity, consumption, tourism, and gender. He has received a fellowship from the National Humanities Center, as well as a junior fellowship and the Charles A. Ryskamp Fellowship from the American Council of Learned Societies. He is currently writing two books: a study of five hundred years of music and difference (to be published by Duke University Press), and a history of music used in advertising from early radio to the present.

Judy Tsou is lecturer in music and Head of the Music Library at the University of Washington. Her research interests include sociological aspects of music (especially gender and race), American popular music, and music archives. She is the editor of Cecilia Reclaimed: Feminist Perspectives on Gender and Music (1994; winner of the CHOICE Outstanding Academic Book award and the Susan Koppelman feminist editing award). She is the author of “Gendering Race: Stereotypes of Chinese Americans in Popular Sheet Music” (repercussions, vol. 6, no. 2) and has presented numerous papers at conferences including the Society for American Music, the American Musicological Society, and the International Musicological Society. Her current research is on cultural and gender identities in Rodgers and Hammerstein‚s Flower Drum Song and its revision by David Henry Hwang.

She is currently on the editorial board of the Journal of the American Musicological Society, a council member, and chair of the Membership and Professional Development Committee of the society. She served on the AMS Committee on the Status of Women from 1993-2003, both as a member and chair. She is also active in the International Association of Music Libraries, serving as chair of the Archives and Documentation Centres Branch. She is also a member of the editorial board of Women in Music: A Journal of Gender and Culture. She served on the Board of Directors of the Society for American Music (1998-2001), was a member-at-large of the Music Library Association (1994-96), and was a fellow at the Doreen B. Townsend Center for the Humanities at the University of California, Berkeley (1996-97).

Elizabeth Randell Upton is Assistant Professor of Musicology at UCLA, specializing in Medieval music, with a particular concentration on the formes fixes chansons of the fourteenth and fifteenth centuries. Her dissertation focused on the Chantilly codex, the most important collection of late fourteenth-century chansons; and had published in the journal Studi Musicali and the collections New Perspectives on the Chantilly Manuscript, and Goth: Undead Subculture. Other research interests include Tin Pan Alley and Hollywood musicals, film music, and such issues as musical historiography, codicology, performance practices, and questions of audience and listening, particularly for love songs in a multitude of time periods .

Glenn Watkins , is Earl V. Moore Professor of Music History and Musicology emeritus at the University of Michigan, with is a specializations in Renaissance and 20th-century studies. Recipient of a Fulbright Award (England), an American Council of Learned Societies Grant, and Senior Fellowships from the National Endowment for the Humanities and the University of Michigan Institute for the Humanities, he has published numerous articles, reviews and editions including a critical study of Gesualdo, which carries a Preface by Igor Stravinsky (Oxford University Press, 1973) and was a 1974 National Book Award nominee. In 2005 he was only the second musician to be awarded the Premio Internazionale Carlo Gesualdo.

Professor Watkins’s comprehensive text Soundings (Schirmer Books, 1988) is a synthetic overview of music in the 20th century, and his book Pyramids at the Louvre (Harvard University Press, 1994) argues the idea of collage as a foundation for musical Modernism and a catalyst for the rise of Postmodernism. His most recent book, Proof Through the Night: Music and the Great War (Univ. of California Press, 2003) investigates the variable roles of music during World War I primarily from the angle of the Entente nation’s perceived threat of German hegemony.