I am Professor of Modern European History at the University of Southampton, G.B., where I have worked since 1994. My research has ranged widely over the business, social, and cultural history of the twentieth century; at its core is the project of thinking through the place of the Third Reich in the longer history of Germany and Europe’s twentieth century and, in particular, of embedding histories of the Holocaust in wider narratives of modern German and European history. My most recent project focusses on the cultural history of art music in C20th Germany, in connection with which I am writing a book on the institution of the symphony concert in Nazi Germany.
Anna Kijas is Senior Digital Scholarship Librarian at Boston College Libraries where she experiments with the application of digital humanities tools and methods, focusing as much on the process, as on the final product. She also manages the Digital Studio located in O’Neill Library. Her main areas of research include music criticism and reception studies of women musicians during the 19th through early 20th centuries. She writes about these topics on her professional blog and is the project lead for the Documenting Teresa Carreño project. View Anna’s full C.V.
While this essay does not deal explicitly with the relation between eastern and western aesthetics, its choice of theme seizes on a dimension of art which, perhaps more than any other, spans both traditions. Indeed intuition, as it is developed in the discussion that follows, can be taken as the characteristic feature of much oriental art, surfacing particularly in the landscape painting of China and Japan, and in that remarkable poetic form, the haiku. Yet this same artistic quality has become explicit at times in western art too, as in the impressionist and post-impressionist painting of the late 19th and early 20th centuries(itself influenced by the study of oriental art), and romantic poetry of 19th century England. But that art which most fully and consistently embodies the intuitive impulse is music, and this without regard to cultural tradition. It is my contention, however, that an aesthetics of intuition is capable of general illumination in art and not just of the art of particular modes and styles. Since it is in the East, though, that art seems to have expressed this trait most openly, to develop intuition as a concept in an aesthetics of western art is, then, something of an acknowledgment of the lesson taught by the artistic tradition of the orient.
My research interests are guided by a broad question of what inspires contemporary composers, in particular, the influence of spiritual or philosophical beliefs on their music and its reception. My current research focus is music during the last two decades of the USSR.
Marian Wilson Kimber is Professor of Musicology at the University of Iowa. Her research about Felix Mendelssohn and Fanny Mendelssohn Hensel has appeared in numerous books and journals. Wilson Kimber’s 2017 book, The Elocutionists: Women, Music, and the Spoken Word, published by the University of Illinois Press, explores women’s roles as performers and composers in the intersection of poetic recitation and music in American cultural life. The book is the recipient of the H. Earle Johnson Publication Subvention from the Society for American Music and an additional subvention from the American Musicological Society. Wilson Kimber has recently taken up performing the women’s spoken-word compositions she writes about with pianist Natalie Landowski.
20th century French literature; French theatre; European art; Francophone studies; travel; politics; classical music; Norwegian culture and literature .My publications and most of my professional presentations were on the French-Romanian dramatist Eugène Ionesco. I live with my husband in Atlanta. We are both retired. We travel to Europe when possible, less often in the past five years; we are members of the local museum and symphony. I studied at Western College for Women(now Miami of Ohio); University of Virginia; and Emory University. I have two sons from a first marriage (my first husband died when they were young). I have no grandchildren. I had a non-academic career for a few years and became a technical writer and trainer in a software company at that time. I later used my computer experience in designing web pages for my classes, while I was still teaching.
Catalan Mallorca-born musician Baltasar Samper i Marquès (1888-1966) was one of the most outstanding artists of the first third of the 20th century, forming part of the Catalan musical elite until the outbreak of the civil war. A long exile, first in France and later in Mexico, from where he never returned, has made him an almost forgotten figure, relegated to a full background, only with the exception of his work as an ethnomusicologist within the Obra del Cançoner Popular de Catalunya, well known nowadays. However, Samper was a prominent composer, whose knowledge of his work is now almost completely ignored, beyond some few compositions. In this article, we present a review of the research about Samper and the list of works known to date, and we publicize, for the first time, the initial, but complete description of the important documentary fonds of the musician kept for 50 years for his family in Mexico.
Azorean musicologist, PhD candidate at the University of Évora, holds a master’s degree in Musical Sciences (FCSH NOVA) and a licentiate’s degree in Music (UÉvora). He is a researcher in training at CESEM and member of MPMP. He catalogued the musical archive of Angra Cathedral, scholarship holder for project ORFEUS and researcher for project PASEV. He founded and directed the Ensemble da Sé de Angra and Ensemble Eborensis with concerts in the Azores islands, Portuguese continent and France. His research interests centre on 17th-century Portuguese polyphony, especially from Alentejo, and music in the Azores from the 15 h- to late-19th-century.
Lawrence Kramer (b. 1946) grew up in Philadelphia and New York and was educated at the University of Pennsylvania and at Yale. A prizewinning composer whose works have been performed throughout the United States and Europe, he holds the position of Distinguished Professor of English and Music at Fordham University. He is the author of fifteen books and the longtime editor of the journal Nineteenth-Century Music. His scholarly work has been translated into ten languages and has been the subject of session meetings at scholarly societies and symposiums in the United States, Europe, Brazil, and China. Kramer’s books on music and culture include, most recently, Song Acts: Writings on Words and Music (Brill, 2017); a trilogy on musical understanding comprised of The Thought of Music (University of California Press, 2016), winner of the 2017 ASCAP Virgil Thomson Award for Outstanding Music Criticism, Expression and Truth: On the Music of Knowledge (California, 2012), and Interpreting Music (California, 2010); and Why Classical Music Still Matters (California, 2007). Musical Meaning and Human Values (Fordham University Press, 2009), co-edited with Keith Chapin, is a collection based on an international conference held in Kramer’s honor in 2007. The 2007 conference featured the premiere of seven songs for voice and cello to texts adapted from Nietzsche’s The Gay Science, since then incorporated in an eleven-song cycle, “Bearing the Light,” performed in New York City in 2014. The premiere marked a return to composition after fifteen years of intensive work in musicology. Performances have steadily followed across the United States and Europe, with premieres in New York, London, Edinburgh, Oxford, Vienna, Ghent, and Stockholm. Kramer’s quartet movement “Clouds, Wind, Stars” won the Composers Concordance “Generations” Prize in 2013. His music has also won competitions by the Hartford Opera Theater and Ensemble for These Times. “Star and Shadow” for trumpet and piano (another competition winner) appeared on CD/mp3 in 2014. Other recent performances include Pulsation for Piano Quartet (Ghent, Belgium, 2013); Songs and Silences to Poems by Wallace Stevens (London, 2013; Belgrade, 2014); four string quartets: nos. 2 and 6 (New York City, 2013), 5 (New York City, 2015), and 7 (New York City, 2016; Bern Switzerland, 2017); “Bearing the Light” for voice and cello (Durham, N. C., 2014); “A Short History (of the 20th Century)” for voice and percussion (Krakow, Poland, 2012; New York City 2014); “Sand Dunes” for unaccompanied flute (Salvador, Brazil, 2014); “Aftermath: Four Songs of the Civil War” for tenor and piano (New York City, 2015); “Nimbus” (two songs from Walt Whitman’s Drum-Taps for tenor and piano; Cambridge, Mass., 2015); Six Nietzsche Fragments for baritone, violin, and piano (New York City, 2015); Erat Hora (six songs to texts by Ezra Pound for soprano, baritone, and piano; New York City, 2016); “The Stillness in the Air”: Six Poems of Emily Dickinson for mezzo soprano and piano, New York City, 2017; Sonata for Violin and Piano, New York City, 2017; and “Wingspan” for String Sextet, New York City, 2017.