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.
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.
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.
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 in the duo, Red Vespa, 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.
Don Fader (Associate Professor of Musicology) joined the tenure-track faculty at the UA School of Music in 2008. He holds an A.M. in the performance of historical wind instruments (1993), and a Ph.D. in musicology (2000) from Stanford University. Before coming to UA, he taught at Indiana University, the University of North Carolina at Chapel Hill, and UNC-Greensboro. Dr. Fader’s research takes in a broad spectrum of issues relating to the Italian style in 17th- and 18th-century France, and his interests range from performance practice to cultural history, and aesthetics to the history of theory. His work on French baroque music began as laureate of the Bourse Chateaubriand and Chercheur Associé at the Centre de Musique Baroque at Versailles (1997-98). Dr. Fader is the author of two editions as well as numerous articles and book reviews in collections and journals, including Journal of Musicology, Music & Letters, Early Music, Revue de musicologie, and the Journal of Seventeenth-Century Music, among others. His article, “The ‘Cabale du Dauphin,’” received the Westrup Prize as distinguished contribution to Music & Letters for 2005, and the collective volume, Itinéraires d’André Campra, in which his essay appeared, won the 2013 Prix du patrimoine (ACDA, Paris) for the best francophone collection of essays on music. In 2016, he was awarded a fellowship from the National Endowment for the Humanities for work on his book, Italian Music in Louis XIV’s France. He currently serves as Reviews Editor for the Journal of Seventeenth-Century Music. A professional recorder player and amateur harpsichordist, Dr. Fader combines his interests in musicology and performance through courses in performance practice and the coaching of ensembles in various styles of early music. He collaborated with Gesa Kordes in founding the University of Alabama Early Chamber Ensembles in 2009. Dr. Fader has played, lectured, and given master classes on performance practice at numerous festivals and institutions. He has performed with orchestras and chamber ensembles in the United States and Europe, and has been heard on National Public Radio’s “Harmonia” and “Performance Today.” He has been concerto soloist with the Bloomington Early Music Festival Orchestra, the Indianapolis Baroque Orchestra, the Staunton Music Festival, TroisdorfBAROCK, the Dayton Bach Society, SarabandaBonn, and the Palo Alto Chamber Orchestra.
My teaching centers upon English literature of the 16th and 17th century, especially the drama of Shakespeare, Marlowe and Jonson and the poetry of Spenser and Milton, but I also frequently teach the intersection of that literary archive with political philosophy, metaphysics, medical writing, affect theory, eco-materialism, queer theory and psychoanalysis. In a separate stream of writing and thinking, I work on musical subculture and performance. When I’m not doing those things, I also make electronic music with my partner in a group called Matmos and by myself as The Soft Pink Truth.