First Conference of the Répertoire International de Littérature Musicale, 16-19 March 2005

365 Fifth Avenue, New York


Preliminary Program

Wednesday 16 March 2005
Lobby of the Harold M. Proshansky Auditorium
(Take the elevator to the concourse level)
Registration                8:30-10:00

Harold M. Proshansky Auditorium
Reflections on music scholarship. I
Chair: Sabine Feisst

Conference Room C.202–C.203
Researching early music
Chair: Karl Kügle

Michael Saffle (Virginia Polytechnic Institute and State University, Blacksburg), Musical form in fiction: From formal analysis to literary criticism, and back

Anna Maria Busse Berger (University of California, Davis), Friedrich Ludwig and the agenda of medieval musicology

Cristina Urchueguía (Johann-Sebastian-Bach-Institut, Göttingen), The making of German “Klassik”: Politics, Textkritik and Bach

Xavier Bisaro (Université Rennes 2), Between instrumentalization and knowledge: Plainsong historiography from Nivers to Lebeuf

Karen Fournier (The University of Wisconsin Oshkosh), Cultural capital as a determinant of trends in music research

Anna Massiou (King’s College, University of Cambridge), No ordinary sign: Following the virga in chant research and the notation at the Abbey of Monte Cassino

James Robert Currie (Department of Music, State University of New York at Buffalo), The context of freedom and the antinomies of the new musicology


Harold M. Proshansky Auditorium
Researching early modern times. I
Chair: David Fallows

Conference Room C.202–C.203
Trends of the 18th and 19th centuries
Chair: Michael Beckerman

Philippe Vendrix (Centre d’Etudes Supérieures de la Renaissance, Tours), Historiographie musicale et Renaissance

Walter Kreyszig (Department of Music, University of Saskatchewan / Center for Canadian Studies, University of Vienna), "Leopold Mozart. . .a man of much. . .wisdom": The revival of humanist scholarship in his Versuch einer gründlichen Violinschule (Augsburg, 1756)

Ruth DeFord (Hunter College, The City University of New York), Sebald Heyden (1499–1561): The first historical musicologist?

Cécile Reynaud (Bibliothèque nationale de France, Département de la musique), The judgment of Paris: The evaluations made by the Académie des Beaux-Arts of the works sent from Rome by the prize-winning composers

Ennio Stipčević (Odjel za Povijest Hrvatske Glazbe, Hrvatska Akademija Znanosti i Umjetnosti, Zagreb), Musical historiography and terra incognita: The case of Dragan Plamenac

Tatjana Marković (Fakultet Muzičke Umetnosti, Belgrade), Serbian and Viennese writings about music: Intertextual

Nikolaus Bacht (King’s College, Cambridge), The intellectual history of listening

Rémy Campos (Conservatoire National Supérieur de Musique de Paris), The foundation of French musicology: The importation of positivist methods by Pierre Aubry (1890–1910)


Harold M. Proshansky Auditorium
Nineteenth-century writers on music. I
Chair: Niels Krabbe

Conference Room C.202–C.203
Nineteenth-century writers on music. II
Chair: Martin Elste

Timothy Flynn (Olivet College, Michigan), Camille Saint-Saëns musicologist? Effects, influence, and traditions

Sanja Majer-Bobetko (Odsjek za Povijest Hrvatske Glazbe, Hrvatska Akademija Znanosti i Umjetnosti, Zagreb), The founders of Croatian music historiography: Music, history, politics and ideology

Anna Harwell Celenza (Michigan State University, East Lansing), Using Hans Christian Andersen as a window on music history

Zdravko Blažeković (Répertoire International de Littérature Musicale, New York), Franjo Ksaver Kuhač (1834-1911)
among the founders of ethno/musicology

Agamemnon Tentes (Saxo Institute, University of Copenhagen), Historicizing a Great Theory of Music

Sanna F. Pederson (University of Oklahoma), An early crusader for music as culture: Wilhelm Heinrich Riehl (1823–1897)

CUNY Graduate Center Dining Commons, 8 Floor


Music’s Intellectual History: Founders, Followers & Fads
The first conference of the Répertoire International
de Littérature Musicale


Executive Editor
RILM Abstracts of Music Literature

Editor in Chief
RILM Abstracts of Music Literature

Provost and Senior Vice-President
City University of New York Graduate Center

International Musicological Society



Thursday, 17 March 2005

Harold M. Proshansky Auditorium
Biography then and now
Chair: Michael Saffle

Conference Room C.202–C.203
Intersections of musicology and ethnomusicology
Chair: Philippe Vendrix

Jolanta T. Pękacz (Dalhousie University, Halifax), Biography in musicological scholarship

Cleveland Johnson (DePauw University), The first All-India music conferences and the advent of modern Indian musicology

Pauline Girard (Bibliothèque nationale de France), Léo Delibes by Henri de Curzon: A stereotypical biography of a French musician in the early 20th century?

Daniel G. Geldenhuys (University of South Africa, Pretoria), Enlightening a continent: The legacy of a music history in Africa

Benjamin Walton (University of Bristol), Rossini’s bust: The twin styles and the demands of Romantic biography

Martin Lodge (University of Waikato in Hamilton, New Zealand), A broad drama without detail: The strange case of nonexistent music history writing in New Zealand

James Melo (Répertoire International de Littérature Musicale, New York), Macunaíma out of the woods: The meanders of musicology and ethnomusicology in Brazil


Harold M. Proshansky Auditorium
Vivaldi and Handel
Chair: Ruth DeFord

Conference Room C.202–C.203
Writers and philosophers
Chair: James Melo

Bella Brover-Lubovsky (School of Music, University of Illinois), Estro armonico: “Harmony” and the paradox of historical recognition

Juan José Pastor Comín (Universidad de Castilla–La Mancha), Musical transmission of Garcilaso de la Vega’s poems in Cervantes’ texts

Ilias Chrissochoidis (Stanford University), Handel’s reception and the rise of music historiography

Andreas Vejvar (Universität Mozarteum, Salzburg), Constructing music history in a novel: Alejo Carpentier’s conception of “threnody”

David Hunter (University of Texas, Austin), Writing a
nation's musical taste: Hawkins, Burney and the popularization of Handel in the first histories of music

David L. Mosley (Bellarmine University, Louisville, Kentucky), The advantages and disadvantages of music for life: Composing an untimely history of music


Harold M. Proshansky Auditorium
Bach, Haydn, Mozart, Beethoven
Chair: Walter Kreyszig

Conference Room C.202–C.203
Reflections on music scholarship. II
Chair: Antonio Baldassarre

Mark Burford (Columbia University, New York), Nationalism, liberalism, and commemorative practice: A tale of two
nineteenth-century Bach editions

Zbigniew Granat (Boston University), Rediscovering “sonoristics”: A groundbreaking theory from the margins of musicology

Theodore Albrecht (Kent State University, Ohio), Anton Schindler’s “falsified” entries in Beethoven’s conversation books: A plea for decriminalization

Antonio Baldassarre (Zürich/New York), Music history – whose history?

Thomas Irvine (Cornell University / Institut für Musikwissenschaft, Universität Würzburg), The foundations of Mozart scholarship

Beate Kutschke (Institut für Neue Musik, Universität der Künste, Berlin), Musicology and the force of political fiction: The debate on politically engaged music at the beginning of the 1970s

Beatriz Magalhães-Castro (Fundação para a Ciência e Tecnologia, Lisbon), Haydn’s Iberian world connections: New perspectives on Robert Stevenson’s contributions to Latin American music studies

Anno Mungen (Musikwissenschaftliches Seminar der Universität Bonn), Matter of discourse: Gender studies in German musicology today


Harold M. Proshansky Auditorium
Hugo Riemann and Kurt Sachs
Chair: Zdravko Blažeković

Conference Room C.202–C.203
Wolf, Stravinsky, Schoenberg
Chair: Jolanta T. Pękacz

Nico Schüler (Texas State University), Riemann’s Musiklexikon as a mirror of German music history

Heather Platt (Ball State University, Muncie, Indiana), Hugo Wolf and the “evolution” of the Lied

Florence Gétreau (Paris, Institut de recherche sur le patrimoine musical en France), Curt Sachs as a theorist for musical museology

Valérie Dufour (Fonds National de la Recherche Scientifique Université libre de Bruxelles), Why have Stravinsky’s biographies been rewritten? The composer’s implication

Martin Elste (Staatliches Institut für Musikforschung, Berlin), Curt Sachs in Berlin – Paris – New York: Progress in applied musicology?

Sabine Feisst (Arizona State University), Schoenberg in America reconsidered: A historiographic investigation

Harold M. Proschansky Auditorium


A film about the Croatian-American musicologist Dragan Plamenac (1895–1983)
and his research of the Croatian Baroque composer Ivan Lukačić (ca. 1585–1648)

Production: Digital film (Šibenik) and Glazbena Škola Ivana Lukačića (Šibenik)

Director and cinematography: DAVOR ŠARIĆ
In Croatian with English subtitles

Harold M. Proschansky Auditorium



sponsored by the Foundation for Iberian Music
with the support of Instituto Cervantes New York

An evening of music and words

Adam Kent, pianist who has recorded the music of Ernesto Halffter, Turina, and the Nins,
       as well as many other Spanish composers
Antoni Pizà, author of several books on music including El doble silenci (2003)
Suzanne Nalbantian, Nin Scholar and author of Aesthetic Autobiography: From Life
       to Art in Marcel Proust, James Joyce, Virginia Woolf
and Anaïs Nin (1994),
       among many other books.

The subject of a feature film, several documentaries, and many critical studies, Anaïs Nin (París 1903– Los Angeles 1977) is well known for the outspoken sexuality of her writings, especially her legendary Diary. Perhaps less known, though equally deserving of public attention, are the other members of her family: her brother, the eminent composer and pianist Joaquín Nin-Culmell (Berlin 1908–Berkeley 2004) and their father, the musicologist, composer, and pianist Joaquín Nin Castellanos (Havana 1879–1949). Also of interest are the members of the previous generation: the combative Joaquín Nin y Tudó (ca. 19th century), who wrote with passion against bullfights and the role of women in family life, and the painter José Nin y Tudó (1840–1908), who specialized in funerary portraits. In all, an remarkable dynasty of writers, musicians, and painters.


Antoni Pizà, The Nin family: An overview
                     The critic as an artist: The writings of Joaquín Nin Castellanos
Adam Kent, The music of the Nins: A lecture recital
Suzanne Nalbantian, “Anaïs’s Literary Legacy”


Friday, 18 March 2005

Harold M. Proshansky Auditorium
Swinging between theoretical self and otherness:
The case of Romanian music scholarship
Chair: Marin Marian-Bălaşa

Conference Room C.202–C.203
Allgemeine musikalische Zeitung
Chair: Anna Harwell Celenza

Luana Stan (University of Paris IV Sorbonne & University of Montreal), Constructing image and identity policies: Local and global in Romanian musicology after the
Second World War

Robin Wallace (Baylor University), The Allgemeine musikalische Zeitung: Cradle of modern musicology

Marin Marian-Bălaşa (Romanian Academy of Sciences, Bucharest), Influence of communist ethnomusicology on the formation and growth of nationalist ethnocentrism

Carol Padgham Albrecht (University of Idaho), Leipzig’s Allgemeine musikalische Zeitung and the Viennese classical canon

Joel Crotty (Monash University, Melbourne), Music, socialist realism and the Romanian experience, 1948-1956: (Re)interpreting music history in light of (re)reading, (re)listening
and (re)writing for a different audience

Karl Kügle (University of Utrecht), The “emancipation of the tender element”: Music, musicology, and the rhetoric of gender
in the
Allgemeine musikalische Zeitung (Leipzig, 1863–1882)

Sabina Păuţa Pieslak (University of Michigan), (Re)writing Romanian music history: The blurred pages of Madrigal



Harold M. Proshansky Auditorium
Reflections on music scholarship. III
Chair: Anna Maria Busse Berger

Conference Room C.202–C.203
La Revue musicale
Chair: Michel Duchesneau

JoAnn Udovich (Fairfield, Penn.), Max Weber’s essay on the foundations of music in American perspective

Michel Duchesneau (Faculté de musique, Université de Montréal), La Revue musicale (1920–1940) and the foundation
of a modern music

Karen Ahlquist (George Washington University), Music’s intellectual history, institutional governance, and musicians’ education in the early-20th-century USA

Danick Trottier (Faculté de musique, Université de Montréal), A taxonomy of aesthetic concerns in La Revue musicale under the direction of Henry Prunières

Vanessa Hawes (University of East Anglia), Number fetishism: The history of the use of information theory as a tool for musical analysis, from its roots to obscurity

Marie-Noëlle Lavoie (Faculté de musique, Université de Montréal), Présence de la danse dans La Revue musicale sous Henry Prunières (1920–1940)


Harold M. Proshansky Auditorium
Italian music historiography in the nineteenth century: Topics and methods
Chair: Ivano Cavallini

Conference Room C.202–C.203
Writing national music history
Chair: Murat Eyüboğlu

Ivano Cavallini (Facoltà di scienze della formazione, Università di Palermo), The rise of music historiography
in the nineteenth century Italy between positivism and evolutionism

Virgínia Costa Figueiredo (California State University, Fullerton), The changes in Portuguese music from fascism to democracy

Marco Di Pasquale (Conservatorio di Vicenza), The music of the Italian Renaissance as national myth

Marina Mikhailets (Latvijas Nacionālā Bibliotēka, Riga), Musicology in Latvia: Three periods, three points of view

Antonio Lovato (Facoltà di Lettere e Filosofia, Università di Padova), Caecilian movement in Italy and the interpretation of music history

Sue Tuohy (Indiana University), Chinese national music scholarship and its intersections with the intellectual history of ethnomusicology

Arnold Jacobshagen (Forschungsinstitut für Musiktheater, Universität Bayreuth), Francesco Florimo and the myth of the “Neapolitan school”

Niels Krabbe (The Royal Library, Copenhagen), Den europæiske musikkulturs historie (1982–84) and its ideological and academic background


Harold M. Proshansky Auditorium
Soviet and post-Soviet musicology
Chair: Nicolas Schidlovsky

Conference Room C.202–C.203
The other central Europe:
Musicologies of Hungary and Poland
Chair: Lynn Hooker

Peter J. Schmelz (State University of New York at Buffalo), Penetrating nostalgia: Memory and the (re-)writing of Soviet music history

Timothy J. Cooley (University of California, Santa Barbara), How 19th-century musical folklore created Poland’s Górale diaspora in 20th-century Chicago

Philip Ewell (University of Tennessee-Knoxville, School of Music), Russia’s “New Grove”: Priceless resource or propagandistic rubbish?

Lynn Hooker (Indiana University), Discourses of “Hungarian music” in early Hungarian musicology

Urve Lippus (Estonian Academy of Music, Tallinn), A man and his portraits: The image of Gustav Ernesaks in (Soviet) writings on music

Discussants: Halina Goldberg (Indiana University), Michael Beckerman (New York University)

Nicolas Schidlovsky (Westminster Choir College, Princeton), Invoking resonances: Post-Soviet musicology and the Russian choral ethos


Oxford University Press building
198 Madison Avenue
(corner of Madison Avenue at 35th Street)

Reception hosted by Oxford University Press



Saturday, 19 March 2005

Harold M. Proshansky Auditorium
Performance studies and historiography
Chair: Daniel Leech-Wilkinson

Conference Room C.202–C.203
Studying traditions of the past
Chair: Stephen Blum

Nicholas Cook (Royal Holloway, University of London), Changing the subject: Writing, texts, recordings

Sindhumathi K. Revuluri (Princeton University), Harmonizing the past

Robert Philip (The Open University, UK), Becoming historically informed by recordings

Mathias Boström (Department of Musicology, Uppsala University/Swedish Centre for Folk Music and Jazz Research, Stockholm), Infotainment: A dark side of the history of early ethnomusicology?

Daniel Leech-Wilkinson (King’s College, London), Performance as musicology

Gorana Doliner (Odsjek za Povijest Hrvatske Glazbe,
Hrvatska Akademija Znanosti i Umjetnosti, Zagreb), Does folk music have its own history? The experiences gained from studying 19th-century Croatian music historiography


Harold M. Proshansky Auditorium
Researching early modern times. II
Chair: Kate van Orden

Conference Room C.202–C.203
World music now and then
Chair: James R. Cowdery

Kate van Orden (University of California, Berkeley), “Against Humanism”

Ernesto Donas (City University of New York Graduate Center), World music and its marginal others: Music, thought and history in the case of Fernando Cabrera’s “City of Money”

Olivia A. Bloechl (University of California at Los Angeles), Hearing the sauvage in early modern music

James R. Cowdery (Répertoire International de Littérature Musicale, New York), Kategorie or Wertidee? The early years of the IFMC

Stefan Morent (Universtät Tübingen), Viewing the past: Differing concepts of early music history in 19th-century Germany and France


Harold M. Proshansky Auditorium
Lexicographers and bibliographers
Chair: Barbara Dobbs Mackenzie

Conference Room C.202–C.203

Chair: André Balog

Edward Green (Manhattan School of Music), The impact of Rousseau on the histories of Burney and Hawkins

Frederic Lemmers (Bibliothèque Royale Albert I, Bruxelles), The role of discography in studying translations of operas

Katharine Ellis (Royal Holloway, University of London), A dictionary in the making: Fétis, Farrenc and the second edition
of the
Biographie universelle des musiciens

André Balog (Répertoire International de Littérature Musicale, New York), “. . .those unheard are sweeter. . .”? The unwritten history of Hungarian music and musicians in the 20th century — An outline of a history

Melita Milin (Institut za muzikologiju, Srpska Akademija Nauka i Umetnosti, Belgrade), The place of small musical cultures in reference books

Lóránt Péteri (University of Bristol), God and revolution: Rewriting the absolute? Bence Szabolcsi and the discourse of Hungarian musical life 1950–1955


Rachel Beckles Willson (Royal Holloway, University of London), Reconstructing Ligeti

Harold M. Proschansky Auditorium