Books:

Olivia Bloechl:

Native American Song at the Frontiers of Early Modern Music. Cambridge University Press, 2008.

The Politics of Memory in Ancien Régime Opera. In progress.

Robert Fink:

Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press, 2005.

Raymond Knapp:

Musicological Identities: Essays in Honor of Susan McClary.  Co-edited with Steven Baur and Jacqueline Warwick.  Aldershot, UK: Ashgate, 2008.

The American Musical and the Performance of Personal Identity.  Princeton University Press, 2006 (paperback 2008). Lambda Literary Foundation Book List, Arts & Culture.

The American Musical and the Formation of National Identity.  Princeton University Press, 2005 (paperback, 2006).  Winner: George Jean Nathan Award for Dramatic Criticism.  Finalist: George Freedley Memorial Award, from the Theatre Library Association.

Symphonic Metamorphoses: Subjectivity and Alienation in Mahler’s Re-Cycled Songs.  Middletown, Connecticut: Wesleyan University Press, 2003.

 Brahms and the Challenge of the Symphony, Pendragon, 1997.  Partially reprinted in Johannes Brahms: Symphony No. 4 In E minor, Op. 98 (Norton Critical Scores, edited by Kenneth Hull, New York: W. W. Norton & Company, 2000.)

Tamara Levitz

Modernist Mysteries: Perséphone, forthcoming, Oxford University Press, winter 2011.

Teaching New Classicality: Ferruccio Busoni's Master Class in Composition. Bern: Peter Lang, 1996.

Tim Taylor:

Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio. Co-edited with Mark Katz and Tony Grajeda. Durham: Duke University Press, in press.

Beyond Exoticism: Western Music and the World. Durham: Duke University Press, 2007.

Strange Sounds: Music, Technology and Culture. New York: Routledge, 2001.

 Global Pop: World Music, World Markets. New York: Routledge, 1997.

Elizabeth Randell Upton:

Music and Performance in the Later Middle Ages.  Palgrave Macmillan, 2013.

 


Selected Articles:

Olivia Bloechl:

"War, Peace, and the Ballet in Le Soir." Early Music 38:1 (2010): 91-100.

"Orientalism and Hyperreality in 'Desert Rose'." Journal of Popular Music Studies 7:2 (2005): 133-61.

"Wendat Song and Carnival Noise in the Jesuit Relations." In Native Acts: Indian Performance in Early North America. Eds. Joshua David Bellin and Laura L. Mielke. Lincoln: University of Nebraska Press, forthcoming 2011.

Nina Eidsheim:

“Synthesizing Race: Towards an Analysis of the Performativity of Vocal Timbre.” TRANS-Transcultural Music Review 13 (7), (2009). http://www.sibetrans.com/trans/trans13/art06.htm.

Voice as a Technology of Selfhood: Towards an Analysis of Racialized Timbre and Vocal Performance, University of California, San Diego. (2008).

Robert Fink:

"ORCH5, or The Classical Ghost in the Hip-Hop Machine." In Eric Weisbard ed., Listen Again: A Momentary History of Pop Music. (Durham: Duke University Press, 2007), pp. 231-55.

"Klinghoffer in Brooklyn Heights: Opera, Anti-Semitism, and the Politics of Representation." Cambridge Opera Journal 17-2 (July 2005): 173-213.

"Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon." American Music 16-2 (Summer 1998): 135-179.

Raymond Knapp:

“Marking Time in Pacific Overtures: Reconciling East, West, and History within the Theatrical Now of a Broadway Musical.”  In Musicological Identities: Essays in Honor of Susan McClary.  Ed. Steven Baur, Raymond Knapp, and Jacqueline Warwick.  Aldershot, UK: Ashgate, 2008.

“A Tale of Two Symphonies: Converging Narratives of Divine Reconciliation in Beethoven’s Fifth and Sixth.” Journal of the American Musicological Society 53 (2000): 291-343 (published 2001).

 “‘Selbst dann bin ich die Welt’: On the Subjective-Musical Basis of Wagner’s Gesamtkunstwelt.”  19th-Century Music 29 (Fall 2005): 142-160.

Tamara Levitz:

 “The Aestheticization of Ethnicity: Imagining the Dogon at the Musée du quai Branly,” The Music Quarterly, special issue on “Music and Identity,” eds. Annegret Fauser and Tamara Levitz, vol. 89, no. 4 (Winter 2006): 600-42.

 “Syvilla Fort’s Africanist Modernism and John Cage’s Gestic Music: The Story of Bacchanale,” South Atlantic Quarterly 104, no. 1, issue on “Music, Image, Gesture,” ed. Bryan Gilliam (January 2005): 123-50.

 “The Chosen One‘s Choice,” in Beyond Structural Listening: Postmodern Modes of Hearing, ed. Andrew Dell’Antonio (Berkeley: University of California Press, 2004), 70-108.

Tim Taylor:

"Advertising and the Conquest of Culture." Social Semiotics 4 (December 2009): 405-25.

"The Changing Shape of the Culture Industry; Or, How Did Electronica Music Get into Television Commercials?" Television and New Media 8 (August 2007): 235-58.

"The Commodification of Music at the Dawn of the Era of "'Mechanical Music.'" Ethnomusicology 51 (spring/summer 2007): 281-305.

Elizabeth Randell Upton:

“The Creation of the Chantilly Codex (Ms. 564),” Studi musicali, new series, Vol. III, No. 2 (2012), 287-352.

“Concepts of Authenticity in Early Music and Popular Music Communities,” Ethnomusicology Review, Vol. 17, November 2012.
http://ethnomusicologyreview.ucla.edu/journal/volume/17/piece/591

“Aligning Words and Music:  Scribal Procedures for the Placement of Text and Notes in the Chantilly Codex,” in A Late Medieval Songbook and its Context: New Perspectives on the Chantilly Codex (Bibliothéque du Château de Chantilly, Ms.564), ed. Yolanda Plumley and Anne Stone.  Turnhout (Belgium): Brepols, 2009, 115-132.

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