GC Professor Sylvia Kahan (DMA, ’93) is happy to announce the publication of a book chapter, “Gabriel Fauré’s ‘Other’ Career in the Paris and London Music Salons,” in the newly-released Fauré Studies (Cambridge University Press). https://www.cambridge.org/core/books/faure-studies/CBA3E1F25CB100F5947A80290F872FC7
Congratulations to Serena Wang (Adviser, Professor Anne Stone) and Emily Weiss (Adviser, Professor Jeffrey Taylor), who are among 10 students chosen through a competitive application process for this year’s Dissertation Showcase! Imagine summing up years of dissertation research and writing in a lively, three-minute public presentation. Ten students will do just that at The Graduate Center’s fourth annual “Inside The Graduate […]
Congratulations to music alumnus David Pearson (musicology, 2017) on the publication of his book Rebel Music in the Triumphant Empire: Punk Rock in the 1990s United States, by Oxford University Press. The book situates 1990s punk in the politics of the era, drawing together information from numerous zines, interviews with key participants in the scene, […]
Congratulations to GC Alum Lukas Gabric (PhD Musicology, 2020), whose book The Rhythm Changes Guide has just been published: The Rhythm Changes Guide The most comprehensive guide for rhythm changes ever published, offering a wealth of information for beginners and professionals alike. Written in the language of the working musician and clearly laid out. The […]
GC student Kathryn Straker to present a paper entitled “At Home with the Exotic: The Celtic and the Oriental as Mutual Otherworlds in British Psychedelia” at the upcoming AMS/SMT 2020 on November 14th. Congrats, Kathryn! About: Appropriations from Near Eastern music are a well-known psychedelic signifier in 1960s folk and rock, and in this paper […]
Congratulation to Martha Schulenburg, who will be presenting a paper entitled “‘Those Theda Bara Eyes’: The Remediation of the Vamp from Cinema to Tin Pan Alley” at the American Musicological Society annual conference. This paper explores the creation and refashioning of the vampire women or “vamp” in American cinema and Tin Pan Alley during the […]
The music department is proud to announce musicology student Veronica da Rosa Guimaraes as the winner of the Mario Capelloni Dissertation Fellowship for her work “Reconsidering the Genesis of the Troubadours through New Methodological Approaches.” The fellowship carries a cash prize of $25,000. Congratulations to Veronica for her outstanding work.
The Graduate Center, CUNY faculty member Tina Frühauf’s latest book, Postmodernity’s Musical Pasts, has just been released. Below is a description of the book from Boydell & Brewer Publishers: “Postmodernity’s Musical Pasts covers topics from classical to popular and neo-traditional musics to concerns of the disciplines of musicology. Such varied topics mirror the eclectic and diverse […]
The 16th ICTM Study Group on Iconography of the Performing Arts’s conference, chaired by Dr. Zdravko Blažeković, on “Music in Popular Theater and Ritual” is taking place in Montevideo & Salto, in Uruguay, 23-26 October 2019. The conference is locally organized by the Centro de Investigación en artes y escénicas del litoral noroeste of the Universidad […]
Anthony McCall and David Grubbs, Simultaneous Soloists (Pioneer Works Press) Simultaneous Soloists is an artist’s book emerging from Anthony McCall’s exhibition Solid Light Works and the accompanying performance series Four Simultaneous Soloists, organized by David Grubbs. It documents these ephemeral events through multiple means: an extensive conversation between McCall and Grubbs detailing a decade of […]
Tina Frühauf received a DAAD Visiting Professorship to teach at the Hochschule für Musik und Theater in Munich in the summer semester of 2019. Together with local faculty, she organized the symposium “Jewish Music in Southern Germany—History, Exile, Continuance,” held on 12-13 July 2019 at the Musikwissenschaftliches Institut.
“Winnie” the Majestic review by Benoît Fauchet, Diapason, November 2018 translated by Sylvia Kahan What do Fauré’s theater music for Pelléas et Mélisande (1898), Stravinsky’s Renard (1916), Satie’s symphonic drama Socrate (1918), Falla’s El Retablo de Maese Pedro (1923) and Poulenc’s Organ Concerto (1938) have in common? All of these remarkable works, and many others, […]