UW-Madison Students
Location: Humanities 1641
Chris Barry, Music Theory Ph.D. candidate
Preview of a paper to be presented at the American Musicological Society 2009 Annual Meeting in Philadelphia
~Unrecording Philomel: Taped Voice as Schizophrenic Prosthesis~
The sound world of Milton Babbitt's Philomel (1964) consists of a live soprano, the soprano's taped and electronically manipulated voice, and a pitched synthesizer accompaniment. Interpreting Philomel through the lens of schizophonica - a weakening of the perception of sonic reality and a state particularly appropriate to the reception of electronic and recorded sound - reveals Philomel as engaging in a mythic, temporally pliant rehabilitation of voice in which she transforms, radiophonically, from silent receiver to sounding transmitter. The taped voice is simultaneously a symptom of Philomel's trauma-induced schizophrenia and a technological prosthesis for her muted tongue, modeling processes of vocal and syntactical definition for the live voice; the live voice, in turn, "unrecords" the tape as it additively redefines itself, tampering with the notions of temporality in the electronic reproduction of sound.
Scott Carter, Ethnomusicology Ph.D. candidate
Preview of a paper to be presented at the Society for Ethnomusicology 2009 Annual Meeting in Mexico City
~Science, Race, and the Singing Body: Voice Culture in the Nineteenth Century~
In the late nineteenth and early twentieth centuries, vocal pedagogues increasingly utilized scientific literature on vocal anatomy in their pursuit of empirically-oriented methods for the training of the Western singing voice. These writers referred to their work as "voice culture," a system of voice cultivation that included detailed analysis of vocal physiology and thorough instructions for controlling, exercising, and coordinating the voice's anatomical components. Drawing freely from the knowledge produced by physical anthropology and evolutionary science, voice culture authors argued that the Western singing voice sounded the pinnacle of human biological and cultural development. By exploring these texts and the scientific literature upon which they are based, we can begin to understand how Western singing became the performative consequence of practices steeped in notions of cultural, social, and physiological difference and rendered audible embodied ideologies of race and civilization.
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March 15 - Andrea Fowler, University of Wisconsin–Madison (conference preview for CMS)
March 29 - Stephen M. Kovaciny, University of Wisconsin–Madison (conference preview for MTSNYS)
April 5 - Roger Mathew Grant, Wesleyan University (lecture)
April 6 - Roger Mathew Grant, Wesleyan University (workshop/seminar at 10:00am; location TBD, but most likely Eastman Hall)
April 19 - Bradley Spiers, University of Chicago
Fridays @ 4:00
The UW-Madison School of Music Colloquium Series meets on select Fridays, 4:00-5:30pm, during fall and spring semesters. Speakers come from within the School of Music, the larger campus community, as well as from other academic institutions and musically-related organizations throughout the United States. All Colloquia are free and open to the public.
This Colloquium Series is funded by the UW-Madison School of Music and organized by the School of Music Colloquium Committee.
This Colloquium Series is funded by the UW-Madison School of Music and organized by the School of Music Colloquium Committee.
upcoming colloquia
February 15 - Matt Ambrosio, University of Wisconsin–Madison (conference preview for RMSMT)
March 15 - Andrea Fowler, University of Wisconsin–Madison (conference preview for CMS)
March 29 - Stephen M. Kovaciny, University of Wisconsin–Madison (conference preview for MTSNYS)
April 5 - Roger Mathew Grant, Wesleyan University (lecture)
April 6 - Roger Mathew Grant, Wesleyan University (workshop/seminar at 10:00am; location TBD, but most likely Eastman Hall)
April 19 - Bradley Spiers, University of Chicago
who we are
The SoM Colloquium Committee is staffed by School of Music graduate students and a faculty advisor.
Our current members are:
Leslie Blasius, Professor of Music Theory, Faculty Advisor
Stephen Kovaciny, Music Theory Ph.D., student chair
Lesley Hughes, Historical Musicology Ph.D.
Matt Ambrosio, Music Theory Ph.D.
Our current members are:
Leslie Blasius, Professor of Music Theory, Faculty Advisor
Stephen Kovaciny, Music Theory Ph.D., student chair
Lesley Hughes, Historical Musicology Ph.D.
Matt Ambrosio, Music Theory Ph.D.
Andrea Fowler, Historical Musicology Ph.D.
David Jensen, Historical Musicology M.A.
If you are a graduate student in the School of Music and would like to join the Colloquium Committee, please email us at somcolloquium@gmail.com.
If you are a graduate student in the School of Music and would like to join the Colloquium Committee, please email us at somcolloquium@gmail.com.
suggestions?
If we can improve our website in any way, or if you would like to suggest a music-related event to be linked on our website, please email us at somcolloquium@gmail.com.
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