The Lamont Musicology Faculty at the Newman Center for the Performing Arts
From left to right: Suzanne Moulton Gertig, Jack Sheinbaum, Sarah Morelli and Antonia
L. Banducci
Committed to fostering critical thinkers and writers, the Musicology faculty offers
a wide range of courses in classical and vernacular Western and non-Western musics.
Our courses focus on the study of music in its historical, analytical and cultural
contexts. These studies form an important component of both the undergraduate and
graduate degrees. The department offers a Master of Arts with a concentration in Musicology. Master's theses may focus on topics drawn from
a variety of sub-disciplines, including historical musicology, popular music studies,
jazz history and ethnomusicology. Master's candidates may also pursue a dual degree
in Musicology and Performance.
Antonia L. Banducci specializes in French Baroque opera. A Fulbright Scholar, her
dissertation, "Tancrède by Antoine Danchet and André Campra: Performance History and Reception (1702-1764),"
(Washington University, St. Louis, 1990) received the National Opera Association's
First Biennial Award for Best Dissertation on an Operatic Topic. She has presented
papers at both national and international musicology meetings and currently serves
as Secretary of the Society for Seventeenth-Century Music.
Office:
Newman Center for the Performing Arts, Room 319
Interests:
Opera, staging, historical performance practice, music as an agent of social change.
Publications:
"Du jeu scénique et de son effet dramatique : l'apport des didascalies manuscrites
scéniques dans les livrets et partitions" ["Staging and its Dramatic Effect: The Contribution
of Manuscript Prompt Notes in Librettos and Scores"], trans. Jaqueline Waeber. In
Musique et Geste en France de Lully à la Révolution: Études sur la musique, le théâtre
et la danse, Jacqueline Waeber, ed., 115-128. Bern: Peter Lang, 2009.
"Lully Opera Highlighted at 2007 Boston Early Music Festival," 17th-Century Music (Society for Seventeenth-Century Music newsletter) 17/1 (2007): 12, 14 (co-authored
with Rebecca Harris-Warrick).
Editor. André Campra, Tancrède, tragédie en musique (facsimile edition with introduction and appendices). French Opera in the 17th and 18th Centuries. Vol. 18. Stuyvesant, N.Y.: Pendragon Press, 2006.
"The Opera Atelier Performance (Toronto, 2000): The Spirit of Lully on the Modern
Stage" (Review-Essay). The Journal of Seventeenth-Century Music 10, no. 1 (http://66.147.244.57/~sscmjscm/jscm/v10no1.html). On-line in April 2005.
"Staging and Its Dramatic Effect in French Baroque Opera: Evidence from Prompt Notes."
Eighteenth-Century Music 1 (2004): 5-28.
Sarah Morelli specializes in the classical music and dance of North India. Active
as both a scholar and performer, she teaches courses on music-cultures from around
the world and leads a North Indian classical performance ensemble.
Office:
Newman Center for the Performing Arts, Room 301
Tales of a Modern Guru: Pandit Chitresh Das and Indian Classical Dance in Diaspora. Champaign IL: University of Illinois Press (under contract)
“Intergenerational Adaptation in North Indian Kathak Dance.” Anthropological Notebooks. 16/3 (2010): 77-91.
"Pusan." In Continuum Encyclopedia of Popular Music of the World, Vol. V: Asia and Oceania. ed. Shepherd et al. London: Continuum International Publishing Group, 2005, 49.
"World Library of Folk and Primitive Music Vol. 7: India" (Recording Review). Recorded
by Alain Danielou, from the Alan Lomax collection. Rounder Records CDROUN1755, 2002.
in Ethnomusicology 48 (Fall 2004): 475-478.
"Who is a Dancing Hero? Rap, Hip-Hop and Dance in Korean Popular Culture." In Global Noise: Rap and Hip-Hop Outside the USA. ed. Tony Mitchell. Hanover, NH: Wesleyan University Press, 2001, 248-258.
Suzanne L. Moulton-Gertig holds an undergraduate degree from James Madison University,
two masters degrees from Kent State University (in Musicology and Library Science),
and a Ph.D. in Historical Musicology from the University of Colorado-Boulder (Dissertation,
"The Life and Works of Emil Nikolaus von Reznicek, 1860-1945."). She teaches in both
the academic and conservatory divisions of Lamont School of Music. In addition, she
serves as head of the Bonfils Stanton Music Library. Professor Moulton-Gertig has
given invited papers both nationally and internationally. She has served as chapter
chair of both the Music Library Association and American Musicological Society, and
chapter president of American Harp Society. She is currently on the national board
of the American Harp Society and serves as Midwestern Regional Director. A former
editor of Ars Music Denver and The American Harp Journal, Moulton-Gertig is the editor of The Ostracon: The Journal of the Egyptian Study Society presently.
Office:
Newman Center for the Performing Arts, Room 440A
Western art music of the late eighteenth, late nineteenth and early twentieth centuries;
history and literature of the pedal harp; women in music; and Ancient Egyptian studies.
Publications:
A Basic Music Library, 4th ed. Chapter: Harp Literature. Chicago: American Library Association (forthcoming).
The New Grove Dictionary of American Music, 2nd ed. "The Salzedo Colony." Oxford University Press (forthcoming).
Research within the Disciplines: Foundations for Reference and Library Instruction. Chapter 2. Music Research. Lanham, Maryland: Scarecrow Press, 2007, 32-60.
"A Case of a Composer's Intentions and Public Demand: Peggy Glanville Hicks' Concertino Antico for String Quartet and Harp." World Harp Congress Review IX, no. 2 (Summer 2006): 7-20.
"The Art of Harp Performance in Late Eighteenth Century America: Avocation, Economic
Necessity and Questions of Authentic American Repertoire." The American Harp Journal Vol. 20, no. 2 (Winter 2005): 33-49.
"Classical Music." in Women and Music in America since 1900: An Encyclopedia. Vol. 1. Westport, CT: Greenwood Press, 2003.
"Ethel Merman." in Women and Music in America since 1900: An Encyclopedia. Vol. 2. Westport, CT: Greenwood Press, 2003.
The New Grove Dictionary of Music and Musicians, rev. ed. Sadie, Stanley, ed. "Reznicek, Emil Nikolaus von." London and Washington,
DC: MacMillan Pubs./Grove's Dictionaries of Music, Inc., 2001.
" 'A Distinguished Ornament of the Profession': Sophia Corri Dussek (1775-1847)."
World Harp Congress Review VII, no. 2 (Spring 2000): 12-24.
Jack Sheinbaum earned an AB in music and psychology at Brown University, and wrote
a dissertation at Cornell University on cultural readings of form and musical color
in Mahler's symphonies. Professor Sheinbaum has presented papers at national and international
conferences, served as co-chair of the Rocky Mountain chapter of the American Musicological
Society, and is currently the musicology representative of the Rocky Mountain chapter
of the College Music Society and the president of the DU chapter of Phi Beta Kappa.
Office:
Newman Center for the Performing Arts, Room 314
Western art music of the nineteenth and early twentieth centuries, popular music,
historiography
Publications:
“The Groove of Rush’s Complex Rhythms.” In Rush and Philosophy: Heart and Mind United, ed. Jim Berti and Durrell Bowman. Chicago andLa Salle,IL: Open Court, 2011, 45-58.
"'I'll Work for Your Love': Springsteen and the Struggle for Authenticity." “In
Reading the Boss: Interdisciplinary Approaches to the Works of Bruce Springsteen, ed. Roxanne Harde and Irwin Streight. Lanham, MD: Lexington, 2010, 223-242.” "Interpretation
and Performance at the Fulcrum of Mahler Reception." Naturlaut "7:2 (2009): 8-14."
"Periods in Progressive Rock and the Problem of Authenticity." Current Musicology 85 (Spring 2008): 29-51.
"Adorno's Mahler and the Timbral Outsider." Journal of the Royal Musical Association 131 (2006): 38-82.
"The Artifice of the 'Natural': Mahler's Orchestration at Cadences." Journal of Musicological Research 24 (2005): 91-121.
"'Think About What You're Trying to Do to Me': Rock Historiography and the Construction
of a Race-Based Dialectic." In Rock Over the Edge: Transformations in Popular Music Culture, ed. Roger Beebe, Denise Fulbrook, and Ben Saunders. Durham and London: Duke University
Press, 2002, 110-132.
"Progressive Rock and the Inversion of Musical Values." In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson. New York and London: Routledge, 2002, 21-42.
