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Faculty ANNA NISNEVICH
Assitant Professor of Music FIELDSRussian musical theater at the turn of the twentieth century, 19th and 20th-century music, opera, neoclassicism, Mozart. TEACHINGIntro to Western Art Music, History of the Symphony, History of Western Music since 1750 SELECTED HONORS AND AWARDSTownsend Center for the Humanities Fellowship, 2006 Institute of Slavic, East European, and Eurasian Studies Travel Grant, for presentation of paper “Opera as Mechanism: The Case of Prokofiev’s Love for Three Oranges” at the Fourth Biennial Conference for Twentieth Century Music at the University of Sussex, 2005) Mabelle McLeod Lewis Fellowship in the Humanities, 2005 UC Berkeley Graduate Division Travel Grant, for presentation of paper “Russian Ark: Temporary Floods, Eternal Returns” at the national meeting of the American Musicological Society, 2004 Teaching Effectiveness Award, UC Berkeley, 2004 Outstanding Graduate Student Instructor Award, UC Berkeley, 2004 Humanities Research Grant for Overseas Research, University of California, Berkeley, 2001 SELECTED PUBLICATIONS AND PAPERS“Shostakovich Dancing.” Introductory lecture at the Center for Russian and East European Studies (CREES), University of Pittsburgh, October 2006 “Purging the Subject in Rimsky-Korsakov’s Mozart and Salieri.” Interdisciplinary Conference of the Society for the Nineteenth Century, University of Durham, UK, August 2006 “Russian Souvenir: Travel, Memory and Instrumental Music in Nineteenth-Century Russia,” in Glinka and His Legacies (in preparation) “Keys to Mysteries.” Review of Simon Morrison, Russian Opera and the Symbolist Movement, Cambridge Opera Journal vol. 15, no. 2 (July 2003): 199-206. “Beyond Good and Evil in The Sleeping Beauty.” Symposium “Chaikovsky’s Sleeping Beauty” in conjunction with the Kirov Ballet performance at UC Berkeley, October 2005 “Opera as Mechanism: The Case of Prokofiev’s Love for Three Oranges.” Fourth Biennial Conference for Twentieth Century Music at the University of Sussex, UK, August 2005 “Russian Ark: Temporary Floods, Eternal Returns.” National meeting of the American Musicological Society, Seattle, November 2004; Conference “Glinka and His Legacies,” UC Berkeley, April 2005. “Glazunov’s Raymonda and the ancien régime.” Russian Ballet Symposium at UC Berkeley, November 2004. ACTIVITIESInterdisciplinary conference Glinka and His Legacies, UC Berkeley, April 2005; conceived and co-organized. Celebration of Russian Ballet and Music on campus of the University of California, Berkeley, 2004-2005; co-organized a year-long series of cultural events and symposia; researched and wrote text for exhibition in Doe Library. “Russian Music from the Silver Age to the Age of Steel” Pre-concert lectures at the Summer Chamber Music Festival in Madison, Wisconsin. Sponsored by the University of Madison, Wisconsin Slavic Center, July 2005. San Francisco Opera Pre-Performance Lectures: “Misleading Motifs in Chaikovsky’s The Queen of Spades,” June-July 2005. “The Animal and the Human in Janacek’s The Cunning Little Vixen,” June-July 2004. “Soul into Psyche in Janacek’s Kata Kabanova,” November 2002. “Petersburgian Legacy in Russian Music.” Public lecture-presentation at the Humanities West symposium St. Petersburg 300, San Francisco, October 2003. Various program notes for the University Symphony orchestra, including discussions of Sergey Prokofiev’s suite from the ballet Romeo and Juliet, Dmitry Shostakovich’s Symphony 5, Sofia Gubaidulina’s In croce (1999–2002). Member of UC Berkeley working groups, Music, Literature and Critical Theory, exploration of music in relation to other media, and Mapping St. Petersburg, a project to produce an electronic map of St.Petersburg with attention to its historical and cultural sites. Musicology Search Committee, UC Berkeley, 2004–5. Dean of Arts and Humanities Search Committee, UC Berkeley, 2005–6. |
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