Wright's Rivermont Label Garners Grammy Nod

A CD produced by musicology graduate student Bryan Wright has been nominated for a Grammy in the category of Best Album Notes. The notes for Dance-O-Mania: 1919-1923 - Harry Yerkes and the Dawn of the Jazz Age were written by Mark Berresford. Released earlier in 2009 on Wright's Rivermont Records label, the CD is a reissue of historic recordings by pioneering jazz band The Happy Six.

Wright founded Rivermont Records in 2004 as a way of preserving music for the first half of the 20th century. He selects the recordings for each CD, transfers from analog to digital domain, designs the cover art, and edit the notes. Wright also produces new recordings of vintage music.

Congratulations to Bryan Wright and Grammy nominee Mark Beresford for their work on Dance-O-Mania: 1919-1923 - Harry Yerkes and the Dawn of the Jazz Age!

“Listening to Tchaikovsky’s ‘Eugene Onegin’”

4130 Posvar Hall, free Anna Nisnevich, Assistant Professor of Musicology, University of Pittsburgh, In conjunction with the Pittsburgh Opera's production of ‘Eugene Onegin' co-sponsored by the Department of Music and the Center for Russian and East European Studies4130 Posvar Hall, free Anna Nisnevich, Assistant Professor of Musicology, University of Pittsburgh, In conjunction with the Pittsbu

Fond Farewells: Professors Don Franklin and Mary Lewis Retire

Spring is always a time of change and transition for any academic institution, but that change is more acute than ever as the Department of Music wishes a fond farewell to Professors of Musicology Don Franklin and Mary Lewis. Professors Franklin and Lewis have been pioneers in their fields, of Bach scholarship and Medieval and Renaissance music respectively, and intellectual anchors in the life of the music department. There is no doubt that their contributions to and passion for the Department's goals will be sorely missed. The Department of Music held a celebration for Professor Franklin in January and for Professor Lewis in April. Both professors were joined by family members, former staff, graduate and undergraduate students, and administrators from the University for time to celebrate with shared memories and wishes for an invigorating future. don_joan.jpg (L-R) Dean N. John Cooper with Don and Joan Franklin mary_paula_pat.JPG Mary Lewis (C) with former Dept. of Music staff members Paul Riemer (L) and Patricia Cochran (R) Professor Don Franklin has provided international leadership in understanding the music of J.S. Bach and his contemporaries. From his service as president of the American Bach Society, to holding professorships at leading universities in the Germany and the United States, to his numerous publications exploring temporal procedures in 17th and 18th-century music, Franklin has left an indelible mark on his field. Locally, he is perhaps best known for his leadership, with John Goldsmith, of the Bach and Baroque series through which he performed many of J.S. Bach's cantatas, passions, the B minor Mass, and, in a fitting finale, the Christmas Oratorio to sold-out audiences. Professor Franklin's twelve years of service as Chair (1978–84 and 1990–96) helped shape the Department's exceptional reputation for music scholarship. Professor Mary S. Lewis has contributed ground-breaking research in early music and music of the Renaissance. Her three-volume work Antonio Gardano, Venetian Music Printer 1538-1569: A Descriptive Bibliography and Historical Study (Garland Press) received The Music Library Association's 2007 Vincent H. Duckles Award, given annually for the best book-length bibliography or other research music tool. She is the recipient of numerous awards including a Guggenheim Fellowship, a National Endowment for the Humanities Fellowship, Bunting Fellowship, and many more. Professor Lewis' energy in recruiting for the department's graduate programs is the stuff of legend, and her persistence when engaging prospective students brought many promising young scholars to the music department.

Elizbeth Hoover to Give Paper at CUNY Graduate Center Symposium

Musicology graduate student Elizabeth Hoover's paper "The Archaeology of Musical Narrative: Indeterminate Music as Discursive Formation" is one of four papers selected for the City University of New York's Graduate Center symposium Representing Music—or—Music Representing. The symposium takes place April 25, and will be moderated by the distinguished musicologist Leo Treitler.
Abstract The Archaeology of Musical Narrative: Indeterminate Music as Discursive Formation All too often in teaching the history of Western Art Music the term “story” is employed to relate musical narratives to students. According to literary theorist, Jonathan Culler, however, “the theory of narrative requires a distinction between…‘story’—a sequence of actions or events and…‘discourse,’ the discursive presentation or narration of events.” Following this literary model, constructions of musical narratives have surfaced in which musical forms based on tonality designate “story.” This story, the musical form, is contingent on the “discursive presentation” of “musical” events, or discourse. Although the translation of literary theory works well for nineteenth-century composition, as demonstrated by scholars such as Carolyn Abbate, Anthony Newcomb, and Leo Treitler, the musical interpretation of the story-discourse dichotomy does not translate in the analysis of twentieth-century indeterminate works.

Colloquium: Classical Music in America — What Went Wrong?

Acclaimed Musicologist Joseph Horowitz will try to answer the question during his guest lecture. The event takes place in Room 123, Music Building, free to the public. Joseph Horowitz's talk will explore the American attempt to cultivate an indigenous musical high culture, and how it turned into a "mutation" of the European model. Instead of attaining a grounding American canon of symphonies, sonatas,and operas, classical music in the US remains grounded in masterpieces by dead Europeans. Not the composer, but the performer — the famous conductor, pianist, or orchestra — has defined American classical music. In the 20th century, classical music in the US ceded creative leadership to jazz. How and why did this happen? What can be done about it? What challenges result for American musicians and institutions of performance? Joseph Horowitz is an artistic consultant, teacher, and author. He is one of the most prominent and widely published writers on topics in American music. As an orchestral administrator and advisor, he has been a pioneering force in the development of thematic programming and new concert formats. Mr. Horowitz's first seven books — including Classical Music in America: A History, named one of the best books of 2005 by The Economist — offer a detailed history and analysis of American symphonic culture, its achievements, challenges, and prospects for the future.