Academic Presentations
| MUSICKING |
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| DAY |
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| Wednesday – April 13, 2016 |
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| TIME |
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| 2:00pm – 4:00pm |
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| LOCATION |
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| Collier House – University of Oregon |
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| PRESENTER |
TITLE |
| Robert Walser |
The Legacy of Musicking |
| Jeffrey Noonan |
Musicking, Musical Significance and Historical Performance Practice: Lessons from Christopher Small and Mantle Hood for Early Music Performance |
| Geoffrey Burgess |
Beyond the End: From Flute Tooter to Whistleblower: Bruce Haynes and the Rhetoric of Early Music |
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| ROMANTICISM & HPP |
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| DAY |
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| Wednesday – April 13, 2016 |
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| TIME |
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| 4:30pm – 6:30pm |
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| LOCATION |
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| Collier House – University of Oregon |
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| PRESENTER |
TITLE |
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| Brian Wilcoxon |
Benedictinism and the New Romantics |
| Dagmar Reichardt |
Johann Friedrich Reichardt’s Mignon: from an educational Kunstlied to a transcultural vision |
| Alexis Smith |
Scientific and Poetic Embodiments of Music in Early German Romanticism |
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| ROMANTICISM & HPP |
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| DAY |
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| Friday – April 15, 2016 |
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| TIME |
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| 10:00am – 12:00pm |
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| LOCATION |
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| Collier House – University of Oregon |
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| PRESENTER |
TITLE |
| Mark Samples |
Branding the Nightingale: Promotion of Star Performers as Cultural Practice |
| Mark Bailey |
Re-Imagining Romantic Music: What Historical Recordings Reveal about Performance Practice |
| Richard Sutcliffe |
Sources of early 19th century violin performance practice in the Brussels Conservatory |
| Amanda Lalonde |
Senza Tempo: Liszt’s Harmonies poetiques et religieuses and the Rhetoric of Prophecy |
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| MUSIC & RHETORIC |
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| DAY |
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| Friday – April 15, 2016 |
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| TIME |
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| 4:30pm – 6:30pm |
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| LOCATION |
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| Collier House – University of Oregon |
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| PRESENTER |
TITLE |
| Stacey Helley |
Musica Poetica: Antonio Cifra’s Solo Settings of Petrarch’s Sonnets as Teaching Tools |
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| Natascha Reich |
On the Importance of Affect in Harpsichord Tuning |
| William Teixeira da Silva |
On the Possibility of a Contemporary Musical Rhetoric |
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| MATH, SCIENCE, & INSTRUMENTAL MUSIC |
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| DAY |
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| Saturday – April 16, 2016 |
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| TIME |
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| 10:00am – 12:00pm |
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| LOCATION |
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| Collier House – University of Oregon |
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| PRESENTER |
TITLE |
| Chelsey Belt |
The Peripheral Violin: What Can Nineteenth-Century Fiddlers Tell us About Historical Violin Technique |
| Fabienne Moore |
Germaine de Stael Defines Romanticism, or the Analogy of the Glass Harmonica |
| Shanti Nachtergaele |
Pragmatic vs Idealistic Approaches to Double Bass Playing in the Mid-Nineteenth Century |
| Frances Feldon |
Musica Poetica and the Surrealistic Recorder: Pop Recorder Players from the 1960s to the Present |
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| WHAT IS ITALIAN IN ITALIAN MUSIC? |
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| DAY |
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| Saturday – April 16, 2016 |
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| TIME |
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| 2:00pm – 4:00pm |
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| LOCATION |
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| Collier House – University of Oregon |
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| PRESENTER |
TITLE |
| Jacob Mariani |
Vielle or Viella: What makes the Trecento Fiddle Italian? |
| Marylin Winkle |
Back that Bass Up: A Historically-Informed Approach to Orchestrating Basso Continuo in Francesca Caccini’s îLa Liberazione di Ruggiero a l’Isola Alcina |
| Guido Olivieri |
The Aesthetic of Italian Instrumental Music in France: Performance vs Composition |
| Marc Vanscheeuwijck |
“Signor Stradella, Indisputably Acknowledged to be the Magnus Apollo of Music” |
*All events and presentations are subject to change
