Conference Program
NABMSA at York University, Toronto
July 31 – August 3, 2008

 

THURSDAY

12 noon onwards: Registration, 2nd Floor Accolade East, York University

5:00 – 6:30 pm Opening Reception, Executive Dining Room, Schulich School of Business, York University. Co-sponsored by Ashgate and the Office of the Vice-President Research, York University.  Cash bar.

6:30-7:30 p.m
KEYNOTE ADDRESS: Professor Linda Phyllis Austern

7:45-10 p.m. PANEL: Gender, Politics, and Allegory in the Stuart-Era Masque

Jennifer Myers: “‘Who, though not Black in face, Yet are they bright and full of life and light’: The Conceit of Queen Anne and her Strategic Performance of Blackness
Stacey Jocay Houck: “Chloris and the Potent Memory of Caroline Masquing”
Amanda Eubanks Winkler: “‘When Beauty arm’d with smiling eyes’: Didactic Musical Entertainments and the Judgment of Paris Story”
Andrew Walkling: “Allegorical Discourse in the English Court Masque”
Respondent: Linda Phyllis Austern
Chair: Jessie Ann Owens

FRIDAY
Registration continues, ACE 2nd floor.

SESSION 1: 9 a.m. to 11:00 a.m.

ROOM A: And Music at the Close: William Walton
Michael Byde: “Walton and His Critics: A Composer Growing Old”
James Brooks Kuykendall: “New Evidence in the Autograph of Walton’s Film-score Richard III”
Kendra Leonard: “Silencing Ophelia: Controlling Musical Expression in Olivier’s Hamlet.”
Chair: Byron Adams

ROOM B: Mendelssohn in Albion
Colin Eatock: “Mendelssohn’s Conversion to Judaism: An English Perspective”
Angela R. Mace: “Reception of Felix Mendelssohn’s ‘Hear My Prayer’ in England
Jennifer Oates: “MacCunn, Mendelssohn and the Ossianic Topos”
Chair: Charles E. McGuire

ROOM C: Nostalgia and Empire in British Pop
Amy Kimura: “The Glory of Being Boring: Social Criticism Through Multiple Perspectives in the Kinks’ Arthur, or the Decline and Fall of the British Empire”
Barry Promane: “Any Way the Wind Blows: Meaning and Perception in Queen’s Bohemian Rhapsody”
Carey Fleiner: “Nostalgia and the Kinks”
Chair: Christina Baade

Nutrition Break

11.15 – 12.05 LECTURE-RECITAL: Sandra Mangsen (University of Western Ontario): “The Lady’s Entertainment and Babell’s Delight: Arias for the Keyboard 1708-1717”

12:10-1:10:  Lunch, Sponsored by Professor Phillip Silver, Dean of Fine Arts, York University. Schulich Executive Dining Room.

SESSION 2:    1:15 -3:15

ROOM A: Victorian Voices
Julia Grella O’Connell: “Voice, Hearing, and Musical Conversion in Victorian England”
Michelle Davidson: “Performers to Remember: The Representation of Music in the Autograph Letters Scrapbook of Countess Katrine Cecilia Cowper”
Roberta Marvin: The Victorian Violetta: The Social Messages in Verdi’s La traviata”
Chair: Ruth A. Solie

ROOM B: Critical Junctures: British Composers in the Mid-Twentieth Century
Ciara Burnell: “Dances of Death and Nostalgic Waltzes: the Connotations of Dance Idioms in the Late Orchestral Works of Frank Bridge”
Jenny Doctor: “‘It's all so vital and full to the brim’: Fifty Years of the Correspondence Between Elizabeth Maconchy and Grace Williams”
Thomas Irvine: “Conflict and Compromise: Walter Leigh’s Suite für kleines Orchester zu Shakespeare’s Ein Sommernachtstraum”
Chair: Philip Rupprecht

ROOM C: Irrational Entertainments I: Georgian Britain
Ilias Chrissochoides: “A Founding Father of Social Responsibility in Music? Handel in Georgian Britain”
Paul Rice: “The Trouble with Britannia; or Thomas Arne Battles Official Censorship with Eliza”
Sarah Day-O’Connell: “Haydn, the Hunters, and the Anatomy of the English Canzonetta”
Chair: Amanda Eubanks Winkler

Nutrition Break

SESSION 3: Two-paper Sessions   3:30- 4:50 p.m

ROOM A: Pleasures and Perversities in Victorian Britain
Christina Fuhrmann: “Sir Henry Rowley Bishop (1786-1855): Pervert or Prophet?”
Rachel Cowgill: “Performance alfresco: Music-making in English Pleasure Gardens pre-1880
Chair: Nicholas Temperley

ROOM B: “Sweetest of Sweets, I Thank You”: Church Music
Stephanie Martin: “Willan and Elgar”
Frances Wilkins: “Precentors and Pitch Pipes: Encounters with Melodic Praise Among the Brethren of North-East Scotland”
Chair: Dorothy De Val

ROOM C: Irrational Entertainments II: Georgian Britain
Sarah Yuill McCleave: “Opera According to the English Taste, or, The Middlesex Opera Company in England”
Richard Semmens: “John Rich as Harlequin, Harlequin as Faust”
Chair: Sandra Mangsen

5:30 Buses leave for Conference Dinner downtown: Bedford Academy.
8pm  Concert at Heliconian Hall, Yorkville (walking distance from Bedford Academy)

SATURDAY

SESSION 4: 9 a.m. – 11:00

ROOM A: British Opera at the Fin-de-siècle
Aaron Keebaugh: “‘To Worship His Country and Die for the Green’: Charles Villiers Stanford’s Shamus O’Brien and the Fantasy of Nationalism”
Christopher Scheer: “A Perfect Wagnerite? Fin-de-siècle British Wagnerism and the Creation of Holst’s Sita”
Aidan J. Thomson: “Smyth’s Der Wald and Conceptions of Early Twentieth-Century British Opera”
Chair: Eric Saylor

ROOM B: “Art is like a Theophany”: The Music of Ralph Vaughan Williams
Stanley C. Pelkey: “From Dante to Ralph Vaughan Williams: Love, Music and Spiritual Transcendance in Willow-Wood”
Renée Chérie Clark: “Vaughan Williams Reading Shakespeare: Portraits of England in Three Songs from Shakespeare”
Anthony Barone: “Inventing a British Modernism: Compositional Process in Vaughan Williams’s Symphony No. 4”
Chair: Allan Atlas

ROOM C: McLuhan was Right: the Medium is the Message
Christina Baade: “Performing British Heritage? Place, Memory and Big Bands in the 2000s”
Gayle Sherwood Magee: “Song, Genre and Transatlantic Dialogue in Gosford Park”
Louis Niebur: “Derbyshire’s Amor: Glances into the Mind of a Radiophonic Pioneer”
Chair: Jenny Doctor
 
Nutrition Break

11.15 – 12-05
LECTURE-RECITAL: Philip Adamson (University of Windsor): “Arnold Bax’s Sonata no. 2”

Lunch 12.05 – 1.00  Executive Dining Room, Schulich

SESSION 5:  1.00- 3.00

ROOM A: The Roaring ‘20s
Jeremy Cox: “From the Steppes via the Champs Elysees: the Impact of Stravinsky’s Russian Ballets on British Composers and Concert-goers”
Sam Ellis: “An Englishman Abroad: Arthur Bliss as Would-be Nouveau Jeune”
Deborah Heckert: “‘Mistaking a Periwig for the Face Beneath’: British Negotiations with Musical Neo-Classicism during the 1920s and 30s”
Chair: Aidan J. Thomson

ROOM B:
In Honour of Nicholas Temperley: Musical Mores in Victorian Britain

Charles Edward McGuire: “A History of the Festival: Victorian Progress, the People, and Charity versus Competition”
Elliott Karstadt: “Hugh Reginald Haweis and the Morality of Music in Late-Victorian England”
Brian Thompson: “‘Federals and Confederates’: The Civil War as British Entertainment
Respondent: Nicholas Temperley
Chair: Christina Bashford

ROOM C: New Music, Living Voices

Philip Rupprecht: “‘Avoid All Cliques’: the Society for the Promotion of New Music and the British Avant-Garde, 1943-1963
Kenneth Gloag: Fundamental Polarities and Stylistic Identities in Nicholas Maw’s Scenes and Arias”
Lisa Scoggin: “The Role of Religion in Mark-Anthony Turnage’s Opera The Silver Tassie”
Chair: Nathaniel Lew

Nutrition Break

SESSION 6: Two-paper Sessions: 3:15 – 4.25

ROOM A: Intimate Identities
Amy E. Zigler: “‘Something Yet Unvoiced’: A Stylistic Examination of Ethyl Smyth’s Sonata in C minor for ‘Cello and Piano as a Singular Perspective into Late-Nineteenth Century Romanticism”
Graham Freeman: Grainger, the Phonography, and the Inscription of Identity
Chair: Elizabeth Wood

ROOM B:  Ghosts and Parables in Britten’s Music
Arne Muus: “Britten’s Ghosts—Uncanny Utterance in The Turn of the Screw”
Kevin Salten: “Finding Japan in Curlew River: English Pedigrees of Parable and Nō Theater”
Chair: Vicki Stroeher

SUNDAY MORNING

Take a Dance

 English Country Dance Session and workshop with caller Karen Millyard (Toronto English Country Dancers) and live music by Playford's Pleasure