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The Textual Studies Program and the Department of Music History invite you to a lecture by Anna
Maria Busse-Berger "Models
of Composition in the Fourteenth and Fifteenth Centuries" Professor Busse-Berger's paper will reach beyond Renaissance scholarship to engage issues of historiography, orality, and transmission, explaining what she calls the "memorial archive of the medieval musician." This lecture grows out of her new book, Medieval Music and the Art of Memory (Berkeley, 2005) which won both the Ascap Deems-Taylor Award and the Wallace Berry Award of the Society of Music Theory. Professor Busse-Berger is a distinguished scholar of medieval and Renaissance music. She received the AMS Alfred Einstein Award for best article by a young scholar, and has held fellowshops at the Harvard University Center for Italian Renaissance Studies, the Guggenheim Foundation, the NEH, and the Stanford Humanties Center. During 2005-2006 she was the Lehman Visiting Professor at Villa i Tatti, Florence.
Music
History 519 - Spring 2006 Students in the Textual Studies Program may be interested in Professor Bozarth's spring seminar on editing (MUHST 519), in which the class will devote much of its time and energy to preparing an edition of the music dictionary that the important 19th-century American composer Amy Beach prepared as a young woman as part of her self-education in music composition. By studying autograph manuscripts and first editions, this seminar will cut its editorial teeth on preparing critiques of editions of Brahms’s organ music and a Mozart piano sonata, and will survey the history of music editing with Scarlatti editions providing examples. These assignments will be done individually and discussed in class. The class will then constitute themselves as an editorial team and prepare an edition of passages of the unpublished music dictionary that the young Amy Beach created as she was trying to teach herself the craft and art of music composition. In the process they will consider why Beach had to teach herself, and they will explore the writings and music she was studying and consider the early works she was composing. They will also begin to fashion an introductory essay to accompany their edition. Their goal will be to create a publishable edition of this newly discovered seminal document that will provide a window into the developing mind of this important 19th-century American composer. Students will need some background in music, but they may come from outside of the School of Music.
The Textual Studies Program, the Department of Comparative Literature and the Department of English Invite you to two lectures by Richard
Karpen "Migrations
of Text: From Spoken Word to Music" "Pericolose
— un giorno-belezze: Beauty, Danger and Art" Richard Karpen is Director of the Digital Arts and Experimental Media Program (DXARTS) and Professor of Composition and Computer Music at the University of Washington. Karpen’s works are widely performed internationally. He received numerous grants and prizes, including those from the National Endowment for the Arts, ASCAP, Bourges in France, a Fullbright to Italy, a Leverhulme Fellowship to the UK and a residency at IRCAM in Paris. Karpen is a foremost international figure in Computer Music, known for his pioneering compositions and for his computer applications for music and sound design. His works have been set to dance by the Royal Danish Ballet, the Guandong Dance Company of China, and others. Karpen’s compositions are recorded by Le Chant du Monde, Wergo, Centaur, Neuma, and DIFFUSION i MeDIA.
The Textual Studies Program, the Department of Comparative Literature and the Department of English invite you to a lecture by Stephanie
Andrews "Reading
the Real: Text as Object in New Media Arts" Stephanie Andrews is an Assistant Professor in the School of Art. She is an experimental media artist who uses techniques of illusion and transformation to bring people into her work as active agents of perception. Her work utilizes technologies such as digital imaging, video, neon, and computer-controlled pneumatic systems to create screen-based and installation-oriented work. Before coming to the University of Washington, Andrews was a Technical Director of 3D graphics for Pixar Animation Studios on the award-winning films A Bug’s Life and Toy Story 2. She has shown her work in galleries and museums in Chicago, New York, San Francisco, and the UK. She has also worked with the University of Chicago, collaborating with scientists to create exhibitions that illustrate cosmology. Designed for interactive virtual reality environments, this work is installed at the Adler Planetarium and SciTech Museum in Illinois. She is also a long-time artist for the Burning Man Festival, including large-scale light sculpture installation for the Wheel of Time in 1999 as documented in the book Drama in the Desert and by Leonardo Online. Her current research involves creating sculptural work from motion-capture data, alternative platforms for multi-dimensional kinetic animation, and exploring the hybrid compositional space of mixed 3D representations.
The University of Washington is committed to providing access, equal opportunity and reasonable accommodation in its services, programs, activities, education and employment for individuals with disabilities. To request disability accommodation contact the Disability Services Office at least ten days in advance at: 206.543.6450/V, 206.543.6452/ TTY, 206.685.7264 (FAX), or e-mail at dso@u.washington.edu. |
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2005 Textual
Studies Program at the University
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