Friday, 9:00–10:20 / 10:40–12:00
Others, Real and Imagined
Wendy Heller (Princeton University), Chair
Arne Spohr (Bowling Green State University)
Privileged Dependency: The Legal and Social Position of Black Court Trumpeters in Seventeenth-Century Germany
Robert C. Ketterer (University of Iowa)
Minato’s Greeks: Variations on Eastern Themes in Mid-Century Venice
Emily Wilbourne (Queens College and the Graduate Center, CUNY)
Ahi ghidy, Ahi Chavo: Sounding Turkish on the Italian Stage
Alexis VanZalen (Eastman School of Music)
“Afriquains” and the Staging of Colonial Power in Quinault and Lully’s Cadmus et Hermione (1673)
Friday, 2:00–3:20
Performance and Parody on the French Stage
Lois Rosow (The Ohio State University), Chair
John Romey (Case Western Reserve University)
Seventeenth-Century Opera Parody at the Comédie-Française: Evidence for the Appropriation of a Street Practice
Anita Hardeman (Western Illinois University)
Cross-Casting Cupid: Female Singers and the God of Love in French Opera
Friday, 3:40–5:00
Cultural Transfer Between France and Italy
Ellen Rosand (Yale University), Chair
Michael Klaper (Institut für Musikwissenschaft Weimar-Jena)
New Insights into the History of Francesco Cavalli’s Xerse in France
Don Fader (University of Alabama)
French Music in Milan via the Collected Papers of the Prince de Vaudémont
Saturday, 9:00–10:20
Instruments in Theory and Practice
Gregory Barnett (Rice University), Chair
Stewart Carter (Wake Forest University)
“…drawn from the bosom of nature herself”: Marin Mersenne, His Followers, and the Discovery of the Harmonic Series
Lynette Bowring (Rutgers University)
Towards a New Theory of Instrumental Pedagogy in the Early Seicento
Saturday, 10:40–12:00
Texts and Contexts in Restoration England
Robert Shay (University of Colorado Boulder), Chair
Stacey Jocoy (Texas Tech University)
Tom of Bedlam, John Playford, and the Rhetoric of Mid-Century Madness
Bryan White (University of Leeds)
Compiling Occasional Texts for Purcell’s Anthems
Saturday, 2:00–3:20 / 3:40–5:00
Devotion, Vocal and Instrumental
Frederick Gable (University of California, Riverside), Chair
Kimberly Beck Hieb (University of British Columbia)
Emblematic Scordatura: Heinrich Biber’s Hic est panis and Eucharistic Devotion
Ilaria Grippaudo (University of Palermo)
Musical Activities, Social Status and Convent Spaces in Seventeenth-Century Palermo: Santa Maria di Tutte le Grazie and Other Case Studies
Tom Marks (Graduate Center, CUNY)
Feeling the Thirty Years’ War: A History of Emotions in Melchior Franck’s Paradisus musicus (1636)
Christina Hutten (University of British Columbia)
Prayer, Meditation, and Temptation: A Creative Framework for Matthias Weckmann’s Sacred Concertos
Sunday 9:00–10:20
Feasts and Saints in Rome
Margaret Murata (University of California, Irvine), Chair
Michela Berti (Université de Liège)
Defining a festa: Celebration Music in Rome’s National Churches
Virginia Lamothe (Belmont University)
Towards a Better Understanding of Martyr Tragedies in Seventeenth-Century Rome
Sunday 10:40–12:00
Word and Sound in the New World
Drew Davies (Northwestern University), Chair
Dianne L. Goldman (University of Maryland)
Intertextuality in Late-Seventeenth Century Latin Villancicos for Mexico City Cathedral
Jutta Toelle (Max Planck Institute of Empirical Aesthetics, Frankfurt)
Negotiating with the Demon: Mission Soundscapes in Seventeenth-Century Paracuaria
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