Music Performance Studies Today

Bringing together dynamic approaches to innovative research

Considering musics from a variety of traditions, our symposium, entitled “Music Performance Studies Today,” aims to bring visibility to the field of music performance studies and generate scholarly momentum in its realm at UCLA. To stimulate productive conversations, the symposium draws together researchers working diversely with and on praxis- and theoretically-based modes of investigation. The UCLA Herb Alpert School of Music is perfectly positioned to become the epicenter of Music Performance Studies in the Western Hemisphere given its renowned departments and subdivisions of Musicology, Ethnomusicology, Composition, Music Education, Global Jazz Studies, Music Industry, Music Performance, and newly minted Music Performance Studies. Scholars and artists working in these areas have much to learn from one another; conversation between them is vital to the development of core methodologies and dynamic approaches to innovative research.

Presented by the UCLA Center for Musical Humanities and the UCLA Music Library, in collaboration with co-organizers Pheaross Graham (UCLA) and Farrah O’Shea (UCLA).

“Performing Capitalism and Neoliberalism”

February 26, 2021
Zoom, 9am-11:30am PST

Panelists: Catherine Provenzano (UCLA), John Pippen (Colorado State University), Izabela Wagner (Collegium Civitas Cooperative University in Warsaw), Mina Yang (Minerva Schools at Keck Graduate Institute)
Co-Respondents: Tim Taylor (UCLA), Anna Morcom (UCLA)
Link to Registration

“Anti-Blackness in Western Classical Music”

March 5, 2021
Zoom, 9am-12:10pm PST

Panelists: Philip Ewell (Hunter College of the City University of New York), Darryl Taylor (African American Art Song Alliance), Lucy Caplan (Harvard University), Christopher Jenkins (Oberlin University), Michelle Cann (Curtis Institute)
Co-Respondents: Pheaross Graham (UCLA) and Farrah O’Shea (UCLA)
Link to Registration

"On Beethoven, Blackness, and Belonging: Debating Classical Music in the Black Atlantic"

March 5, 2021
Zoom, 4pm-5:30pm PST

The UCLA Robert U. Nelson Lecture Series, hosted by the Center for Musical Humanities, presents a talk by Dr. Kira Thurman, “On Beethoven, Blackness, and Belonging: Debating Classical Music in the Black Atlantic.”
Co-Respondents: Pheaross Graham (UCLA) and Farrah O’Shea (UCLA)
Link to Registration

“The Ephemerality of Musical Hearing”

March 8, 2021
Zoom, 9am-11:30am PST

Panelists: Elisabeth Le Guin (UCLA), Ryan Shiotsuki (Chapman University, Cal Poly Pomona), Nina Eidsheim (UCLA), Andrea Moore (Smith College)
Co-Respondents: Elizabeth Upton (UCLA), Mark Kligman (UCLA)
Link to Registration

Watch Party for “21st-Century Pianism: Retrospection, New Directions, and Interpretative Communities”

April 28, 2021
YouTube, 4pm PST

Musical presentations: Luca Chiantore (Universidade de Aveiro INET-md), Mine Doğantan-Dack (University of Cambridge), Pheaross Graham (UCLA), John Rink (University of Cambridge), William Kinderman (UCLA)
Link to YouTube “Watch Party” of performances by panelists, Wednesday April 28 at 4pm PT: Click Here

“21st-Century Pianism: Retrospection, New Directions, and Interpretative Communities”

April 30, 2021
Zoom, 9am-12:15pm PT

Panelists: Luca Chiantore (Universidade de Aveiro INET-md), Mine Doğantan-Dack (University of Cambridge), Pheaross Graham (UCLA), John Rink (University of Cambridge), William Kinderman (UCLA)
Co-Respondents: Dana Gooley (Brown University), Cecilia Sun (The University of Western Australia)
Link to Registration

“Methods in Music Performance Studies”

May 14, 2021
Zoom, 9am-11:45am PST

Panelists: Amy Bauer (UCI), Roshanak Kheshti (UCSD), Alejandro L. Madrid (Cornell University), Richard Pettengill (Lake Forest College)
Co-Respondents: Mitchell Morris (UCLA), Farrah O’Shea (UCLA)
Moderator: Pheaross Graham (UCLA)
Link to Registration

“Performance, Gestures, Electronics”

May 21, 2021
Zoom, 1pm-3:30pm PST

Panelists: Jocelyn Ho (UCLA), Margaret Schedel (Stony Brook University), Melody Loveless, Patricia Alessandrini (Stanford University), Pamela Z, Melody McKiver
Performance of “Housework Lock (Her) Down II for four Embedded Irons”, composed by Jocelyn Ho and Margaret Schedel
Link to Registration

Broadly focusing on music since 1800, “Music Performance Studies Today” will feature a number of approaches spanning from examinations of microscopic performance details to proposing macro, overarching, and generalizable theories of performance. In building bridges, the symposium will inspire collaborations through performances of music discussed by the invited speakers, as well as stage-related musical demonstrations. In building a scholarly community bringing together performers and academics alike, the symposium sets out to illume methods for performance analysis at many levels, including music score interaction, connections to experience, and reflections on culture. Simultaneously, it aspires to reach out to the larger Los Angeles community through associated performances catering to a variety of interests.

Link to Registration

February 26, 2021, 9AM-11:30AM PST

Across time and place, the arts have been heralded as a savior of all sorts; from promises of class mobility through creative freedom, to neocolonialist narratives about rescuing “troubled” youth, to the ability to turn passion into productive labor. Through historic and contemporary case studies, this panel explores how musical creativity and philanthropy have been called upon to invite upward mobility since the 19^th century.

Have Questions? Contact:

Holley Replogle-Wong

Panelists and Presentation titles

Catherine Provenzano (UCLA), “MIDI Packs, Chord Organs, and Autoharps: Easy Playing Instruments and Classes of Musical Participation”
John Pippen (Colorado State University) “New Music’s (Non)Laborious Frame: Creating Value in Rehearsals and Social Media”
Izabela Wagner (Collegium Civitas Cooperative University in Warsaw), “Virtuoso Careers: An extreme case study of performing capitalism and neoliberalism – a dynamic story”
Mina Yang (Minerva at KGI) (Minerva Schools at Keck Graduate Institute) “The LA Phil in Inglewood: Neoliberal Philanthropy, Starchitecture, and Classical Music in the Beckmen YOLA Center”

Co-Respondents

Tim Taylor (UCLA), Anna Morcom (UCLA)

Link to Presentation Abstracts (PDF)

Catherine Provenzano

Catherine Provenzano’s scholarship focuses on voice, mediation and labor in contexts of popular music production, with a regional specialty in North America. Catherine has conducted ethnographic research with software developers, audio engineers, music producers and artists in Los Angeles, Nashville, Silicon Valley and Germany. In addition to an article in the Journal of Popular Music Studies, Catherine has presented research at meetings of the Society for Ethnomusicology, EMP PopCon, The New School, Berklee College of Music and McGill University.

Link to Faculty Page

Izabela Wagner

Izabela Wagner (Ph.D. with habilitation) is an associate professor at the Institute of Sociology, at Collegium Civitas cooperative university in Warsaw (Poland) and a fellow at the Institute Convergence Migration in Paris, as well as associate researcher at DynamE – Dynamiques Européennes L’UMR7367 – CNRS – Université de Strasbourg.

Link to Website

John Pippen

John Pippen is Assistant Professor of Music at Colorado State University. His primary research has been an extended ethnographic study of the new music scene in Chicago. Dr. Pippen has presented his research at regional, national, and international conferences, with writings in New Music Box and Twentieth Century Music. Theorizing from fieldwork and critical labor perspectives, his book project considers how musicians create value by displaying and hiding their labor.

Link to Faculty Page

Mina Yang

Mina Yang is the author of Planet Beethoven: Classical Music at the Turn of the Millennium and California Polyphony: Ethnic Voices, Musical Crossroads and professor of arts and humanities at the Minerva Schools at Keck Graduate Institute. At Minerva, Yang has taken the lead on racial equity initiatives, holding workshops on diversity, equity, and inclusion for faculty and forging partnerships with historically black and international educational institutions.

Link to Faculty Page

Anna Morcom

Anna Morcom is the Mohindar Brar Sambhi Chair of Indian Music in the Department of Ethnomusicology, UCLA. She has published numerous articles and chapters on Tibetan performing arts, modernization, media, development, and politics and nationalism and is the author of Unity and discord: Music and politics in contemporary Tibet (2004, Tibet Information Network). She has written extensively on Hindi film or ‘Bollywood’ music, including Hindi film songs and the cinema (2007, Ashgate), and on on issues of (trans)gender, sexuality, class and caste relating to marginality and visibility in Indian performing arts, notably, in her book Illicit worlds of Indian dance: Cultures of exclusion (2013, C. Hurst and Co; OUP New York), which was awarded the Alan Merriam prize of the Society for Ethnomusicology (SEM). Her current research focuses on the economic anthropological study of music, the contemporary ecosystem of Hindustani music, and new age-style Tibetan Buddhist chanting music.

Link to Faculty Page

Timothy Taylor

Timothy D. Taylor is an interdisciplinary social scientist studying capitalism, globalization, and consumer culture as they relate to music. He is the author of numerous articles and books, including Global Pop: World Music, World Markets (Routledge, 1997), Strange Sounds: Music, Technology and Culture (Routledge, 2001), Beyond Exoticism: Western Music and the World (Duke, 2007), The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture (Chicago, 2012), Music and Capitalism: A History of the Present (Chicago, 2016), and editor, with Mark Katz and Tony Grajeda, of Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio (Duke, 2012). A collection of essays, Music in the World: Selected Essays, was published in 2017 by the University of Chicago Press. He is also an accomplished Irish traditional flute player and can be heard regularly at sessions in southern California.

Link to Faculty Page

Link to Registration

March 5, 2021, 9AM-12:10pm PST

This panel on Anti-Blackness in Western Classical Music moves with the current momentum of Black Lives Matter demonstrations and recent conversations considering whiteness in music theory. Drawing together perspectives in performance, administration, African American Studies, and musicology, aspects of the panel extend to identifying issues and frames in classical performance, such as biased listening, pedagogy, minuscule representation of concert artists, long-term outcomes of black classical musicians, treatment, and ethics.

Have Questions? Contact:

Holley Replogle-Wong

Panelists and Presentation titles

Philip Ewell (Hunter College of the City University of New York), “On Confronting Music Theory’s Antiblackness”
Darryl Taylor (African American Art Song Alliance), “African American Art Song Advocacy”
Lucy Caplan (Harvard University), “‘The Art of Lynching’: Race, Violence, and the Modern American Opera House”
Christopher Jenkins (Oberlin College and Conservatory), “Aesthetic Alienation: The Effect of Racialized Aesthetics on Conservatory Environments”
Michelle Cann (Curtis Institute), “Interview with Michelle Cann, Sokoloff Chair of Piano Studies at The Curtis Institute”

Co-Respondents

Pheaross Graham (UCLA) and Farrah O’Shea (UCLA)

Link to Presentation Abstracts (PDF)

Philip Ewell

Philip Ewell is an Associate Professor of Music Theory at Hunter College of the City University of New York, where he serves as Director of Graduate Studies in the music department. His specialties include Russian music and music theory, Russian opera, modal theory, and critical-race studies. He received the 2019–2020 “Presidential Award for Excellence in Creative Work” at Hunter College, and he is the “Susan McClary and Robert Walser Fellow” of the American Council of Learned Societies for 2020–2021. In August 2020 he received the “Graduate Center Award for Excellence in Mentoring,” which recognized his “ongoing, long-term, commitment to students at all stages of graduate research.” He is also a “Virtual Scholar in Residence” at the University of the Pacific Conservatory of Music for 2020–2021. As a result of his ACLS award, he is currently working on a monograph—to be published by the “Music and Social Justice” series at the University of Michigan Press—combining race and feminist studies with music and music theory.

Link to Faculty Page

Darryl Taylor

Darryl Taylor's performances have been noted for their compelling artistry and authority. His is an international career highlighted by performances of art song, opera and oratorio. His repertoire extends from Bach to Britten, and beyond.
Recent performance highlights include singing the title role in Phillip Glass' Akhnaten for Long Beach Opera; L.A. Opera’s groundbreaking production of Dido and Aeneas; Pergolesi and Vivaldi Stabat Mater with Lyra Baroque Orchestra of St. Paul, Minnesota; performances with the Carmel Bach Festival; the Bach Collegium San Diego under Richard Egarr, and performances at New York’s Carnegie Hall. He was also heard performing Solomon with the City Choir of Washington under Robert Shafer.
Founder of the African American Art Song Alliance , his recordings on Naxos and Albany record labels have received lavish praise. Love Rejoices: Songs of H. Leslie Adams was a Number One Critic's Choice for American Record Guide for the year 2001.

Link to Website

Lucy Caplan

Lucy Caplan holds a Ph.D. in American Studies and African American Studies from Yale University. She is writing a book about how early-twentieth-century African Americans redefined the genre of opera as a wellspring of antiracist activism, collective sociality, and aesthetic innovation. Her academic writing appears in the Journal of the Society for American Music and the collection African American Arts: Activism, Aesthetics, and Futurity. The recipient of the 2016 Rubin Prize for Music Criticism, Lucy also writes frequently for public audiences. Her essays have been published in The New Yorker online and Symphony, among others, and her program notes have been commissioned by Boston Lyric Opera, Santa Fe Opera, Seattle Opera, and Lincoln Center. Currently, Lucy teaches in the History and Literature program at Harvard University.

Link to Faculty Page

Christopher Jenkins

Christopher Jenkins is the Associate Dean for Academic Support at Oberlin Conservatory, as well as a Deputy Title IX Coordinator and Conservatory Liaison to the Office of Equity, Diversity, and Inclusion. He is currently earning a DMA in viola performance from the Cleveland Institute of Music and a Ph.D. in musicology from Case Western Reserve University concurrently, where his performance and research focuses on the music of African-American composers. The American Society for Aesthetics has previously granted him a curriculum diversification award for his annotated bibliography on sources related to the aesthetics of African-American classical music. In 2020, the ASA awarded him the Irene H. Chayes “New Voices” prize for his paper reimagining the practice of classical music through the lens of Black aesthetics, and he won second prize in the Journal of the American Viola Society’s David Dalton research competition for his work on African-American violists of the 20th century.
Mr. Jenkins previously earned a master's degree in international affairs from Columbia University, focusing on human rights. His international engagement has included performances and teaching in Palestine, Jordan, Lebanon, Pakistan, China, Colombia, and South Africa, and as a guest artist at the Afghan National Institute of Music in Kabul, Afghanistan.

Link to Faculty Page

Michelle Cann

Pianist Michelle Cann made her orchestral debut at age fourteen and has since performed with various ensembles including the Florida Orchestra, Memphis Symphony, Los Angeles Philharmonic, New Jersey, Cleveland Institute of Music, and Sphinx symphony orchestras. She has appeared as guest soloist with the Knoxville Symphony and The Dream Unfinished orchestra and recently performed with The Philadelphia Orchestra in its debut of Florence Price’s Concerto in One Movement in early 2021.

Ms. Cann regularly appears in recital and as a chamber musician throughout the U.S., China, and South Korea. Notable venues include the National Centre for the Performing Arts in Beijing, the John F. Kennedy Center for the Performing Arts in Washington, D.C., and the Bermuda Festival; and Walt Disney Concert Hall in Los Angeles and the Barbican in London with members of the Los Angeles Philharmonic.

Ms. Cann has won top prizes in state, national, and international competitions including the International Russian Music Piano Competition, the Blount Slawson Young Artists Competition, and the Wideman International Piano Competition. In 2019 she served as the Cincinnati Symphony Orchestra’s MAC Music Innovator in recognition of her role as an African-American classical musician who embodies artistry, innovation, and a commitment to education and community engagement.

Ms. Cann has appeared as cohost and collaborative pianist with NPR’s From The Top and has been featured on WRTI and WHYY-TV in Philadelphia. Her summer festival appearances include the Taos Chamber Music Festival, Yellow Barn, Perlman Music Program, and Pianofest in the Hamptons, where she serves as artist in residence.

Ms. Cann has served as the director of two children’s choruses in the El Sistema-inspired program Play On Philly and was among the first class of Community Artist fellows at the Curtis Institute of Music. She served on the faculty of the Sphinx Performance Academy during its inaugural year at the Julliard School.

Ms. Cann holds bachelor’s and master’s degrees in piano performance from the Cleveland Institute of Music, where she studied with Paul Schenly and Daniel Shapiro, and an Artist’s Diploma from the Curtis Institute of Music, where she studied with Robert McDonald. She currently serves as the inaugural Eleanor Sokoloff Chair in Piano Studies at the Curtis Institute of Music.

Link to Faculty Page

Pheaross Graham

Scholar-Pianist Pheaross Graham is a Ph.D. candidate in musicology at the UCLA Herb Alpert School of Music. His dissertation, “Visions of the Pianistic Self: Don Shirley, Rachmaninoff, and Music Performance Studies,” considers how culturally-, socially-, and racially-Othered concert pianists carved musical spaces for themselves in inimical environments. Drawing upon his background as an active classical pianist, he unites theory with praxis. He received his BA in music and BS in microbial biology from the University of California, Berkeley; MFA in piano performance from the University of California, Irvine; and MA and C.Phil. in musicology from UCLA. He received additional advanced piano training at the Aspen Music Festival and School and Tanglewood Institute. His piano teachers have included Nina Scolnik, Walter Ponce, Jacqueline Chew, David Kaplan, Sharon Mann, Betty Woo, Ann Schein, among others. Graham maintains a private piano studio and incorporates the Taubman Approach into his teaching. Additionally, he is a Teaching Artist for LA Opera. He was presented the UCLA Herb Alpert School of Music Dean’s Medal for receiving the Department of Musicology Distinguished Teaching Award. Further awards include the Eugene V. Cota-Robles Fellowship, the Andrew W. Mellon-EPIC Fellowship, and others. He is Co-Organizer of the Music Performance Studies Today conference.

Link to Website

Farrah O'Shea

Farrah O’Shea is a Ph.D. candidate in Theater and Performance Studies at the University of California, Los Angeles. Her dissertation, “Intimate Listening: New Music and the Politics of Performance,” investigates the racial, gendered and sexual politics at play in recent New Music performances that intend to stage and evoke intimacy. With multiple degrees in viola performance from the Cleveland Institute of Music and Boston University, O’Shea brings a performer’s perspective to her research. Her teachers have included Michelle La Course, Kirsten Docter, Lynne Ramsey, among others. O’Shea has performed nationally and internationally in orchestral and chamber music festivals, including as a fellow with the Youth Orchestra of the Americas and the National Repertory Orchestra. In 2021, O’Shea is co-organizer of Music Performance Studies Today and Contact: Performing Proximity, the UCLA Theater and Performance Studies Graduate Conference. She is also organizer of UCLA QGrad, a queer graduate student conference. A dedicated educator, O’Shea’s teaching has been recognized and supported by the UCLA Collegium of University Teaching Fellows.

Link to Academia.edu Website

Link to Registration

March 5, 2021, 4pm-5:30pm PST

4th Annual robert U. Nelson Lecture Series

Have Questions? Contact:

Holley Replogle-Wong

4th Annual Robert U. Nelson Lecture

Kira Thurman (University of Michigan)

Moderators

Pheaross Graham (UCLA), Farrah O’Shea (UCLA)

What has classical music meant to Black people? Why have African Americans listened to and performed a genre of music that many Americans now consider to be white, elitist, and Eurocentric? Such accusations aren’t inaccurate: for example, African Americans represent only 1.8 percent of all orchestra musicians today. In this presentation, Professor Kira Thurman turns to the past to consider how African Americans made classical music a meaningful part of their lives. Examining the lives and careers of intellectuals such as W.E.B. DuBois and classical musicians such as Marian Anderson, Thurman argues that African Americans incorporated art music into their Black international and Black diasporic politics. Looking beyond America’s shores, they found a larger and vibrant Black history of classical music that they could also claim.

This lecture is made possible by the Joyce S. and Robert U. Nelson Fund. Robert Uriel Nelson was a revered musicologist and music professor at UCLA, who, together with his wife, established a generous endowment for the university to make programs like this possible.

Kira Thurman

Kira Thurman is an assistant professor of History and German Studies at the University of Michigan. A winner of the Berlin Prize among other awards and fellowships, she is the author of several award-winning articles on music, the Black diaspora, and German-speaking Europe. Her book, Singing like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms, is forthcoming with Cornell University Press (Fall 2021).

Link to Faculty Page

Link to Registration

March 8, 2021, 9AM-11:30AM PST

Given the ephemerality of performance, what are key issues behind the transmission of musical remembrance? How can we narrow the divide between what Diana Taylor calls the “archive” of enduring materials, such as texts, documents, and buildings, and the “more ephemeral ‘repertoire’ of embodied practice/knowledge,” such as “spoken language, dance, sports, ritual” and, we add, music performance?

Have Questions? Contact:

Holley Replogle-Wong

Panelists and Presentation titles

Nina Eidsheim (UCLA), “The Body as Music’s Terroir”
Ryan Shiotsuki (Chapman University, Cal Poly Pomona), “Stravinsky the Charlatan: Making a Mockery Out of the Virtuoso Pianist in Three Movements from Petrushka”
Andrea Moore (Smith College)
Elisabeth Le Guin (UCLA)

Link to Presentation Abstracts (PDF)

Nina Eidsheim

Nina Eidsheim has written books about voice, race, and materiality and is Professor of Musicology at the University of California, Los Angeles. She is also the founder and director of the UCLA Practice-based Experimental Epistemology (PEER) Lab, an experimental research Lab dedicated to decolonializing data, methodology, and analysis, in and through multisensory creative practices.

Photo credit: William Matczynski

Link to Faculty Page

Ryan Shiotsuki

Ryan Shiotsuki received his Ph.D. in musicology from the University of California, Los Angeles. He is currently a lecturer at Chapman University, Cal Poly Pomona, and has previously taught at CSU Long Beach and UCLA. He specializes in Russian music during the fin de siècle and its relation to the transcendental strain in art and literature. He also holds a bachelor of arts degree in piano performance from UCLA where he studied under Walter Ponce. In addition to his interest in nineteenth-century piano music, Ryan is an avid harpsichordist with special affection for sixteenth- and seventeenth-century repertory.

Link to Calendar Event Page

Andrea Moore

Andrea Moore is a musicologist specializing in new music and concert culture, with research interests in musical labor, ideology and discourse analysis, and musical memorials. Her book-in-progress is titled New Music and the Politics of Commemoration. She is assistant professor of music at Smith College.

Link to Faculty Page

Elisabeth Le Guin

Her second and current career is as Professor in the Musicology and Music departments at UCLA (since 1997); before that, Le Guin was a free-lance cellist in the Western Classical tradition, specializing in early repertories and historical performance practices. In recent years she has moved, as executant and as historian, away from Classical repertories and practices to explore transatlantic musics, both traditional and official, and the tricky questions of their transmission. Author of two well-received books and various articles, she is now host of a new podcast, “Si yo fuera una canción” (If I Were a Song), siyofuera.org

Link to Faculty Page

Mark Kligman

Mark Kligman specializes in the liturgical traditions of Middle Eastern Jewish communities and various areas of popular Jewish music. He has published on the liturgical music of Syrian Jews in Brooklyn in journals as well as his book, Maqām and Liturgy: Ritual, Music and Aesthetics of Syrian Jews in Brooklyn (Wayne State University, 2009), which shows the interconnection between the music of Syrian Jews and their cultural way of life. His other publications focus on the intersection of contemporary Jewish life and various liturgical and paraliturgical musical contexts. He is the academic chair of the Jewish Music Forum and co-editor of the journal Musica Judaica. He is also on the board of the Association for Jewish Studies.

Link to Faculty Page

Elizabeth Upton

Elizabeth Randell Upton studies vocal music, performance, the experience of music, historiography, and codicology from the perspectives of material history and play theory. She understands music to be a process, created by the interactions between composers, performers, and listeners, and believes that exploring the relationships between these categories of musicians can further understanding of musical experience in the historical past. Her primary research focus is medieval music, with a secondary focus on medievalism and music, especially the reception and performance of Early Music in later periods.

Link to Faculty Page

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Link YouTube "Watch Party", Wednesday April 28 at 4pm PT

April 30, 2021, 9AM-12:15 PT

With ever-greater frequency, dedicated listeners, artists, pedagogues, and scholars tend to remark that contemporary performances of the core classical repertory sound remarkably alike in both live and recorded contexts. Considering the possibility that piano culture has entered an age of contemporary, back-and-forth reproduction, this panel considers the following: 1. To borrow from literary theorist Stanley Fish, how might a pianist navigate various “interpretative communities” of the core repertory when dealing with varying politics of taste? 2. How might a pianist listen to and theorize about past recordings to reinvigorate today’s performance approaches? 3. What are ways a pianist might introduce direct compositional changes to existing works to reboot the core performing repertory? 4. What does it mean to evaluate a performance?

Have Questions? Contact:

Holley Replogle-Wong

Panelists and Presentation titles

Luca Chiantore (Universidade de Aveiro INET-md), “IN-Versions: subversive musicology-based approaches to the performance of Western art music”
Pheaross Graham (UCLA), “Sonic Erasure of Subject Position in the Reception of Rachmaninoff’s Pianism: A Performance Analysis Study”
John Rink (University of Cambridge), “Informed listening in action–or, how might ‘knowledge’ shape how we hear and judge performances?”
Mine Doğantan-Dack (University of Cambridge), “Revisiting the ‘page and the stage'”
William Kinderman (UCLA), “Revisiting Beethoven’s Piano Works: From the ‘Tempest’ Sonata to the ‘Diabelli’ Variations and Last Sonata, Op. 111”

Link to Presentation Abstracts (PDF)

Luca Chiantore

Luca Chiantore (Milan, 1966), PhD in Musicology and researcher at INET-md, has given lectures and masterclasses at more than 150 institutions in Europe, Asia and America. As a concert pianist, he has performed in major venues such as Carnegie Hall (New York), Teatro Colón (Buenos Aires), Museo de Artes (São Paulo), and Palacio de Bellas Artes (Mexico City). His Historia de la técnica pianística, first published in 2001, is the most read academic book on piano in Spanish-speaking countries; an updated and enlarged English version (Tone Moves) has been released in 2019. Chiantore is also the author of the first book on Beethoven’s keyboard exercises (Beethoven al piano, 2nd ed. 2020; English edition: 2021, forthcoming), the first Spanish style manual for writing about music (Escribir sobre música, 2nd ed. 2018, written with Áurea Domínguez and Sílvia Martínez) and the recent Malditas palabras (2021). In 2012 he created jointly with David Ortolà the Tropos Ensemble, an experimental creation duo that has played in the USA, Brazil, Argentina, Mexico, Colombia, Spain, Portugal, England, Belgium, and Italy. In 2018 he launched a new artistic-research project, In-Versions, focused on how musicology can provide alternative ways to perform the classical-music repertoire.

Photo Credit: Andra Carstea

Link to Artistic-Research Project

Mine Doğantan-Dack

Mine Doğantan-Dack is a musicologist and concert pianist whose playing has been described as ‘an oasis’ and ‘heaven on earth’. She is internationally regarded as a leading figure in music performance studies and has published many articles on piano performance, and several edited books including Recorded Music: Philosophical and Critical Reflections (2008), Artistic Practice as Research in Music (2015), and Music and Sonic Art (2018). Mine was born in Istanbul, and studied at the Juilliard School (BM, MM) with the eminent Russian pianist Oxana Yablonskaya, on a scholarship from the Turkish Ministry of Education for Young Artists. While at Juilliard she won the prestigious William Petschek award. Mine also holds an BA in Philosophy, and a PhD from Columbia University in Music Theory. She performs as a soloist and chamber musician, and has given concerts in USA, UK, Germany, France andTurkey. She performed most of the major piano concerti with various orchestras, participated in the Mozart Bicentennial Festival in New York, and recorded the music of JS Bach and Scriabin for WNCN. She also recorded various programs for the Turkish radio and television. Mine is the founder of the Marmara Piano Trio, which is a much sought after ensemble in London, and she received an award from the Arts and Humanities Research Council for her work on chamber music performance. Mine is also the artistic director of the London-based community orchestra Ensemble Luce. She is a member of the Honorary Board of the Anselmo Academy of Music and the Arts in New York, dedicated to bringing music and arts education to children from all backgrounds. Mine regularly gives lecture-recitals and conference presentations. She taught performance and performance studies at Middlesex University, the University of Oxford, and the University of Cambridge.

John Rink is one of the world’s foremost authorities on the music of Fryderyk Chopin. He is a prize-winning author and expert on the manuscript and printed sources for Chopin’s works, the performance history of the composer’s music over the past two centuries (including Chopin’s own playing), analysis of the repertoire, editorial practices, and aspects of critical reception. He holds the post of Professor of Musical Performance Studies at the University of Cambridge, a position created for him in 2009 when he became Director of the AHRC Research Centre for Musical Performance as Creative Practice, which was based at Cambridge. He is also Fellow and Director of Studies in Music at St John’s College, Cambridge, in addition to holding Visiting Professorships in London, Singapore and China.

John Rink has published widely on Chopin, musical performance studies, and other topics. His six books published by Cambridge University Press include Chopin Studies 2 (with Jim Samson; 1994), The Practice of Performance (1995), Chopin: The Piano Concertos (1997), Musical Performance (2002), and Annotated Catalogue of Chopin’s First Editions (with Christophe Grabowski; 2010). The last of these won two international awards in 2012, and he has also received a prize for his book on the concertos. He has produced many articles on Chopin, along with acclaimed editions of the two piano concertos. He is Editor in Chief of The Complete Chopin – A New Critical Edition, published by Peters Edition London, and he is also General Editor of a series of five books on musical performance recently published by Oxford University Press. He has directed the three projects at Chopin Online (www.chopinonline.ac.uk). A forthcoming book – Musical Performance in Profile – will be published by Oxford University Press in 2023.

Much of John Rink’s recent work as a performer focuses on historic instruments, especially the Pleyel pianos that Chopin himself favored. He served on the jury of the 17th International Fryderyk Chopin Piano Competition in Warsaw in 2015, and will again be a member of the jury for the 18th Chopin Competition in 2021.

Photo Credit: Martynas Aleksas

Link to Faculty Page

William Kinderman

Since receiving an award for lifetime achievement from the Humboldt Foundation in 2010, William Kinderman has published several books while expanding his performance activities in new directions. His focus on artistic creativity is reflected in The Creative Process in Music from Mozart to Kurtág (2012); in Wagner’s “Parsifal” he explores issues of genesis and aesthetics as well as political issues. His latest book, Beethoven: A Political Artist in Revolutionary Times (2020), marks the 250th anniversary of the composer’s birth (University of Chicago Press; German and Chinese translations forthcoming).
For Alfred Brendel, Kinderman is “a very rare bird” as result of his combined piano performance and scholarship. Edward Rothstein, in The New York Times, has praised Kinderman’s “intellectual energy and distinctive insight”; German critic Gerd Kowa has found him “a herald of Beethoven research and interpretation . . . a sovereign artist.” Kinderman’s interpretations of Beethoven’s works have widely influenced the work of others, including Moisés Kaufman’s award-winning play 33 Variations, which reached Broadway in 2009 and many other stages since.

During 2016-17, Kinderman resided in Vienna, Austria, where he was Visiting Research Professor at the Musik und Kunst Universität and Director’s Fellow at the International Research Center for the Humanities (IFK). He was Co-Curator of Vienna’s first Beethoven Museum, and organized a major conference on Beethoven in Vienna in March 2017 that resulted in a book on Utopian Visions and Visionary Art: Beethoven’s ‘Empire of the Mind’ –Revisited. His recent lecture recitals and other presentations have taken him to Vienna, Bonn, Paris, Oslo, Barcelona, Beijing, Shanghai, New York, Boston, and other cities in Europe, Asia, and North America.

In 2019, Kinderman became Professor and inaugural Leon M. Klein and Elaine Krown Klein Chair of Performance Studies in the Herb Alpert School of Music, University of California, Los Angeles (UCLA).

Kinderman shares his passion for music, writing, and research with his wife Katherine Syer and their two children Anna and Marie, and his older children Laura and Daniel. He enjoys playing squash in his spare time.

Link to Website

Cecilia Sun

Dr Cecilia Sun is a musicologist, pianist and lecturer at the UWA Conservatorium of Music. She is interested in the relationship between scholarship and performance in both classical-era repertoire and post-1960s experimental music. She is also the Joint Artistic Director of UWA’s research project, Irwin Street Collective. This project focuses on historical music and attempts to revitalise historically informed performance throughout the Perth community.

Dr Sun began her studies at UWA before completing postgraduate work in the United States at the Eastman School of Music and University of California, Los Angeles. During her time away from Perth, Dr Sun taught at the University of Sydney and University of California, Irvine. After returning to UWA to teach in 2016, Dr Sun established the undergraduate unit Women in Music.

As the unit’s coordinator and senior lecturer, Dr Sun teaches her students to identify important women in music history and articulate their significance to several musical genres. From representations of women in nineteenth-century opera and African American Blues Queens of the 1920s, to female performers in Chinese courts, Dr Sun attempts to understand the experiences of women in music history.

Among her many accomplishments are being joint author of a published entry on ‘Minimalism’ in the Oxford Bibliographies in 2016, and presenting a research paper at the Society for American Music in 2015.

Link to Faculty Page

Dana Gooley

I studied piano at New England Conservatory and English at Wesleyan University before pursuing my Ph.D. in musicology at Princeton University, finishing in 1999. My earlier research centered on Franz Liszt, music criticism, and the 19th century cult of the virtuoso. My second book, Fantasies of Improvisation, tells the little-known story of free improvisation in western classical music and traces the early history of improvisation as a concept. I have published articles on music criticism, virtuosity, musical mediation, improvisation, cosmopolitanism, and jazz. I give courses on music history, improvisation, opera, historiography, jazz, Stephen Sondheim, and European cultural history. While in graduate school I developed a passion for jazz and I still perform regularly, including a regular Sunday night gig at Boston's historic club Wally's Cafe. My future research projects will focus increasingly upon jazz.

Link to Faculty Page

Link to Registration

May 14, 2021, 9AM-11:45AM PST

What is music performance studies and why does it matter? With multiple ideas of what it is and what it does, music performance studies, like other rising academic fields, faces challenges in establishing clear stakes and research objectives. To identify methodologies of the field and to foster cross-disciplinary conversation on the topic of music performance, this panel brings together scholars working diversely in music theory, musicology and ethnomusicology, theater, ethnic studies and critical gender studies.

This program is co-sponsored by the UCLA Center for Performance Studies

Have Questions? Contact:

Holley Replogle-Wong

Panelists and Presentation titles

Amy Bauer (UCI), “Lacrimae Rerum: Locating the Body in Baroque Counterpoint”
Roshanak Kheshti (UCSD), “Auditioning, Performance and the Performativity of Listening in Zora Neale Hurston’s Ethnographic Archive”
Alejandro L. Madrid (Cornell University), “Making an Archive and Listening to It. The Performativity of Archiving/Archival Labor”
Richard Pettengill (Lake Forest College), “Auslander’s In Concert: A Model for Performance Analysis”

Co-Respondents: Mitchell Morris (UCLA), Farrah O’Shea (UCLA)

Link to Presentation Abstracts (PDF)

Amy Bauer

Amy Bauer is Associate Professor of Music Theory at the University of California, Irvine, where she teaches graduate and undergraduate courses on music theory and analysis, ethnomusicology, popular music and music aesthetics. She has published on the music of Ligeti, Messiaen, Chávez, Lang, Lanza, Ádes, Tulve, the television musical, contemporary opera, spectral music, and the philosophy and reception of modernist music and music theory. Her monographs include Ligeti’s Laments: Nostalgia, Exoticism and the Absolute (Ashgate, 2011), and the collections György Ligeti’s Cultural Identities (Routledge: 2017), co-edited with Márton Kerékfy, and The Oxford Handbook of Spectral Music, co-edited with Liam Cagney and Will Mason (Oxford, forthcoming).

Link to Faculty Page

Roshanak Kheshti

Roshanak Kheshti is Associate Professor of Ethnic Studies and affiliate faculty in the Critical Gender Studies Program at the University of California, San Diego. She has two books: Modernity’s Ear: Listening to Race and Gender in World Music (NYU Press, 2015) and Switched on Bach (33 1/3, 2019). She is currently completing “We See With The Skin": Zora Neale Hurston’s Synesthetic Hermeneutics. Her scholarship has appeared in the Radical History Review, American Quarterly, Anthropology News, Parallax, Feminist Studies, GLQ, Theater Survey, and Sounding Out!.

Link to Faculty Page

Alejandro L. Madrid

Alejandro L. Madrid is a cultural theorist whose historical, ethnographic, and critical work focuses on music and expressive culture from Latin America and Latinxs in the United States. Working at the intersection of musicology, ethnomusicology, and performance studies, his work explores questions of transnationalism and diaspora; gender and embodied culture; and historiography, narrative, and alternative ways of knowledge production in music from the long twentieth century. Madrid is the author of over a dozen books for which he has received numerous national and international awards, including the Dent Medal from the Royal Musical Association and the International Musicological Society; the Premio de Musicología Casa de las Américas; the Mexico Humanities Book Award from the Latin American Studies Association; the Béla Bartók Award from the ASCAP/Deems Taylor Awards; the Woody Guthrie Book Award from the International Association for the Study of Popular Music; as well as the Robert Stevenson, Ruth Solie, and Philip Brett awards from the American Musicological Society. His most recent book, Tania León’s Stride. A Polyrhythmic Life is forthcoming this year with University of Illinois Press. Madrid is editor of Oxford University Press’s award-winning series Currents in Latin American and Iberian Music, and co-editor of the journal Twentieth-Century Music. He is professor of musicology and ethnomusicology as well as Chair of the Department of Music at Cornell University.

Photo Credit: Pyotr Pirozhenko

Link to Faculty Page

Richard Pettengill

Richard Pettengill is Chair of the Theater Department at Lake Forest College, where he teaches courses in Theater History, Shakespeare, and music as performance. He has published articles on Shakespeare in performance, and has co-edited a collection of essays (with musicologist Nicholas Cook of Cambridge University) called Taking it to the Bridge: Music as Performance (University of Michigan Press, 2013). He has taught guitar at Chicago's Old Town School of Folk Music and also plays with various rock bands in Chicago.

Link to Faculty Page

Mitchell Morris

Mitchell Morris taught at UCSD and McGill University before coming to UCLA in 1997. Among his many specialties are: Music, Gender, and Sexuality; Opera Studies; Music at the last fin-de-siecle; Russian and Soviet Music; American popular song; Ecomusicology; Film and TV Music. He is a co-editor of The Oxford Handbook of the American Musical and the author of The Persistence of Sentiment: Display and Feeling in Popular Music of the 1970s. A frequent collaborator with the Los Angeles Opera, he is also an active working librettist with premieres in the US and Mexico.

Link to Faculty Page

Farrah O'Shea

Link to Academia.edu Website

Link to Registration

May 21, 2021, 1:00pm-3:30pm PST

Our invited panelists will present on their work in music, technology, and composition. A creative response will follow in the form of a performance of Joceyln Ho’s piece about women’s labor, and our session will conclude with a panel discussion.

Have Questions? Contact:

Holley Replogle-Wong

Presentations

Pamela Z, “Surely you Gesture”
Melody McKiver in Conversation with Farrah O’Shea (UCLA)
Patricia Alessandrini (Stanford University), “Parlour Sounds: working towards a cyberfeminist theory of music technology through a critical compositional process”
Jocelyn Ho (UCLA), Margaret Schedel (Stony Brook University), Melody Loveless, “Women’s Labor: Building Musical Instruments from Domestic Tools”

Link to Presentation Abstracts (PDF)

Jocelyn Ho

Jocelyn Ho’s artistic practice involves the exploration of the relationship between sound and gesture, as well as the rethinking of classical music through multimedia technologies, inter-disciplinarity, and interactivity. Most recently, she is the artistic director and performer of the sold-out music-art-tech concert project Synaesthesia Playground, in which she leads fifteen composers, visual artists, technologists, and fashion designers to create an interactive, multimedia experience. Her project Women’s Labor has won the Hellman Fellowship and Harvestworks residency, and has been featured internationally.

As a pianist and composer, Ho is a Steinway Artist. She has performed and had her works premiered at Radio France, the Sydney Opera House, Berlin’s Radialsystem V, the Melbourne Recital Centre, New York Symphony Space, Spectrum NYC, Cold Spring Harbor Laboratory, Spotify’s NYC Headquarters, NSW Parliament House, Victorian Governor’s House, the Boston Isabella Gardner Museum, NYC Electroacoustic Music Festival. She is an Assistant Professor of Performance Studies at UCLA.

Link to Faculty Page

Margaret Schedel

With an interdisciplinary career blending classical training, sound/audio data research, and innovative computational arts education, Margaret Anne Schedel transcends the boundaries of disparate fields to produce integrated work at the nexus of computation and the arts. She has a diverse creative output with works spanning interactive multimedia operas, virtual reality experiences, sound art, video games, and compositions for a wide variety of classical instruments and custom controllers and is internationally recognized for the creation and performance of ferociously interactive media. As an Associate Professor of Music at Stony Brook University, she serves as the co-director of computer music and leads the Making Sense of Data Workgroup at the Institute of Advanced Computational Science. She also teaches composition for new media at the Peabody Institute of the Johns Hopkins University. She co-founded www.arts.codes, a platform and artist collective celebrating art with computational underpinnings.

Link to Website

Pamela Z

Pamela Z is a composer/performer and media artist who works primarily with voice, live electronic processing, sampled sound, and video. A pioneer of live digital looping techniques, she processes her voice in real time to create dense, complex sonic layers. Her solo works combine experimental extended vocal techniques, operatic bel canto, found objects, text, digital processing, and wireless MIDI controllers that allow her to manipulate sound with physical gestures. In addition to her solo work, she has been commissioned to compose scores for dance, theatre, film, and chamber ensembles including Kronos Quartet, Eighth Blackbird, the Bang on a Can All Stars, Ethel, and San Francisco Contemporary Music Players. Her interdisciplinary performance works have been presented at venues including The Kitchen (NY), Yerba Buena Center for the Arts (SF), REDCAT (LA), and MCA (Chicago), and her installations have been presented at such exhibition spaces as the Whitney (NY), the Diözesanmuseum (Cologne), and the Krannert (IL). Pamela Z has toured extensively throughout the US, Europe, and Japan. She has performed in numerous festivals including Bang on a Can (New York), Interlink (Japan), Other Minds (San Francisco), La Biennale di Venezia (Italy), Dak’Art (Sénégal) and Pina Bausch Tanztheater Festival (Wuppertal, Germany). She’s a recipient of numerous awards including the Rome Prize, United States Artists, a Robert Rauschenberg Foundation residency, the Guggenheim, the Doris Duke Artist Impact Award, Herb Alpert Award, an Ars Electronica honorable mention, and the NEA Japan/US Friendship Commission Fellowship. She holds a music degree from the University of Colorado, Boulder.

Photo Credit: rubra (courtesy of Ars Electronica)

Link to Website

Patricia Alessandrini

Patricia Alessandrini is a composer/sound artist creating compositions, installations, and performance situations which are often interactive and theatrical. Through these
intermedial formats, she actively engages with the concert music repertoire, and issues of representation, interpretation, perception, and memory. Her works are often collaborative, and engage with social and political issues. She performs research on embodied interaction and immersive audiovisual experience, including instrument design for inclusive performance.
Her works have been presented in the Americas, Asia, Australia, and over 15 European countries, in festivals such as Archipel, Donaueschinger Musiktage, Electric Spring, Huddersfield Contemporary Music Festival, Heidelberger Frühling, Gaudeamus, Mostly Mozart, Musica Strasbourg, Rainy Days, Salzburg Biennale, Sonorities, and Wien Modern. She is also a performer and improvisor of live electronics.

She was awarded first prize in 2009 in the Sond’Arte Composition Competition for Chamber Music with Electronics, and a Förderpreis in Composition by the
Darmstädter Ferienkurse in 2012. She studied composition and electronics at the Conservatorio G.B.Martini di Bologna, Conservatoire National de Strasbourg and IRCAM, and holds two PhDs, from Princeton University and the Sonic Arts Research Centre (SARC) respectively. She has taught alto perfezionamento of Computer-Assisted Composition at the Scuola superiore of the Accademia Musicale Pescarese, Composition with Technology at Bangor University, as a Lecturer in Sonic Arts at Goldsmiths,University of London, and was appointed Assistant Professor of Composition at Stanford University in 2018, where she also performs research at the Center for Computer Research in Music and Acoustics (CCRMA). She serves on the international board of Share Music & Performing Arts.
Her works are published by Babelscores, and may be consulted at patriciaalessandrini.com

Two portrait CDS are due for release in 2021: on Huddersfield Contemporary Records and Another Timbre respectively, by Riot Ensemble and other artists.

Link to Website

Melody Loveless

Melody Loveless is a musician, performer, educator, and multimedia artist based in Brooklyn, NY. Her work ranges from live coding performance, generative sound installations, multisensory performance, and more. She has performed in various venues around New York City including (le) poisson rouge, Performance Space New York, Babycastles, Wonderville, and Eyebeam. Internationally, she has performed as a soloist and with Codie, a live coding trio that she is a member of, in various scenarios, including open demonstrations at artist residencies, conferences, and while on tour. Past honors include artist residencies (local and international), performances and talks at conferences and festivals, and awards and press for her music (see below for details). She has presented talks on music education and her artistic practice for various organizations and events including the New Music Gathering, Monthly Music Hackathon, Bates Digital Music Symposium, and Pathways: Art and Technology. As an educator, she has taught in various institutes and organizations including New York University, the New School, Hunter College, Music Hackspace, and Harvestworks. She is also part of the first cohort of Cycling 74’s Max Certified Trainer Program.

Link to Website

Melody McKiver

Melody McKiver’s musical work integrates electronics with Western classical music to shape a new genre of Anishinaabe compositions. Their debut EP Reckoning was nominated for an Indigenous Music Award, and they were a participant in the Banff Centre for the Arts’ inaugural Indigenous Classical Music Gathering. A frequent performer across Turtle Island, Melody has performed at the National Arts Centre, Luminato Festival, Vancouver’s Western Front, and the Toronto International Film Festival. They have shared stages with Polaris Prize winners Lido Pimienta, Tanya Tagaq, and Jeremy Dutcher, and
performed with acclaimed filmmaker and musician Alanis Obomsawin. As a composer, Melody was commissioned by Soundstreams and Jumblies Theatre to write a string quartet responding to Steve Reich’s Different Trains, drawing on interviews conducted with local elders. Melody was invited to the Berlinale Talents Sound Studio as a music and composition mentor for the 2020 Berlin International Film Festival. They also re-imagined Stravinsky’s Rite of Spring through an Anishinaabeg lens alongside choreographer Brian Solomon. Melody is also employed as a youth worker in Sioux Lookout, providing mental health and cultural supports to First Nations students. Upcoming projects include a song and music video premiering on Amplify, a new APTN show that explores musicians’ creative processes, and a
full-length album at the end of 2021.

Melody McKiver is a violist and composer. Their musical work integrates electronics with Western classical music to shape a new genre of Anishinaabe compositions. They are a member of Lac Seul First Nation and are currently based in Sioux Lookout, Treaty #3, Canada.

Link to Website

The Center for Musical Humanities is dedicated to advancing the interests of music and the humanities across the whole of UCLA, engaging its faculty, students, and surrounding communities in a series of events that will bring together scholarship, performance, and outreach.

The mission of the center is to foster the study of music within an interdisciplinary context by bringing together scholars and students in a variety of disciplines from around the nation and world to collaborate with scholars and students at UCLA and its associated communities, and to create an effective and vibrant face for the Herb Alpert School of Music by fostering public musical events inspired by its scholarly ventures, featuring faculty and students from across the school.

Established in 2006, the UCLA Arts Initiative is a collaboration between the Herb Alpert School of Music, the humanities division in the UCLA College, the School of the Arts and Architecture, and the School of Theater, Film and Television, with support from the offices of the provost and the vice chancellor for research.

The Center for Performance Studies (CPS) was founded in 2005 with the support from the Deans of the School of Theater, Film, and Television, the School of Arts and Architecture, the College of the Humanities, and the Office of the Executive Vice Chancellor. With Sue-Ellen Case as the founding director, CPS has explored performance as an organizing concept for thinking about the performed nature of gender, race, and sexuality. Through guest lectures, conferences, and performances, CPS has built ties with the departments of Theater, Film, Anthropology, Design, Art History, Musicology, Ethnomusicology, Gender Studies, World Arts and Cultures, English, French, German, and Comparative Literature. It also created alliances with various centers at UCLA and the Hemispheric Institute of Performance and Politics.

CPS now turns its eyes to the world through an exploration of global encounters through research, performance, and community building. By launching a new set of initiatives—professional workshops, publication projects, a writing support group, and student showcases—CPS hopes to support global and comparative approaches to performance studies as a way to chart out the new frontier of this constantly-morphing field. CPS will engage with an interdisciplinary cohort of faculty, students, and artists to establish new paradigms for performance research.

The American Society for Theatre Research (ASTR) is a U.S.-based professional organization that fosters scholarship on worldwide theatre and performance, both historical and contemporary. Members of the American Society for Theatre Research say the Society is a space to share scholarship and a home for networking within the profession. ASTR also sponsors or coordinates several awards, grants, fellowships, and prizes to support and recognize outstanding scholarship in theatre and performance studies.

Musicologists study the history, cultural contexts, and interpretation of music. While the discipline has tended, historically, to focus largely on European art-music repertories, in recent decades it has expanded to include many other traditions as well as other regions. The Department of Musicology at UCLA now leads the field nationally and internationally in offering advanced training within this broader vision of the discipline and is a recognized leader in the study of popular music, the study of music, power, and difference, and in innovative approaches to the study of traditional repertories and musical practices.

Music Performance

Studies Today:

a program of online events, 2021

Schedule of Events at a Glance

February 26, 2021 Zoom, 9am-11:30am PST

March 5, 2021 Zoom, 9am-12:10pm PST

March 5, 2021 Zoom, 4pm-5:30pm PST

March 8, 2021 Zoom, 9am-11:30am PST

April 28, 2021 YouTube, 4pm PST

April 30, 2021 Zoom, 9am-12:15pm PT

May 14, 2021 Zoom, 9am-11:45am PST

May 21, 2021 Zoom, 1pm-3:30pm PST

Symposium Description

Performing Capitalism and Neoliberalism

February 26, 2021, 9AM-11:30AM PST

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Panelists and Presentation titles

Co-Respondents

About the Participants

Anti-Blackness in Western Classical Music

March 5, 2021, 9AM-12:10pm PST

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Panelists and Presentation titles

Co-Respondents

"On Beethoven, Blackness, and Belonging: Debating Classical Music in the Black Atlantic"

March 5, 2021, 4pm-5:30pm PST

4th Annual robert U. Nelson Lecture Series

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4th Annual Robert U. Nelson Lecture

Moderators

About the Speaker

The Ephemerality of Musical Hearing

March 8, 2021, 9AM-11:30AM PST

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Panelists and Presentation titles

About the Participants

21st-Century Pianism: Retrospection, New Directions, and Interpretative Communities

April 30, 2021, 9AM-12:15 PT

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Panelists and Presentation titles

About the Participants

Methods in Music Performance Studies

May 14, 2021, 9AM-11:45AM PST

This program is co-sponsored by the UCLA Center for Performance Studies

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Panelists and Presentation titles

About the Participants

Performance, Gestures, Electronics

May 21, 2021, 1:00pm-3:30pm PST

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Presentations

About the Participants

Symposium Sponsors

February 26, 2021
Zoom, 9am-11:30am PST

March 5, 2021
Zoom, 9am-12:10pm PST

March 5, 2021
Zoom, 4pm-5:30pm PST

March 8, 2021
Zoom, 9am-11:30am PST

April 28, 2021
YouTube, 4pm PST

April 30, 2021
Zoom, 9am-12:15pm PT

May 14, 2021
Zoom, 9am-11:45am PST

May 21, 2021
Zoom, 1pm-3:30pm PST