Opera and Musical Theater in the United States

An International Conference and Festival

March 24-25, 2018
John Bragg Media and Entertainment Bldg., Room 104

Middle Tennessee State University
Murfreesboro, TN

Organized and hosted by:

mtsu School of Music
&
Center for Popular Music
&
Center for Chinese Music and Culture

 

Conference Program Committee
Elizabeth Craft Ph.D. (Musical Theater in the US)
Jeongwon Joe Ph.D. (Film Music and Opera-Cinema Studies)
Christina Fuhrmann Ph.D. (Baldwin Wallace University)
Christopher Smith Ph.D. (19th & 20th century American vernaculars, Arts Practice, pedagogy)
Cecilia J Pang Ph.D. (University of Colorado)
Naomi Graber Ph.D. (University of Georgia)
Sasha Metcalf Ph.D. (Vanderbilt University)
Reba Wissner Ph.D. (Television Music, Baroque opera, and Italian-American Immigrant Musical Theater)

 SCHEDULE

Saturday, March 24, 2018

 

9:00 AM - 11:00 AM

Session I: Infiltrations and Dislocations—Uptown, Southern Parlors and the University

Chair: TBD

  • Virginia Lamothe, Ph.D. (Vaudeville and Tin Pan Alley), “Dislocation of Language and Place in the Re-creation of Blackness in Williams’ and Walker’s Abyssinia (1906).”
  • Candace Bailey, Ph.D. (Women and Music in the 19th Century U.S. South), “Going “Opera Mad” in the 1850s: European Opera and Women’s Parlor Culture in the Antebellum South."
  • Monica Hershberger, Ph.D. (American Opera during the Cold War), “American Opera and the American University: Douglas Moore, Columbia University, and the University of Kansas.”

 11:15 AM – 12:00 PM

 Keynote Speaker I: Prof. Katherine Preston, Ph.D. (College of William and Mary)

1:00 PM - 3:00 PM

Session 2: Transnational Black Identity in Early-Twentieth-Century African American Opera Theater

Chair: Christopher Smith Ph.D. (19th & 20th century American vernaculars, Arts Practice, pedagogy)

  • Kristen Turner, Ph.D., (Early 20th century American Popular Culture), “Visions of Africa in Early Black Musical Theater.”
  • Kori Hill, (Interests) ““Sing to Me Again, O Defileé, the Songs Our People Crooned in Africa!”: Black Women as Culture Bearers in Clarence Cameron White’s Ouanga!”
  • Lucy Caplan, (African American Opera) “Afrodiasporic History on the Operatic Stage: Shirley Graham’s Tom-Tom (1932).”

 3:30 PM - 5:30 PM

Parallel Session 3a: Intersections, Remixes, and Reversals

Chair: Elizabeth Craft Ph.D. (Musical Theater in the US)

  • Kate Galloway, Ph.D., (20th/21st century music; music, media and technology; music, environment and geospatial analysis) “Circulating, Remixing, and Remediating Hamilton: The American Musical and Social Activism in the Time of Web 2.0.”
  • Daniel Jenkins, Ph.D., (Musical Theater/Leonard Bernstein) ““I’ll Cover You”: Intersectionality and Queer Broadway Covers.”
  • Nathan Beary Blustein, (Broadway Musical Theater) ““Meet​ ​the​ ​Blob”:​ ​Solo-to-Ensemble​ ​“Reverse​ ​Reprises”​ ​in​ ​Merrily​ ​We​ ​Roll​ ​Along.

 Parallel Session 3b: Opera, Politics, and the Met

Chair: Reba Wissner (Television Music, Baroque opera, and Italian-American Immigrant Musical Theater)

  • Kunio Hara, Ph.D. (Late 19th Century Italian Opera) “Reviving Cio-Cio-San: Return of Madama Butterfly to the Metropolitan Opera after World War II.”
  • Marianne Betz, Ph.D. (American Music; George W. Chadwick) “The History of an Unperformed Opera: George Whitefield Chadwick’s The ”
  • Gwen D’Amico, Ph.D. (Richard Wagner: Reception and Gender Studies) “Opera and Politics: Die Meistersinger at the Intersection of New York City and World War II.”

 5:45 PM – 6:45 PM Dinner

Saturday Evening: Opera Performance Andrew Barton’s The Disappointment: or the Force of Credulity

 

Sunday, March 25, 2018

9:00 AM - 11:00 AM

Session 4: New Spaces and Technologies

Chair: Jeongwon Joe Ph.D. (Film Music and Opera-Cinema Studies)

  • Kathryn Caton, (New Opera and Interdisciplinary Studies) “Imagined Memory in Christopher Cerrone's Invisible Cities."
  • Brooke McCorkle, Ph.D. (Wagner, Opera, and Film) “Opera of Attractions.”
  • Shersten Johnson, Ph.D, (21st-century opera, operatic film adaptations, and digital delivery) “Reconfigured Audiovisual Spaces in the Met’s HD Productions.”

 11:00 AM - 11:45 AM   

Keynote 2 Prof. Joseph Lam, Ph.D., University of Michigan

 11:45 AM - 12:30 PM

Demonstration: Kunqu performers

 1:15 PM - 3:15 PM

Session 5: History Musicals and Unlikely Subjects

Chair: Naomi Graber Ph.D. (University of Georgia)

  • Elissa Harbert, Ph.D. (History Musicals) “Unlikely Subjects: The Reception of History Musicals from 1776 to Hamilton.”
  • Dan Blim, Ph.D. (Broadway Musicals) ““Someone Tell the Story”: Historiography, Humor, and Controversy in Assassins and Bloody Bloody Andrew Jackson.”
  • Brent Auerbach, (Music Theory - Tonality and Motive) ““But It was Home:” Marvin Hamlisch’s “At the Ballet” Forges a Family through Text, Motive, Form, and Dance."

 3:30 PM - 5:30PM

Session 6: Semiotics, Topics and voice.

Chair: TBD

  • Martha Sullivan, (Voice, Gender, Embodiment, Topic Theory) “Modern Sirens: Semiotics of a Musical Topos in 20th- and 21st-Century American Opera.”
  • Thomas Posen, (affiliation) “The Patterns of Grand Opera on Broadway: A Semiotic Approach.”
  • Jeongwon Joe, (Film Music and Opera-Cinema Studies) “Meredith Monk’s Atlas (1977) and John Zorn’s La Machine de l’être (2010): Operatic Voice Beyond Meaning.”