Early Modern Music Investigations: A Colloquium in Honor of Craig A. Monson

Washington University in St. Louis is pleased to announce an event to honor faculty member Craig A. Monson, Paul Tietjens Professor of Music, on the occasion of his retirement. 

Early Modern Music Investigations 
A Colloquium in Honor of Craig A. Monson

Friday, March 27, 2015, 3:00-5:00 p.m.
Washington University in St. Louis
560 Music Center, Ballroom Theater
Reception to follow

After a decade of prior research on Elizabethan and Jacobean music, when he arrived at Washington University in 1984 Craig Monson shifted his research to early modern Italy. In addition to seventeenth-century opera, he has concentrated and published on the diverse effects of the Council of Trent on sacred music and especially on music and female monasticism. The speakers at the colloquium continue the discussions in all these areas.

Antonia Banducci, Associate Professor of Musicology,  University of Denver
    "Louis Dumesnil: Lully's Problematic Hero"

Robert Kendrick, Professor of Music,   University of Chicago  
    "Looking at Early Dedications to Italian Nuns"

Jane Bernstein , Austin Fletcher Professor of Music, Tufts University
    "Print Culture and Music in Post-Tridentine Rome"

For further information on the event and hotel accommodations, please contact Kim Daniels at 314-935-5566.

Craig Monson retires in 2015 after thirty years at Washington University, where he has taught primarily Renaissance, Baroque, and Native American music, as well as issues of music and gender. He served as Chair of the Music Department, 1993-96, and as Director of Graduate Studies for some nineteen years. Educated at Yale, Oxford, and UC Berkeley, he was a member of the Yale faculty for nine years before coming to St Louis in 1984. In 1990 he also served as Valentine Distinguished Professor at Amherst. He has received fellowships from the Woodrow Wilson Foundation, the Marshall Aid Commemoration Commission, the ACLS, the NEH, and the National Humanities Center.  He authored or edited Voices and Viols in England: The Sources and the Music (1982), The Crannied Wall: Women, Religion, and the Arts in Early Modern Europe (1992), Disembodied Voices: Music and Culture in an Early Modern Italian Convent (1995; Italian translation, 2010), Nuns Behaving Badly: Tales of Music, Magic, Art, and Arson in the Convents of Italy (2010; Polish translation, 2012), Divas in the Convent: Nuns, Music, and Defiance in Seventeenth-Century Italy (2012), Music in Print and Beyond: Hildegard von Bingen to The Beatles (2013), four volumes of The Byrd Edition (1977, 1980, 1982, 1983), and Antonio Sartorio: Giulio Cesare in Egitto (1677) (1992), as well as three dozen journal articles and book chapters. His latest book, Habitual Offenders: A True Cloister Tale of Repentance, Romance, and Murder, will appear in 2016.

Antonia Banducci, Associate Professor of Musicology, Chair of the Musicology/Ethnomusicology/ Theory Department at the University of Denver's Lamont School of Music, and a former Fulbright scholar, specializes in French Baroque opera.  Her dissertation on André Campra's tragédie en musique Tancrède (Washington University, St. Louis, 1990) received the National Opera Association's First Biennial Award for Best Dissertation on an Operatic Topic.  For a facsimile edition of Tancrède, which appeared in 2006, she provided the scholarly contextualization and a extensive glossed list of rare prompt notes used in Madame de Pompadour's1748 court production of the opera.  Banducci has published articles in Early Music, Eighteenth-Century Music, and the Journal for Seventeenth-Century Music, presented papers at meetings of the International Musicological Society, the American Musicological Society, and the Society for Seventeenth-Century Music, and recently gave an invited lecture at the Université Paris-Sorbonne.  She has also served as Secretary of the Society for Seventeenth-Century Music.  Today's paper derives from research for her article "Acteurs as Muses: The Case for Jean-Baptiste Lully's Repertory Troupe (1673-1687)," which will appear in a forthcoming issue of the Journal for Seventeenth-Century Music.

Robert Kendrik has taught at Harvard and the University of Chicago, where he served as Music Department Chair in 2004-08, 09-10, and 13-14. He specializes in music of early modern Europe and its intersections with religion, politics, gender, urban culture, and fine arts. His books include Singing Jeremiah: Music andMeaning in Holy Week (2014); The Sound of Milan, 1580-1650 (2002); and Celestial Sirens: Nuns and Music in Early Modern Milan (1996) and he has edited the motets of Chiara Margarita Cozzolani for A-R Editions (1998). He has held fellowships at the Harvard University Society of Fellows and the National Humanities Center (1998) and is a member of Milan’s Accademia Ambrosiana.

Jane A. Bernstein, the Austin Fletcher Professor and former Music Department Chair at Tufts University, received her Ph.D. from the University of California at Berkeley in 1974 (having submitted her dissertation the day before Craig Monson submitted his). Her primary research interests center on Renaissance music and gender studies. In 1999, she received the American Musicological Society’s Otto Kinkeldey Award for Music Printing in Renaissance Venice: The Scotto Press (1539–1572); in 2005, her book Women’s Voices across Musical Worlds was named a finalist for the Pauline Alderman Award from International Alliance for Women in Music. Her other major publications include Print Culture and Music in Sixteenth-Century Venice (2002); the thirty-volume series, The Sixteenth-Century Chanson (1987-1995); Philip Van Wilder: Collected Works (1991); and French Chansons of the Sixteenth Century (1985). She is currently working on a monograph about music print culture in Renaissance Rome. Bernstein has received fellowships and grants from the Guggenheim Foundation, the NEH, the ACLS, the American Philosophical Society, and the Delmas Foundation for Venetian Studies. In 2005, she was elected a Fellow of the American Academy of Arts and Sciences.  She served as President of the American Musicological Society from 2008 to 2010 and was named an honorary member of the Society in 2014.