David Yearsley

Herbert Gussman Professor of Music

Publications

Books: 

  • Bach and the Meanings of Counterpoint (2002)
  • Bach's Feet (2012)
  • Sex, Death, and Minuets: Anna Magdalena Bach and Her Musical Notebooks (University of Chicago Press, 2019)

 

Articles:

  • "Bach as Musical Humorist," in Re-Thinking Bach, ed. Bettina Varwig (Oxford University Press, forthcoming)
  • "Practicing Feet" in Playing to Learn: Learning to Play: Essays on Practicing the Organ, ed. Michael Bauer (University of Michigan Press, forthcoming)   
  • “Keyboard Music,” in Routledge Companion to Bach Research, ed. Robin Leaver and Yo Tomita (London: Routledge, 2017): 295-316.
  • “’Nothing More to Conquer’: Müthel’s Duetto in the Burney’s Drawing Room and Beyond” Keyboard Perspectives 9 (2016): 1-31.
  • “To a Mother’s Memory: Loss and Eternity in Nicolaus Adam Strungk’s Ricercar sopra la Morte della mia carissimi Madre, ” Keyboard Perspectives 5 (2014): 13-40.
  • “Hoop Skirts, Coffee, and the Voices of Two Bach Women,” Women and Music 17 (2013): 27-58.
  • “Exorcising Completeness in the Pedal-Exercitium” in The American Organist 46 (November, 2012): 63-69.
  • “Bernhard the German and the Invention of Four-Limbed Performance at the Organ,” in Organ Yearbook 39 (2010): 7-25.
  • “Princes of War and Peace and their Most Humble Court Composer,” in Konturen 1 (2008), on-line: http://konturen.uoregon.edu/vol1_Yearsley.html
  • “Women at the Organ: a Fragment,” in Music and its Problems: Essays in Honor of Peter Williams, ed. Thomas Donahue (Philadelphia: Organ Historical Society, 2007), 119-141
  • “Travel Music as Travel Writing: Froberger’s Melancholic Journeys,” in Keyboard Perspectives 1 (2008): 87-112.
  • “In Buxtehude’s Footsteps,” Early Music 35 (2007): 339-353.
  • “C. P. E. Bach and the Living Traditions of Eighteenth-Century Counterpoint,” in C. P. E. Bach Studies, ed. Annette Richards (Cambridge University Press, 2006), 173-201.
  • "Death Everyday: the Anna Magdalena Bach Book of 1725 and the Art of Dying," in Eighteenth-Century Music (2005): 231-249.
  • "The Concerto in the Age of J. S. Bach," Cambridge Companion to the Concerto, ed. Simon Keefe. Cambridge University Press, forthcoming 2005.
  • "C. P. E. Bach and the Living Traditions of Eighteenth-Century Counterpoint," in C. P. E. Bach Studies, ed. Annette Richards. Cambridge University Press, forthcoming 2005.
  • "The Musical Patriots of the Hamburg Opera: Mattheson, Keiser, and Masaniello furioso," in Patriotism, Cosmpolitanism, and National Culture: Public Culture in Hamburg, 1700-2000, ed. Peter Hohendahl. Amsterdam: Rodopi, 2003.
  • "The Awkward Idiom: Hand-crossing and the European Keyboard Scene around 1730," in Early Music (May 2002).
  • "An Ideal Organ and its Experts Across the Seventeenth Century," in The Organ as a Mirror of its Time, ed. Kerala Snyder. Oxford University Press, 2002.
  • "Alchemy and Canon in an Age of Reason," in Journal of the American Musicological Society (Summer 1998); translated as "Alchemie und Kontrapunkt im 'Zeitalter der Venunft,'" in Antike Weisheit und kulturelle Praxis: Hermetismus als Kulturphänomen in der frühen Neuzeit, ed. Anne-Charlott Trepp and Hartmut Lehmann. Göttingen: Vandenhoeck & Ruprecht, 2001.
  • "Toward an Allegorical Interpretation of Buxtehude's Funerary Counterpoints," in Music and Letters (January 2000).
  • "Stylus Phantasticus and the New Musical Imagination," in GOArt Research Reports, vol. 1, ed. Sverker Jullander (Göteborg, 2000).
  • "J. S. Bach," in Cambridge Companion to the Organ, ed. Geoffrey Webber and Nicholas Thistlethwaite. Cambridge University Press, 1998.

 

Recordings:

  • Bitter Banquet with Powerdove (foc's'le, 2018)
  • J. S. Bach & Sons at the Organ (Musica Omnia, 2017)
  • Organ Sonatas of J. S. Bach  (Musica Omnia, 2015), double cd
  • Songs and Sonatas from Baroque London (with Martin Davids, violin; Musica Omnia, 2008)
  • The Great Contest: Bach, Scarlatti, Handel at the Organ (Loft, 2002)    
  • In Dialogue (music for two organs with Robert Bates; Loft, 2001)
  • Music of a Father and Son: Organ Works of Delphin and Nicolaus Adam Strungk (Loft, 1999)
Klarman Hall
101 Lincoln Hall
dgy2@cornell.edu
607/3199526

Education

  • A. B. Harvard College
  • Ph.D. Stanford University

Departments and programs

Keywords

  • History, literature, and performance of music
  • Bach
  • Handel
  • musical travels
  • organ performance

Annette Richards

Given Foundation Professor in the Humanities and University Organist

Publications

Selected Publications:

  • “Music for a Princess.” German 17th- and 18th-century music from the library of Princess Anna Amalia of Prussia, on the Cornell Baroque Organ. (Recorded March 2013; released August 2014, Loft Recordings).
  • “Melchior Schildt and the North German Organ Art,” on the historic Raphaelis Organ at Roskilde Cathedral, Denmark. (2008, Loft Recordings).

Books:

  • Keyboard Perspectives (2006-13; 2016; 2017)
  • C. P. E. Bach Studies Cambridge University Press (2006)
  • The Free Fantasia and the Musical Picturesque. Cambridge University Press (2001)
  • Acting on the Past: Historical Performance across the Disciplines. Editor, with Mark Franko. Wesleyan University Press (2000)

Articles and Book Chapters:

  •  “Ghost Music, or the Otherworldy Voice of the Glass Harmonica.” Tilman Skowroneck, ed., Keyboard Perspectives VIII (2016), 1-42
  • „Vereint durch den erhabenen Chor: Das ästhetisch-politische Vermächtnis von Händels Halleluja im Zeitalter der Personalunion.“ In Mehr Händel ed. Wolfgang Sandberger, [Göttinger Händel Beiträge XVI], (2015).
  • “The Musical Poetry of the Graveyard.” Edinburgh Companion to Literature and Music. (forthcoming).
  • “Gothic Musical Scenes and the Image of Performance.” Late 18th-Century Music and Visual Culture, ed., Cliff Eisen and Alan Davison (Turnhout: Brepols, 2017).
  • “Listening for Likeness, or C. P. E. Bach and the Art of Speculation,” Early Music Vol. XLII no. 3 (2014), 347-362.
  •  “The Charitable Handel.” In The Power of Musick, ed. Anorthe Kremers and Wolfgang Sandberger [Göttinger Händel Beiträge XV], (Göttingen: Vandenhoeck & Ruprecht, 2014), 87-108.
  • “C. P. E Bach’s Freundschaftstempel  and the Portrait of Modern Life.” Die Tonkunst, (8/1, January 2014), 39-49.
  • “C. P. E. Bach, Portraits and the Physiognomy of Music History.” Journal of the American Musicological Society (Volume 66 no. 2, Summer, 2013), 337-396.
  • “Charlottenburg Schnitger: 1706—1931—2011.” In Keyboard Perspectives IV, 2013
  •  “Spielräume der Musik zwischen Konzertsaal und Open Air: Beethoven, Joe Wrights The Soloist und die Idee von urbaner Freiheit” (co-authored with David Yearsley) in Kunst —Garten — Kultur (Berlin, 2010), ed. Stefanie Hennecke and Gert Gröning (Berlin: Reimer, 2010)
  • "An Enduring Monument: C. P. E. Bach and the Musical Sublime." In C. P. E. Bach Studies.
  • "Haydn's London Trios and the Rhetoric of the Grotesque." In Engaging Rhetoric, ed. Tom Beghin, Sander Goldberg and Elisabeth Le Guin. Chicago University Press.
  • "Carl Philipp Emanuel Bach and the Intimate Poetics of Public Music." In Patriotism, Cosmopolitanism, and National Culture: Public Culture in Hamburg 1700-1933, Peter U. Hohendahl, ed. Amsterdam: Rodopi, 2003.
  • "C. P. E. Bach and the Music of Solitude." In Einsamkeit, ed. Aleida Assmann and Jan Assmann. Munich: Wilhelm Fink, 1999.
  • "C. P. E. Bach's Free Fantasy and the Performance of the Imagination." In Acting on the Past.
Klarman Hall
101 Lincoln Hall
annette.richards@cornell.edu
607/255-7102

Education

  • Ph.D., Stanford University

Departments and programs

Links

Keywords

musicology; music history and culture in the long 18th century; organ; history of technology and the senses; performance

Steven Pond

Associate Professor

Publications

Selected publications:

  • Herbie Hancock’s Head Hunters: The Making of Jazz’s First Platinum Album, (Ann Arbor: University of Michigan Press, 2010 [2005]); winner, Woody Guthrie Award for Best Monograph in Popular Music (IASP–US).
  • “Old Wine, New Bottles: Record Collecting, Jazz Reissues, and the Jazz Tradition,” Jazz Perspectives Vol. 13 No. 1 (2021).
  • “The ‘Funky Drummer’ Break: Ghost Notes, Timbre, and Popular Music Drumming,” in Russell Hartenberger, ed., The Cambridge Companion to Percussion (Cambridge, UK: Cambridge University Press, 2016): 201-210.
  • “A Negotiated Tradition: Learning ‘Traditional’ Ewe Drumming,” Black Music Research Journal (special issue on the “culture industry”) Vol. 34 No. 2 (2014): 169-200.
  • “‘Chameleon’ Meets Soul Train: Herbie, James, Michael, Damita Jo, and Jazz-Funk,” American Music (special funk issue) Vol. 52 No. 4 (2013): 125-140.
  • “Jamming the Reception: Ken Burns, Jazz and the Problem of ‘America’s Music.’” Notes: Journal of the Modern Language Association, vol. 60, no. 1 (September 2003): 11-45.

 

Klarman Hall
101 Lincoln Hall
sfp8@cornell.edu
607/255-4097

Education

  • Ph.D. University of California, Berkeley

Departments and programs

Keywords

 

 

African-American musics, jazz

 

Benjamin D. Piekut

Professor

Publications

Books 

ヘンリー・カウ――世界とは問題である. Tokyo: Getsuyosha, 2023. 

Henry Cow: The World Is a Problem. Durham: Duke University Press, 2019.

BP and George E. Lewis, eds. The Oxford Handbook of Critical Improvisation Studies. 2 volumes. New York: Oxford University Press, 2016. Paperback editions: 2022.

Editor, Tomorrow is the Question: New Directions in Experimental Music Studies (Ann Arbor: University of Michigan Press, 2014).

Experimentalism Otherwise: The New York Avant-Garde and its Limits. Berkeley: University of California Press, 2011.

Amateurism. Special issue of Third Text, co-edited with Julia Bryan-Wilson. Vol. 34, no. 1 (January).

John Cage at 100. Special issue of Contemporary Music Review, co-edited with David Nicholls. Vol. 31, no. 1 (February 2012).

 

Articles

 

"Black Music's Institutional Critique," in New Music and Institutional Critique, ed. Christian Grüny and Brandon Farnsworth (Berlin: J.B. Metzler/Springer, 2024), 101-15.

"The Afterlives of Indeterminacy," Contemporary Music Review, 2022.

”Anne Imhof, an Improvisation: Hunter, Writer, Lover,” Flash Art (Spring 2021), 46-65.

"The Vernacular Avant-Garde: A Speculation" [conversation with Tamara Levitz], ASAP/J website, 2020.

"La partition musicale et chorégraphique [contribution],” Perspective: Actualité en histoire de l’art, 2019 no. 2.

BP and Julia Bryan-Wilson, "Amateurism," Third Text 34, no. 1 (2020).

"Music for Socialism, London 1977," Twentieth-Century Music 16/1 (2019): 67-93.

"Utopia Undone: Marina Rosenfeld's roygbiv&b" in Marina Rosenfeld, roygbiv&b (New York: Run/Off, 2018).

“Another Version of Ourselves: The Enigmas of Improvised Subjectivity," Liminalities, 14/1 (2018): 72-89.

"On and Off the Grid: Music for and around Judson Dance Theater," in The Work Is Never Done: Judson Dance Theater, ed. Ana Janevski and Thomas Lax. New York: MoMA, 2018.

“Postwar Music and Sound,” Twentieth-Century Music, 14/3 (2018): 439-42.

“Afterword: Locating Hemispheric Experimentalism.” In Experimentalisms in Practice: Music Perspectives from Latin America, ed. Ana R. Alonso-Minutti, Eduardo Herrera, and Alejandro L. Madrid. New York: Oxford University Press, 2018.

“Not So Much a Program of Music as the Experience of Music,” in Merce Cunningham: CO:MM:ON TI:ME, edited by Fionn Meade and Joan Rothfuss, 113-29 (Minneapolis: Walker Art Center, 2017).

“Pigeons,” Representations 132 (Fall 2015): 112–120.

“Indeterminacy, Free Improvisation, and the Mixed Avant-Garde: Experimental Music in London, 1965-75.” Journal of the American Musicological Society 67/3 (Fall 2014): 769-824.

“Introduction: New Questions for Experimental Music,” in Tomorrow Is the Question, ed. Ben Piekut, 1-14.

“Actor-Networks in Music History: Clarifications and Critiques,” Twentieth-Century Music 11/2 (2014): 191-215.

“There must be some relatIon beTween mushrOoms and trains: Alvin Curran’s Boletus Edulis—Musica Pendolare.” In The Oxford Handbook of Mobile Music and Sound Studies, ed. Sumanth Gopinath and Jason Stanyek. New York: Oxford University Press, 2010.

“Chance and Certainty: John Cage’s Politics of Nature.” Cultural Critique 84 (Spring 2013): 134-63.

“The Multiple Politics of Henry Cow: Chris Cutler in interview with Benjamin Piekut.” In Red Strains: Music and Communism Outside the Communist Bloc, ed. Robert Adlington, 43–53. Oxford: British Academy/Oxford University Press.

“Sound’s Modest Witness: Notes on Cage and Modernism.” Contemporary Music Review, John Cage at 100 Special Issue, 31/1 (February 2012): 3-18.

Review of The Ashgate Research Companion to Experimental Music (Ashgate, 2009). Notes (December 2010): 312-17.

“Mortitude: Tecnologias do Intermundano.” Portugese translation of “Deadness,” co-authored with Jason Stanyek. In Rumos da cultura da música—negócios, estéticas, linguagens e audibilidades, ed. Simone Pereira de Sá. Rio de Janeiro: Sulina, 2010.

BP and Jason Stanyek. "Deadness: Technologies of the Intermundane.” The Drama Review 54/1 (Spring 2010): 14-38. BP and Jason Stanyek.

“New Thing? Gender and Sexuality in the Jazz Composers Guild.” American Quarterly 62/1 (March 2010): 25-48.

“‘Demolish Serious Culture!’: Henry Flynt and Workers World Party.” In Sound Commitments: Avant-garde Music and the Sixties, ed. Robert Adlington, 37-55. New York: Oxford University Press, 2009.

“Race, Community, and Conflict in the Jazz Composers Guild.” Jazz Perspectives 3/3 (December 2009): 191-231.

Klarman Hall
101 Lincoln Hall
piekut@cornell.edu

Education

  • Ph.D. Columbia University
  • MA, Mills College
  • BA, Hampshire College 

Departments and programs

Keywords

experimental music, cultural studies, improvisation, sound studies, popular music, jazz

Judith A. Peraino

Professor

Publications

Books

  • Popism in Stereo: A Musical Guide to the Warhol Seventies (in preparation).
  • Editor, Medieval Music in Practice: Essays in Honor of Richard Crocker (Middleton WI: American Institute of Musicology, 2013).
  • Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut (Oxford and New York:  Oxford University Press, 2011).
  • Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig (Berkeley: University of California Press, 2006).

Articles

  • “I am an Opera:  Identifying with Henry Purcell’s Dido and Aeneas,” in En Travesti: Women, Gender Subversion, Opera, ed. Corinne E. Blackmer and Patricia Juliana Smith (New York:  Columbia University Press, 1995): 99-131.
Klarman Hall
101 Lincoln Hall
jap28@cornell.edu
607/255-5059

Education

  • Ph.D., The University of California, Berkeley
  • M.A., The University of California, Berkeley
  • B.A., The University of Chicago

Departments and programs

Links

Keywords

LGBT and Queer Theory, Medieval Song, Rock, Punk, and Synthpop, Sound and Media; medieval music; popular music; gender and sexuality in music

 

Roger Moseley

Associate Professor

Publications

Monograph

  • Keys to Play: Music as a Ludic Medium from Apollo to Nintendo (Oakland: University of California Press, 2016).

Refereed Journal Articles

  • “Chopin’s Aliases.” Nineteenth-Century Music 42, no. 1 (2018): 3–29.
  •  “Rehear(s)ing Media Archaeology.” Contribution to “Discrete/Continuous: Music and Media Theory after Kittler” (Colloquy convened by Alexander Rehding), Journal of the American Musicological Society 70, no. 1 (2017): 245–51.
  • “The Qualities of Quantities: ‘Madamina, il catalogo è questo.’” Cambridge Opera Journal 28, no. 2 (2016): 137–40.
  • “Digital Analogies: The Keyboard as Field of Musical Play.” Journal of the American Musicological Society 68, no. 1 (2015): 151–227.
  • “Entextualization and the Improvised Past.” Music Theory Online 19, no. 2 (2013).
  • “Mozart’s Harlequinade: Improvising Music alla commedia dell’arte.” Common Knowledge 17, no. 2 (2011): 335–47.
  • “Reforming Johannes: Brahms, Kreisler, and the Piano Trio in B, op. 8.” Journal of the Royal Musical Association 132, no. 2 (2007): 252–305. (Winner of the 2008 Jerome Roche Prize from the Royal Musical Association “for a distinguished article by a scholar in the early stages of his or her career.”)

Commissioned Book Chapters and Articles

  • “Roundtable: Current Perspectives on Music, Sound, and Narrative in Screen Media,” co-authored with Anahid Kassabian, Claudia Gorbman, et al. In The Routledge Companion to Screen Music and Sound, edited by Miguel Mera, Ron Sadoff, and Benjamin Winters, 108–24. New York: Routledge, 2017.
  • “Nintendo’s Art of Musical Play,” co-authored with Aya Saiki. In Music in Video Games: Studying Play, edited by K. J. Donnelly, William Gibbons, and Neil Lerner, 51–76. New York: Routledge, 2014.
  • “Playing Games With Music (and Vice Versa): Ludomusicological Perspectives on Guitar Hero and Rock Band.” In Taking It to the Bridge: Music as Performance, edited by Nicholas Cook and Richard Pettengill, 279–318. Ann Arbor: University of Michigan Press, 2013.
  • “Music, Visual Culture, and Digital Games.” In The Routledge Companion to Music and Visual Culture, edited by Tim Shephard and Anne Leonard, 376–84. New York: Routledge, 2013.
  • “Presenting the Past: The Experience of Historically Inspired Keyboard Improvisation.” Keyboard Perspectives 2 (2009): 83–102. (Recording of solo improvisation included on accompanying CD.)
  • “Between Work and Play: Brahms as Performer of His Own Music.” In Johannes Brahms and His World, edited by Kevin C. Karnes and Walter Frisch, 137–65. Princeton: Princeton University Press, 2009.
  • “Is There More than Juan Brahms?” Journal of the Royal Musical Association 131, no. 1 (2006): 160–75.
Klarman Hall
101 Lincoln Hall
rsm253@cornell.edu

Education

  • PhD, Music History and Literature (UC Berkeley)
  • MMus, Collaborative Piano (Guildhall School of Music and Drama, London)
  • MSt, Musicology (University of Oxford)
  • Postgraduate Certificate in Piano Performance (Trinity College of Music, London)
  • BA, Music (University of Oxford)

Departments and programs

Links

Keywords

  • Ludomusicology
  • Media theory
  • Keyboard studies
  • 18th- and 19th-century instrumental music
  • Performance practice
  • Improvisation

Andrew Hicks

Associate Professor, Dale R. Corson House Professor and Dean, Hans Bethe House

Publications

Books

  • Composing the World: The Harmony of the Medieval Platonic Cosmos. Oxford: Oxford University Press, 2017.
  • Iohannis Scotti seu Eriugenae Homilia et Commentarius in Euangelium Iohannis. Ed. Édouard Jeauneau and Andrew Hicks. Corpus christianorum. Continuatio mediaeualis, 166. Turnhout: Brepols, 2008. 
  • The Broken Harp: Listening Otherwise in Classical Persian Literature (book project in progress).
  • Guillelmi de Conchis Glosulae super Priscianum. Ed. Andrew Hicks and Édouard Jeauneau. Corpus christianorum. Continuatio mediaeualis. Turnhout: Brepols (in progress).
  • Guillelmi de Conchis Glosae super Macrobium. Ed. Irene Caiazzo and Andrew Hicks. Corpus christianorum. Continuatio mediaeualis. Turnhout: Brepols (in progress).

Articles

Reference works, reviews, and miscellaneous

Klarman Hall
101 Lincoln Hall
ajh299@cornell.edu

Education

PhD, Medieval Studies, University of Toronto

Departments and programs

Keywords

 

 

  • medieval music theory

 

Bonna Boettcher

Associate University Librarian, Adjunct Professor

Klarman Hall
201 Olin Library
bjb57@cornell.edu
607/255-5998

Education

  • D.M.A. University of Iowa

Departments and programs

Keywords

  • Music librarianship

Catherine M. Appert

Associate Professor

Publications

Monograph 

2018. In Hip Hop Time: Music, Memory, and Social Change in Urban Senegal. New York: Oxford University Press. 

Refereed Journal Articles

  • 2020. "Ethnomusicology Beyond #MeToo: Listening for the Violences of the Field." Co-authored with Sidra Lawrence. Forthcoming in Ethnomusicology 64(2)
  • 2017. "Engendering Musical Ethnography." Ethnomusicology 61(3):446-67.
  • 2016. "On Hybridity in African Popular Music: The Case of Senegalese Hip Hop." Ethnomusicology 60(2):279-99.
  • 2016. "Locating Hip Hop Origins: Popular Music and Tradition in Senegal." Africa 86(2):237-62.
  • 2015. "To Make Song without Singing: Hip Hop and Popular Music in Senegal." New Literary History 46(4):759-74.

Book Chapters

  • Forthcoming   “Of Melody, Markets, and Mobilization: A History of Hip Hop in Dakar, Senegal.” In Rap Français: Hip Hop Culture in the Francophone World, ed. Alain-Phillipe Durand. New York: Rowman and Littlefield (invited)
  • Forthcoming   “Global Hip Hop’s Burden of Resistance.” In Oxford Handbook of Protest Music, ed.  Noriko Manabe and Eric Drott (invited)

 

Klarman Hall
108 Lincoln Hall
cma249@cornell.edu

Education

  • Ph.D. University of California, Los Angeles
  • Graduate Certificate in Women's Studies, University of California, Los Angeles

Departments and programs

Links

Keywords

 

 

hip hop, rap galsen, Senegal, rap, mbalax, Senegalese hip hop, ethnomusicology, musical ethnography, gender and fieldwork ; ethnomusicology; African Studies; Anthropology

 

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