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Project:
Reporting Atrocities with Style: Stylistic Choices
in Medieval Representations of Violence
Daniel Baraz
Fall Seminar: Representing
Violence in the Medieval Period |
Daniel Baraz Dr. Rehding received the 2001 Jerome Roche Prize of the Royal Musical Association for his article, "The Quest for the Origins of Music in Germany circa 1900," Journal of the American Musicological Society 53/2 (2000), pp. 345-385. The Prize for the first time was given in 2001 to honor a distinguished article by a scholar in the early stages of his or her career. Margaret Bent, Chair of the Awards Committee, notes that "Rehding's challenging article works in the boundaries between musical history, philosophy, anthropology and the history of music theory. Its subject is fundamental to our understanding of the birth of musicology as an independent science, and its conclusions are likely to be influential in a number of related fields." Alex Rehding currently is Assistant Professor of Music at Harvard University. |
Project: Liszt's Symphonic Poems, Weltliteratur and Monumentality
Alexander
Rehding Fall Seminar: National Style in 19th and 20th Century Music Many were surprised in 1848 when Franz Liszt, then at the height of his fame, accepted a post at the provincial court of Weimar. In this period, Liszt engaged most intensively in the composition of Symphonic Poems, most based on canonical works of 'World Literature' or Weltliteratur. The monumentality of Liszt's self-consciously 'classic' Symphonic Poems is on one level a stylistic attribute, but beyond that, reflects the ambition of these works. As such, it reveals much about 19th century understanding of classicism, opening up a number of aesthetic, historical and analytical issues. In their general nature, the questions raised by Liszt's Symphonic Poems go beyond merely musicological interest. They touch on problems that all bear on issues of 'style.' They also are central to 19th century thought in general — classicism, nationalism, and, not least, the relation of music to the other arts. |
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| Project: Indeterminacy and Identity: Style, Place, and Historical Imagination on the San Carlos Apache Reservation
David
W. Samuels Fall Seminar: Music and Culture Dr. Samuels confronts a cultural paradox--that people often use ambiguously situated and contradictory expressive resources to craft what we, perhaps too easily, call "identity." Indeed, on Arizona's San Carlos Apache reservation, the position of ambiguity and indeterminacy is crucial in the negotiation of contempo-rary identities, as Dr. Samuels will argue in a book he is writing on the contemporary linguistic, musical, and other expressive practices on the reservation. San Carlos Apache "style" is not a simple matter of tracing the continuity of elements of "heritage." Rather, much like marginalized communities everywhere, people on the reservation participate in their identities, in part, by uprooting and challenging the naturalized "meaning" of the dominant mainstream's signs. This includes such practices as using country and rock music in ways that forge a deeply felt sense of connection with the Apache community's historical past, as well as numerous language games that deliberately deform the naturalized referential meanings of English. |
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Project: Definition of Styles and the Problem of Individuality
John
L. Zeimbekis Fall Seminar: Philosophy
and the Arts Style is not a material object but
a way of proceeding within a given practice. As such, it requires a definition
of its objects as tokens with a specified finality or use. Attempts to
define this finality are attempts to define the agent's style. To philosophically
ground the possibility of defining artistic styles, Dr. Zeimbekis uses
theories from aesthetics and the philosophy of language to show that by
requiring a suspension of the personal and collective criteria of taste,
the cognition of a style is an exercise in individuation. |
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Project: Metonyms: For the Early Modern Image
Rebecca
Zorach Fall Seminar: Styles of Desire: Medieval and Renaissance Courts and Courtly Arts Dr. Zorach's research stems from dissatisfaction with the currently available disciplinary "options" within the study of Renaissance art history. To broaden our thinking about our own relation to images from the past, specifically the early modern (Renaissance and Baroque) period, she produces a different and figural vocabulary for thinking about early modern images, one that can be used to address issues that are both historical and contemporary. She is particularly interested in the style of looking practiced by viewers in the present as we seek to make sense of images from the past. Thus, she attributes style not only to objects but also, and perhaps even more significantly, to viewers. The term she uses to imagine a style of looking is "metonym," or a way of thinking of objects as having associative and allusive relationships — intertextual or even "intercorporeal" — both within the historical cultures that produced them and in our own experience of viewing. |
