9th Biennial Conference on Baroque Music 

Detailed Timetable

This timetable is provisional. It was posted on 13 April 2000 and will be confirmed not later than 20 April.
Select the date Thursday, 13 July Friday, 14 July Saturday, 15 July Sunday, 16 July
Strand One
Strand Two
Strand Three
9-11.30 Music and theatre in late 17th- and early 18th-century France (and Italy):
(a) Women in 17th-century French musical culture
Sonata, symphony and concerto in the 17th and early 18th centuries (ii)  Music, rhetoric and iconography in the 17th and 18th centuries
9.00–9.30 Claire Fontijn
Sapho and the lyre: woman as composers, patrons and performers in Louis XIV's France
Bella Brover-Lubovsky
Vivaldi's harmony and the paradox of historical recognition
Kathryn Welter
'So ist denn dies der Tag' The Erbhuldigung of Prince Elector Carl Heinrich of Mainz
    English music and Purcell: (a) 17th-century singing  
9.30–10.00 Lisa Perella
Misogyny and the musiciens of 17th-century France
Amanda Eubanks Winkler
The effeminacy of erotic melancholy on the Restoration stage
George King
Henrich Schütz's Saul, Saul: confluences of music and art
(b) French opera and comic cantate: birth and parody (b) Compositional practice and sources  
10.00–10.30 John S. Powell
Appropriation, parody, and the birth of French opera: Lully's Les festes de l'amour et de Bacchus and Molière's Le malade imaginaire
Peter Holman
Compositional choices in Purcell's 'Three parts upon a ground'
Gregory S. Johnston
The musical box: coffins as locus for performance and composition in early modern Germany
10.30–11.00 Catherine Gordon-Seifert
Heroism undone in the erotic (manuscript) parodies of Lully's tragédies lyriques
Mark Humphreys
Works by 'Mr Purcell' — problems of authenticity
Susanne Dunlap
Susanna and male gaze: the musical 'iconography' of a Baroque heroine
-- Coffee break --
    Rhetoric and compositional practice
11.30–12.00 Jean-Paul Montagnier
Charles-Hubert Gervais's Psiché burlesque and the birth of the comic cantate français
Robert Shay
An unknown Pucell suite at Yale
Margot Martin
The 17th-century French harpsichord suite and social philosophy: a reexamination of suite organization
(c) French and Italian music    
12.00–12.30 Rose A Pruiksma
Containing the Italian in Lully's 'Dialogue between French and Italian Music'
Robert Thompson
'What but the tenderest dearest name of friend': Richard Goodson, Henry Purcell and Christ Church Mus. 117
Paul Collins
From stylus phantasticus to stylo phantastico: tracing the 'fantastic' thread in musical style theory from Kircher to Grassineau
12.30–1.00 (vacant) Candace Bailey
William Ellis and the transmission of foreign music in England
-- Lunch Break --
2.00–3.30 Publications in 17th-century Germany: practice and meaning Trumpeting and controversies Monteverdi and his contemporaries: poetics and musical style
2.00–2.30 (vacant) Alexander McGrattan
Trumpet music in John Walsh's Harmonia Anglicana
Antonio Cascelli
Claudio Monteverdi's interpretation of musical narration
2.30–3.00 Michael Robertson
J.C. Horn's Parergon Musicum and the north German consort suite tradition
Jeffrey Kurtzman
On musicological method — a response to Peter Downey
Anne MacNeil
The illness, testament and death of Francesco Gabrieli
3.00–3.30 Stephen Rose
Rhetorics of authority in the music prints of Johann Hermann Schein
(vacant) Andrew Johnstone
Fux’s hidden agenda: modes, cantus firmi and vocal scoring in Gradus ad Parnassum
-- Coffee break --
4.00–5.30 Study session Corelli: Dissemination and influence outside Italy Italian and Italianate sacred music in the 16th, 17th and early 18th centuries
4.00–4.30 Elena Sala Di Felice 
Francesco Coticelli 
Paologiovanni Maione 

Baroque music and themes of contemporary arts. Thoughts on their relationships

Pablo Rodriguez Fernandez
Corelli's music in the Spanish royal chapel
Paolo Cecchi
Sin, salvation and divine grace in the madrigale spirituale of the 16th and early 17th centuries
4.30–5.00 Miguel Ángel Marin
Corelli in the Spanish provinces: the reception of Corelli's sonatas in Jaca
Linda Maria Koldau
Emulation and development: Giovanni Antonio Rigatti's Messa salmi, parte concertati (1640) and the Selva morale e spirituale (1640/41) of Claudio Monteverdi
5.00–5.30 Lowell Lindgren
Nicola Haym (1678–1729), composer and editor of instrumental works
Metoda Kokole
Production of the early-Baroque sacred monody in the Venetian towns on the north-eastern side of the Adriatic Sea
Concert at Chapel of Trinity College
Sherry reception
Conferenc dinner

Last updated on 16 June 2000 by Yo Tomita