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Louise K. Stein

Professor, University of Michigan

Profile

Professor Stein is an authority on European, Spanish, and colonial Latin American music of the late Renaissance and baroque eras, with particular emphasis on theater music and opera. Before coming to Michigan, she taught at the University of North Carolina at Chapel Hill and at The University of Chicago. In 1998 she was an invited professor at the Universidad Complutense in Madrid. She has received fellowships from Fulbright-Hayes, the American Council of Learned Societies, the National Endowment for the Humanities, the Delmas Foundation, the American Philosophical Society, and the Committee for Cultural Cooperation between the United States and Spain. At U-M, she is an advisor in the LSA Music program, and has been active in the Michigan Society of Fellows, Medieval and Early Modern Studies, Latin American Studies, and as a faculty affiliate in Romance Languages and Literatures.

She has published a long list of essays, and has given lectures and seminars in Europe, Latin America, the U.K., and the U.S. Her first book, Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain (Oxford University Press, 1993), was awarded a publication subvention from the American Musicological Society, as well as the 1995 First Book Prize from the Society for Spanish and Portuguese Historical Studies. She subsequently produced the expanded second edition of Howard Mayer Brown, Music in the Renaissance (Prentice-Hall, 1999). Her performing edition of the first opera performed in the Americas, La púrpura de la rosa (Lima, 1701), by Tomás de Torrejón y Velasco and Juan Hidalgo, was published in Madrid in 1999, and used for the BMG Classics recording directed by Andrew Lawrence-King, for which she also served as artistic advisor. She has collaborated regularly with Jordi Savall.  Her work for Mary Springfels and the Newberry Consort produced ¡Ay amor! (Harmonia Mundi). Her critical performing edition of Celos aun del aire matan (Madrid, 1660) is forthcoming from A-R Editions in early 2013.

In 1996 the American Musicological Society recognized her with the Noah Greenberg Award for "distinguished contribution to the study and performance of early music." Thanks to a Senior Fellowship from the American Council of Learned Societies (2012-13) and a National Endowment for the Humanities Senior Fellowship (2013-14), she is at work on her project “Opera and the Transformation of Public Life in Naples under the Marquis del Carpio, 1683-7.”

Classroom Teaching and Seminars

Professor Stein's work as a teacher of undergraduates has included all of the SMTD undergraduate core courses in Western musical history, as well as courses designed for students in Engineering, Business, and in the College of Literature, Science, and the Arts.  In recent years, her gateway course for the LSA Music program, "OPERA!" has been especially successful.  She is currently designing an undergraduate course devoted to "Love Songs." She regularly teaches "Topics in Music of the Seventeenth and Eighteenth Centuries" and "Topics in the History of Opera to 1800," for advanced undergraduate students and graduate students, as well as "Singing Early Music."  Other courses, such as "Music and Theater in the Seventeenth-Century Hispanic World" and "La Música de Dos Orbes," have brought music students and students of Spanish literature together to work with music, poetry, theatrical texts, and primary sources of several kinds.

Over the years, Professor Stein has been a perennial teacher in the required "Musicological Writing and Research Methods" seminar and the pedagogy seminar "Teaching an Introduction to Music" for the Musicology graduate program.

A number of Professor Stein's graduate seminars have focused on the music of G. F. Handel ("Music and Culture:  Handel's London Operas") and Alessandro Scarlatti, on the history of singing, and on how primary sources may illuminate our understanding of early vocal performance and culture.  Recent seminars have included "Early Modern Singers, Arias, Productions: Collaboration c. 1700," "Early Modern Singers and Their Roles," and "Singers, Patrons, and Productions in Early Modern Contexts."  Earlier topics have included a seminar devoted to musical eroticism in the late Renaissance, and another about early modern "Music, Theater, and Society."

Professor Stein teaches interdisciplinary seminars for the program in Medieval and Early Modern Studies; recent topics have included "Arts, Patrons, Courts in Early Modern Culture," and "Politics, Patronage, and Cultural Production: Rome, Naples, and London 1680-1730."

Mentoring and Advising in Music and the Humanities

Professor Stein is a senior advisor to students in the LSA Music program, and, on the other hand, often serves on DMA recital and exam committees in the SMTD, especially for singers. 

As a deeply engaged specialist in early modern music, she has advised dissertations about sixteenth- and seventeenth-century Spanish music, the Italian madrigal in Spain, music and religion in Renaissance Spain, the baroque villancico, seventeenth-century vocal music and culture in Venice, seventeenth-century French vocal music, French baroque opera and dance, music and epithalamic court rituals in early modern Germany, eighteenth-century comic opera from Naples to Venice, comic scenes and singers in eighteenth-century opera and intermezzo, settings of Spanish erotic song in Italian sources, the English sponsorship of Italian music, gender in music for the late seventeenth-century English stage, and female opera Singers and collaborative performance in early eighteenth-Century London.  She has also served as a reader for dissertations in Ethnomusicology, and on early modern topics in English, Philosophy, Romance Languages, and the History of Art.

Stein's depth of scholarship and mentoring of graduate students in Musicology and across the humanities were recognized in 2013 by the University of Michigan with the John D'Arms Award for Distinguished Graduate Mentoring in the Humanities.

Education

The University of Chicago, Ph.D. in Music History and Theory, March 1987

Dissertation advisor: Howard Mayer Brown
(August 1986 dissertation defense; 1979-1983 research in Spain)

The University of Chicago, Master of Arts in Music History and Theory, December 1984

Oberlin College Conservatory of Music, Bachelor of Music, June 1975

(Organ study with David Boe and William Porter, Harpsichord with William Porter)

Haarlem Summer Academy for Organists 1973, Haarlem, Holland (Luigi Ferdinando Tagliavini and Anton Heiler)

Academic Positions

2000- Professor, University of Michigan, Musicology (School of Music)
2010-14 Senior Fellow, Michigan Society of Fellows

1999-    Faculty, Center for European Studies
1997-    Faculty, Center for Latin American and Caribbean Studies
1995-    Faculty, Program in Medieval and Early Modern Studies
2006 (spring quarter)Visiting Professor, The University of Chicago, Department of Music
2005-6Steelcase Research Professor, Institute for the Humanities, University of Michigan
2003-2004Acting Chair, Musicology and Ethnomusicology, University of Michigan, School of Music
1998Invited Professor, Universidad Complutense, Madrid, Musicología, Facultad de Geografía e Historia
1995-1996Acting Chair, Musicology and Ethnomusicology, University of Michigan, School of Music
1994-Associate Professor in Musicology, with tenure, University of Michigan, School of Music
1987-1994Assistant Professor in Musicology, University of Michigan, School of Music
1986-1987Visiting Assistant Professor, The University of Chicago, Department of Music
1986-1987Director of the Collegium Musicum, The University of Chicago, Department of Music
1984-1985Visiting Lecturer, University of North Carolina, Chapel Hill, Department of Music

National and International Awards

2012American Council of Learned Societies, Senior Fellowship (for 2012-13)
2011National Endowment for the Humanities, Senior Fellowship for University Teachers (deferred to 2013-14)
2011Franklin Research Grant from the American Philosophical Society
2009Research Subvention from the Program for Cultural Cooperation between Spain's Ministry of Education and Culture and United States' Universities
2007Grant for Research in Venice from The Gladys Krieble Delmas Foundation
2006Research Subvention from the Program for Cultural Cooperation between Spain's Ministry of Education and Culture and United States' Universities
2004Research Subvention from the Program for Cultural Cooperation between Spain's Ministry of Education and Culture and United States' Universities
2002Research Subvention from the Program for Cultural Cooperation between Spain's Ministry of Education and Culture and United States' Universities
2000Research Subvention from the Program for Cultural Cooperation between Spain's Ministry of Education and Culture and United States' Universities
1997Research Subvention from the Program for Cultural Cooperation between Spain's Ministry of Education and Culture and United States' Universities
1996National Endowment for the Humanities Fellowship for University Teachers (award used in 1998-99)
1996Noah Greenberg Award, American Musicological Society, for "distinguished contributions to the study and performance of early music"
1995First Book Prize (1993-1995) from the Society for Spanish and Portuguese Historical Studies for Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain
1993The American Musicological Society, Subvention of $5000. awarded to Oxford University Press toward the publication of Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain

Scholarships, Fellowships, Awards, Honors

2013John H. D'Arms Award for Distinguished Graduate Mentoring in the Humanities, Horace H. Rackham School of Graduate Studies, University of Michigan
2012Faculty Research Grant, University of Michigan, School of Music, Theatre and Dance
2011Faculty Research Grant, University of Michigan, School of Music, Theatre and Dance
2010Distinguished Research Partnership Award, Horace H. Rackham School of Graduate Studies University of Michigan (support for Alison De Simone)
2010-2014Senior Fellow, Michigan Society of Fellows (non-stipendiary)
2009Faculty Research Grant from the Office of the Vice President for Research, University of Michigan
2005-6Senior Fellow, Institute for the Humanities, University of Michigan
Summer 2005Distinguished Research Partnership Award, Horace H. Rackham School of Graduate Studies University of Michigan (support for Nicholas Field)
Summer 2003Distinguished Research Partnership Award, Horace H. Rackham School of Graduate Studies University of Michigan (support for Colin Roust)
Summer 2002Faculty Research Grant, University of Michigan, School of Music
Fall 2001Faculty Research Grant from the Office of the Vice President for Research, University of Michigan
Summer 2001Distinguished Research Partnership Award, Horace H. Rackham School of Graduate Studies University of Michigan (support for Timothy Freeze and Stephanie Heriger)
2000Faculty Research Grant, Institute for Research on Women and Gender, University of Michigan
Summer 2000Faculty Research Grant, University of Michigan, School of Music
Summer 1998Faculty Research Grant, University of Michigan, School of Music
1997Faculty Recognition Award, The University of Michigan
1997Faculty Research Grant from the Office of the Vice President for Research, University of Michigan
Summer 1997Faculty Research Grant, University of Michigan, School of Music
1996-1997University of Michigan, Distinguished Research Partnership (with graduate student Rose Pruiksma)
Summer 1996Faculty Fellowship and Faculty Research Grant from the Horace H. Rackham School of Graduate Studies, University of Michigan
Summer 1996Faculty Research Grant, University of Michigan, School of Music
1995Faculty Women's Development Fund Award, Office of the President and Provost, University of Michigan
Summer 1995Faculty Research Grant from the Office of the Vice President for Research, University of Michigan
Summer 1994American Council of Learned Societies Grant for Travel to International Meetings Abroad, subsidy for paper given at the Sixth Biennial Conference on Baroque Music, Edinburgh
Summer 1993Faculty Research Grant from the Rackham Graduate School, University of Michigan
1991-1992University of Michigan, Distinguished Research Partnership (with graduate student Charlene Black, History of Art)
Summer 1990Faculty Research Grant from the Office of the Vice President for Research, University of Michigan
1989-1990Senior Fellow, The Institute for the Humanities, University of Michigan
May-Dec. 1988American Council of Learned Societies, Fellowship for Recent Recipients of the Ph.D.
1988University of Michigan, Faculty Recognition Fund Grant
1988University of Michigan, Research Partnership (with graduate student David Martnez)
1987-1989William Rainey Harper Instructorship in the College Humanities program, The University of Chicago (award declined)
1987Nominated by The Department of Music, The University of Chicago, Galler Dissertation Prize
1983Nominated by The Department of Music, The University of Chicago, Whiting Dissertation Fellowship
1979-1980Fulbright-Hays Scholarship for Doctoral Research in Spain
1978Cathy Heifetz Memorial Award, The University of Chicago, The Department of Music
1975-1977Swift Fund Stipend for applied music study (harpsichord), The University of Chicago, The Department of Music
1975-1976Swift Fellowship for Graduate Study, The University of Chicago, The Department of Music

Books in Progress

Opera and the Transformation of Public Life in Naples under the Marquis del Carpio.

The fruit of a decade of research with primary sources, explains how the Viceroy marquis del Carpio's intervention at a crucial point in history, together with the artistry of his production team, prompted the integration of opera into Neapolitan public life and the metamorphosis of Naples into a center for opera and bel canto singing. This Spaniard, an early patron of Arcangelo Corelli, brought Alessandro Scarlatti and the artist Filippo Schor to Naples, initiated a new system of financing for opera, and produced a series of operas more spectacular and more musically and visually innovative than earlier Neapolitan productions. I shed new light on the relationship between court and public theaters in Naples, a vibrant, heterogeneous cultural community, the most densely populated city in Italy, and the third most populous in Europe (after London and Paris) by 1700.

Spaniards at the Opera

Opera crossing borders, baroque opera as heard, produced, and perceived in the Hispanic context and by Spaniards abroad. The focus is on sponsorship, performers, and audience; the intersection of private and public patronage and financing in the production of operas and musical theater in Madrid, Rome, Naples, Lima and Mexico City in the late seventeenth and early eighteenth centuries. Parts of this project have been presented in papers given in 2002-2010.

Publications

Books

Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain Oxford: The Clarendon Press of Oxford University Press, 1993. 566 pages (in its third impression; first and second impressions have sold out)

Music in the Renaissance. Second edition. Howard Mayer Brown† and Louise K. Stein.  Upper Saddle River, NJ: Prentice Hall, Inc., 1999.  396 pages [also published in Croatian translation as Glazba u renesansi (Zagreb, 2005)].

La púrpura de la rosa.  Tomás de Torrejón y Velasco/Juan Hidalgo and Pedro Calderón de la Barca.  Madrid: Fundación Autor, 1999.  285 pages (sold out; second edition forthcoming)
A critical performing edition of the first New-World opera (Lima, 1701) with an edition of the libretto and an extensive introductory study and critical commentary.

Celos aun del aire matan.  A critical performing edition of the earliest extant Spanish opera (opera in three acts, Madrid, 1661), music by Juan Hidalgo, text by Pedro Calderón de la Barca.   Edition and critical commentary with notes on performance, complete edition and English translation of the libretto [performed publicly in concert versions in Barcelona and Vienna conducted by Jordi Savall in 2000]; forthcoming 2013, A-R Editions (Madison, Wisconsin) in the series Recent Researches in Music of the Baroque Period.

Edited Collection

Opera in the Americas---American Opera, edited by Daniel Herwitz and Louise K. Stein.  Opera Quarterly 22, number 3-4 (2006) [Oxford University Press with the University of Chicago, 2008].

Material in Republication

"Opera and the Spanish political agenda," Acta MusicologicaJournal of the International Musicological Society 63 (1991): 125-67; reprinted in Studies in Seventeenth-Century Opera, ed. Beth L. Glixon, for The Ashgate Library of Opera Studies (Farnham: Ashgate, 2010).

Excerpts from edition of La púrpura de la rosa (1999) reprinted in 5th and 6th editions of The Norton Anthology of Western Music, vol. 1, ed. J. Peter Burkholder (New York: W. W. Norton and Co., 2005, 2009).

Excerpt from edition of La púrpura de la rosa (1999) reprinted in 7th and 8th editions of A History of Western Music (New York: W. W. Norton and Co., 2005, 2009).

Excerpt from edition of text and translation for La púrpura de la rosa (1999) reprinted in Musics of Latin America, ed. Robin Moore (New York: W. W. Norton and Co., 2012).

Essays at Press, Forthcoming

"Three Spaniards Meet Italian Opera in the Age of Spanish Imperialism" for Pasaggio in Italia: Music on the Grand Tour in the Seventeenth Century, ed. Margaret Murata and Dinko Fabris (Turnhout: Brepols, at press).  [typescript 40 pages]

"Opera on the Road: The Travels of Opera," for the Oxford Handbook to Opera, ed. Helen Greenwald) Oxford and New York: Oxford University Press) [at press; typescript 35 pages].

"Opera," Lexikon of the Hispanic Baroque: Technologies of a Transatlantic Culture, ed. Kenneth Mills and Evonne Levy (Toronto: University of Toronto Press, at press), [typescript 10 pages]

Review essay: Music in Seventeenth-Century Naples.  Francesco Provenzale (1624-1704), by Dinko Fabris (Aldershot, Hampshire: Ashgate, 2007) for the Journal of Seventeenth-Century Music [typescript 12 pages]

Articles, Book Chapters, Essays, Reviews

"'Para restaurar el nombre que han perdido estas Comedias,' The Marquis del Carpio, Alessandro Scarlatti, and Opera Revision in Naples," in Fiesta y ceremonia en la corte virreinal de Nápoles (siglos XVI y XVII), ed. José-Luis Colomer, Giuseppe Galasso, and José Vicente Quirante (Madrid:  Centro de Estudios Europa Hispánica, 2013), 415-446.

"A Viceroy Behind the Scenes:  Opera, Production, Politics, and Financing in 1680s Naples," for Culture, State, and Colonies in the interdisciplinary volume Structures of Feeling in Seventeenth-Century Cultural Expression, ed. Susan McClary (Toronto: University of Toronto Press, 2013), 209-249.

Review essay: Handel's Operas 1726-1741, by Winton Dean (London, 2006) for the Journal of Musicological Research 30/1 (2011), 77-84.

"El manuscrito de música teatral de la Congregación de Nuestra Señora de la Novena.  Su música, su carácter y su entorno cultural," introductory essay for the new facsimile edition El manuscrito musical de la Congregación de Nuestra Señora de la Novena, ed. Antonio Álvarez Cañibano (Madrid: Instituto Nacional de las Artes Escénicas y la Música, 2011), 53-101. [in Spanish]

"Opera, Genre, and Context in Spain and its American Colonies," co-authored with José Máximo Leza.  Cambridge Companion to Eighteenth-Century Opera, ed. Anthony Del Donna and Pierpaolo Polzonetti (Cambridge: Cambridge University Press, 2009), 244-269, 288-291.

 "Opera and the Spanish Family:  Private and Public Opera in Naples in the 1680s." España y Nápoles.  Coleccionismo y mecenazgo artístico de los virreyes en el siglo XVII, ed. José Luis Colomer (Madrid:  Centro de Estudios Europa Hispánica, 2009), 223-243.

Review of A Critical Study and Translation of António José da Silva's 'Cretan Labyrinth,' translated and with a critical study by Juliet Perkins (The Edwin Mellen Press, 2004), Mellen Studies in Puppetry, vol. 5.  Bulletin of Spanish Studies (University of Glasgow) 86 (2009), 119-121.

"Una música de noche, que llaman aquí serenata:" Spanish patrons and the serenata in Rome and Naples," in La Serenata tra Seicento e Settecento, 2 vols., ed. Gaetano Pitarresi and Nicolò Maccavino (Reggio di Calabria: Laruffa Editore / Conservatorio di Musica Francesco Cilea, Istituto Superiore di Studi Musicali, 2007), 333-372.

"La música en la comedia cortesana caballeresca, y el poder del canto."  Invited essay for the collection La comedia de caballerías.   Actas de las XXVIII Jornadas de Teatro Clásico, Almagro, ed. Felipe Pedraza Jiménez (Ciudad Real: Universidad Castilla-La Mancha /Festival de Almagro, 2006), 99-120. 

"El Misterio de Elche y las convenciones de la música teatral barroca" in La Festa i Elx, Actas del VII Seminari Internacional de Teatre i Música medieval (Elx: Institute Muncipal de Cultura [at press; typescript 21 pages]).

"The First Opera of the Americas and its Contexts," Opera Quarterly 22 (2006): 433-458.

"Spain 1600-1640," in European Music, 1520-1640, ed. James Haar (London:  Boydell and Brewer, Ltd., 2006), 455-471.

"Spain 1530-1600," with Todd Borgerding, in European Music, 1520-1640, ed. James Haar (London:  Boydell and Brewer, Ltd., 2006), 422-454.

"The Musicians of the Spanish Royal Chapel and Court Entertainments, 1590-1648," in The Royal Chapel in the Time of the Habsburgs: Music and Court Ceremony in Early Modern Europe, ed. Tess Knighton and Bernardo García García  (London:  Boydell and Brewer, Ltd., 2005), 173-194.

"Henry Desmarest and the Spanish Context: Musical Harmony for a World at War," in Henry Desmarest (1661-1741).  Exils d'un musicien dans l'Europe du Grand Siècle, ed. Jean Duron and Yves Ferraton (Versailles:  Éditions du Centre de Musique Baroque de Versailles, and Liège: Pierre Mardaga, 2005), 75-106.

"The Origins and Character of recitado," in proceedings of the International Conference on Early Opera and Monody, In Armonia Favellare, University of Illinois, Urbana-Champaign, in Journal of Seventeenth-Century Music 9.1 (2003) at http://www.sscm-jscm.org/jscm/ [published online with score excerpts and audio examples].

"De chacona, zarabanda, y La púrpura de la rosa en la cultura del Perú colonial", in Perú en su cultura, ed. Daniel Castillo Durante and Borka Sattler (Ottawa and Lima:  PromPeru / University of Ottawa, 2002), 227-239.

"Before the Latin Tinge:  Spanish Music and the 'Spanish Idiom' in America 1730-1940," in Spain in America.  The Origins of Hispanism in the United States, ed. Richard L. Kagan (Champaign:  University of Illinois Press, 2002), 193-245.

"De la contera del mundo: las navegaciones de la ópera entre dos mundos y varias culturas", La ópera en España e Hispanoamérica, ed. Emilio Casares and Alvaro Torrente, (Madrid:  Fundación Autor, 2001), 79-94.

"Three paintings, a double lyre, opera, and Eliche's Venus:  Velázquez and music at the Royal Court in Madrid," in The Cambridge Companion to Velázquez, ed. Suzanne Stratton-Pruitt (Cambridge:  Cambridge University Press, 2002), 170-293, 226-235.

"Los músicos de la Capilla Real y la música de los festejos palaciegos, 1590-1648", in La Capilla Real de los Austrias.  Música y ritual de corte en la Europa moderna, ed. Juan José Carreras and Bernardo J. García García (Madrid:  Fundación Carlos de Amberes, 2001), 251-275.

"'En esas músicas bellas...':  Calderón y el afecto musical," in Calderón de la Barca y la España del Barroco, ed. José Alcalá-Zamora y Ernesto Belenguer, 2 vols. (Madrid: Centro de Estudios Políticos y Constitucionales, 2001) vol. 2: 871-908.

"Calderón y el poder de la música",  Scherzo 142 (2000), 144-148.

Liner notes, edition of Spanish libretto, and translations for La púrpura de la rosa, Tomás de Torrejón y Velasco and Pedro Calderón de la Barca, performed by The Harp Consort directed by Andrew Lawrence-King; 2 Compact discs, BMG Classics / deutsche harmonia mundi (Sept. 1997), released as dhm 05472 77355 2, May 1999 and January 2000.

"Eros, Erato, Terpsíchore and the Hearing of Music in Early Modern Spain."  Musical Quarterly 82 (1998), 654-677; special double issue ed. Rob Wegman, devoted to Music as Heard: Listeners and Listening in Late-Medieval and Renaissance Europe 1300-1600.

"Al seducir el oído ... ," delicias y convenciones del teatro musical cortesano."  For special issue El teatro cortesano en la España de los austrias, ed. José María Díez Borque, Cuadernos de Teatro Clásico 10 (Madrid, 1998), 169-189.

Liner notes to José Marín: Tonos Humanos, performed by Montserrat Figueras and Rolf Lislevand, compact disc Alia Vox 9802, 1998.

"'Este nada dichoso género':  la zarzuela y sus convenciones,"  Música y Literatura en la Península Ibérica: 1600-1750.  (Valladolid, 1997), 185-217.

"De erotische harmonie van La púrpura de la rosa.  De eerste opera uit de Nieuwe Wereld herleeft."  Tijdschrift voor Oude Muziek 12 (1997):  13-16.

"Tomás de Torrejón y Velasco's La púrpura de la rosa in the Early History of Opera."  Inter-American Music Review 14 (1995): 79-82.

"Las convenciones del teatro musical y la herencia de Juan Hidalgo," Bances Candamo y el teatro musical de su tiempo (1662-1704), ed. José Antonio Gómez (Oviedo: Fundación Escuela Asturiana de Estudios Hispánicos and Universidad de Oviedo, 1995), 177-217.

"Tradition, Inheritance, and Musical Patronage at the Royal Court of Spain 1500-1700."  Report of the 15th Congress of the International Musicological Society, Madrid 1992, vol. 1, Round Tables (Madrid, 1994), 615-619. 

"Spain."  Chapter 15 of The Early Baroque Era: from the Late 16th Century to the 1660s, edited by Curtis Price, pp. 327-348.  Volume 3 of Music and Society, ed. Stanley Sadie.  London: The Macmillan Press, Ltd., 1993; and Englewood Cliffs, N.J.: Prentice Hall, 1993.

"The Iberian Peninsula."  Chapter 14 of The Late Baroque Era: From the 1680s to 1740, edited by George J. Buelow, Vol. 4 of Music and Society, ed. Stanley Sadie (London: The Macmillan Press, Ltd., 1993; Englewood Cliffs, N.J.: Prentice Hall, 1993, 411-434.

"Introductory remarks concerning Cross-Cultural Musical Processes and Results: Iberia and America," in Report of the 15th Congress of the International Musicological Society, Madrid 1992, vol. 2, Study Sessions.

Review of Manuel Carlos de Brito, Opera in Portugal in the Eighteenth Century (Cambridge: Cambridge University Press, 1989), in Journal of the American Musicological Society 44 (1991): 332-343.

"Opera and the Spanish Political Agenda."  Acta Musicologica.  Journal of the International Musicological Society 63 (1991): 125-167.

"The Spanish and Portuguese Heritage: Music in Spain, Portugal, and the Spanish New World in the Baroque," Companion to Baroque Music, Ed. Julie Anne Sadie (London: J. M. Dent and Sons, Ltd., 1990; New York: Schirmer Books, 1991), 327-337. 

Liner notes, edition of Spanish texts, and English translations for ¡Ay Amor! Spanish Seventeenth-Century Songs and Theater Music, performed by the Newberry Consort, Harmonia Mundi compact disc HMU 907022 (released February 1991).

"Accompaniment and Continuo in Spanish Baroque Music."  Actas del Congreso Internacional sobre España en la Música de Occidente (Madrid: Instituto Nacional de las Artes Escénicas y de la Música, Ministerio de Cultura, 1987), vol. 1, 357-370.

"La plática de los dioses.  Music and the Calderonian Court Play," Chapter 2 of Pedro Calderón de la Barca: La estuatua de Prometeo, a critical edition by Margaret Rich Greer with a study of the music by Louise K. Stein, Teatro del Siglo de Oro, Ediciones Críticas, no. 7 (Kassel: Edition Reichenberger, 1986), 13-92.

"Música existente para comedias de Calderón de la Barca."  Actas del Congreso Internacional sobre Calderón y el Teatro Español del Siglo de Oro (Madrid: Consejo Superior de Investigaciones Científicas, 1983), vol. 2, 1161-1172. 

"Un manuscrito de música teatral reaparecido: Veneno es de amor la envidia," Revista de musicología 5 (1982): 225-233.

"Fuentes para la música vocal profana del siglo XVII," Actas del Primer Congreso de Bibliografía Musical (Madrid: Instituto de Bibliografía Musical, 1982).

"El 'manuscrito novena': sus textos, su contexto histórico-musical y el músico Joseph Peyró," Revista de musicología 3 (1980): 197-234.

Dictionary or Encyclopedia Articles

"Música," Diccionario de la comedia del Siglo de Oro, ed. Frank P. Casa, Luciano García Lorenzo, and Germán Vega García-Luengos (Madrid:  Editorial Castalia, 2002), 218-223.

"Auto," The New Grove Dictionary of Music, 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"Calderón de la Barca, Pedro," The New Grove Dictionary of Music, 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"Cañizares, José de," The New Grove Dictionary of Music, 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"De la Cruz, Ramón," The New Grove Dictionary of Music 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"Durón, Sabastián," The New Grove Dictionary of Music 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"Hidalgo, Juan," The New Grove Dictionary of Music 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"Literes, Antonio," The New Grove Dictionary of Music 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"Navas, Juan Francisco de," The New Grove Dictionary of Music 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"Peyró, José," The New Grove Dictionary of Music 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"Serqueira de Lima, Juan" The New Grove Dictionary of Music 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"Spain," The New Grove Dictionary of Music 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"Villaflor, Manuel de," The New Grove Dictionary of Music 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"Zarzuela [to 1800]," The New Grove Dictionary of Music 2nd edition, ed. Stanley Sadie (London and New York: Macmillan, 2001).

"La Zarzuela," Musica in scena.  Storia dello spettacolo musicale, vol. 4 Altri generi di teatro musicale, ed. Alberto Basso (Torino: Unione Tipografico-Editrice Torinese, 1995), 4: I, 3-11. 

"Serqueira, Juan de," Diccionario de la Música Española e Hispanoamericana, ed. Emilio Casares, Ismael Fernández de la Cuesta, José López-Calo (Madrid: Sociedad General de Autores de España).

"Zarzuela" [in the 17th and 18th centuries], Diccionario de la Música Española e Hispanoamericana, ed. Emilio Casares, Ismael Fernández de la Cuesta, José López-Calo (Madrid: Sociedad General de Autores de España) [approx. 4000 words].

"Opera" [in the 17th and 18th centuries], Diccionario de la Música Española e Hispanoamericana, ed. Emilio Casares, Ismael Fernández de la Cuesta, José López-Calo (Madrid: Sociedad General de Autores de España) [approx. 3500 words].

"Acis y Galatea," The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992), 1: 11.

"Celos aun del aire matan,"  The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992), 1: 796.

"Celos hacen estrellas, Los,The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992), 1: 796-797.

"Durón, Sebastián," The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992), 1: 1286-1287.

"Hidalgo, Juan," The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992), 2: 712-714.

"Literes, Antonio," The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992), 2: 1290-1291.

"Púrpura de la rosa, La," The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992), 3: 1185.

"Selva sin amor, La," The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992), 4: 304.

"Semi-Opera," [in Spain], The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992), 4: 308.

"Torrejón y Velasco, Tomás de," The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992), 4: 763.

"Tonadilla," The New Harvard Dictionary of Music, ed. Don M. Randel (Cambridge: Harvard University Press, 1986), 861-862.

"Zarzuela," The New Harvard Dictionary of Music, ed. Don M. Randel (Cambridge: Harvard University Press, 1986), 938-940. 

Papers and Public Presentations (2000-2013)

September 2013"A Patron's Mediations: the marquis del Carpio, Alessandro Scarlatti, and Opera in Naples in the 1680s," invited paper for the Symposium "Negotiating Music," International Festival of Early Music Utrecht 2013, Utrecht, Holland
July 2013 Guest Faculty presentation, "Music and Travel in Europe and the Americas" invited presentation for the NEH Summer Institute for College and University Teachers, Newberry Library Center for Renaissance Studies, Chicago
April 2013 "The Virile Voice of Early Modern Virtuosity: Siface (Giovanni Francesco Grossi)," invited paper for the Department of Music, University of North Carolina, Chapel Hill
April 2013 "Psyche's Lament and the Gendered Singing Voice 1565-1685," for the 59th Annual Meeting of the Renaissance Society of America, San Diego
July 2012 "Alessandro Scarlatti's First Opera for Naples, La Psiche: Arias and Production in 1683-4," for the 15th Biennial International Conference on Baroque Music, Southampton, UK
July 2012 "Opera Production as Personal and Cultural Identity---a Patron's Legacy in Madrid, Naples, and Lima," for the 19th International Congress of the International Musicological Society, Rome
November 2011 "Siface (Giovanni Francesco Grossi), A Castrato Voice of Virility," Annual Meeting of the American Musicological Society 2011, San Francisco
April 2011 "Alessandro Scarlatti, the Marchese del Carpio, and Singers in Naples," paper for the annual International Meeting of the Society for Seventeenth-Century Music, University of Minnesota, Minneapolis.
February 2011 "Opera, Affect, and Erotic Empowerment: Power and Performance in the Calderón - Hidalgo Operas," invited plenary paper for Power and Performance in Imperial Spain: Theater Production in the Hispanic World of the Declining Hapsburg Monarchy, UCLA Center for Seventeenth- and Eighteenth-Century Studies, Willam Andrews Clark Memorial Library, Los Angeles
October 2010 "Alessandro Scarlatti nella collaborazione: gli effetti della sua composizione per cantanti particolari a Napoli al tempo del marchese del Carpio (1683-7)" invited presentation in Italian for La settimana della lingua italiana (Italian Week), Department of Romance Languages, University of Michigan
April 2010 "Venetian Opera South of the Lagoon: the marquis del Carpio, Alessandro Scarlatti, and Opera Revision for Naples in the 1680s," paper for the annual meeting of the Renaissance Society of America, Venice (Italy).
November 2009 "The Marchese del Carpio and Opera in Naples: a Viceroy and his Voices," invited paper for the conference "Ceremonial y Fiesta en la Corte Virreinal de Nápoles (siglo XVI y XVII)" sponsored by the Instituto Cervantes in Naples, the Centro de Estudios Europa Hispánica, the Embassy of Spain in Italy, the Spanish Ministry of Culture, and the Società Napoletana di Storia Patria, Naples (Italy). [presented in Spanish]
October 2009 Invited seminar for music students and faculty at the University of Palermo (Italy) about "Musical Patronage of the marchese del Carpio, from Madrid to Rome and Naples."  [presented in Italian] 
October 2009 "Alessandro Scarlatti and the effects of his writing for particular singers in Naples in the time of the marchese del Carpio," invited paper for the international conference "Responsibilità d'Autore e Collaborazione nell'Opera dell'Età Barocca," sponsored by the Società Italiana di Musicologia, Reggio di Calabria (Italy). [presented in Italian]
July 2009 "Vocal Diversity and How They Sang: Hispanic theatrical singers in the early modern period," paper for the international conference on "Singing Music from 1500 to 1900 - style, technique, knowledge, assertion, experiment." University of York, National Early Music Association (NEMA) International Conference, in cooperation with University of York Music Department and the York Early Music Festival.
May 2009 "Working in the archives of the Spanish Empire," invited workshop/seminar on Spanish and Latin American archival research and paleography, for Program in Latin American Studies, University of Michigan.
December 2008 Moderator for the panel discussion "Judaism & Music" with Leon Botstein, Kay Kaufman Shelemay, and Michael Steinberg; University of Michigan, Frankel Institute for Advanced Judaic Studies, the Institute for the Humanities, and the University Musical Society.
September 2008 "Zarzuela and the Erotic Politics of Monarchy," paper presented as the 2008 "Distinguished Musicology Lecture" University of Michigan.
April 2008 "Venereal Music and the Erotic Politics of Monarchy," invited plenary lecture for "Venus and the Venereal: Interpretations and Representations from Late Antiquity through the Eighteenth Century," conference sponsored by the Center for Medieval and Renaissance Studies, Binghamton University, State University of New York, Binghamton, NY.
April 2008 "Venus amid the thorns: Zarzuela and the Erotic Politics of Monarchy," paper for the annual meeting of the Society for Seventeenth-Century Music, The Huntington Library, Pasadena, CA.
March 2008 "The Marquis and his Singers: Thoughts on the Production and Performance of the Calderón - Hidalgo Operas," invited plenary lecture for the Association of Hispanists of Britain and Ireland, University of Sheffield, Sheffield, UK.
March 2008 "The Spanish Humour" (with Andrew Lawrence-King) a workshop on basso continuo performance, sources, and practice, for Hispanic baroque music; University of Sheffield, Sheffield, UK.
March 2008 Introductory remarks for the conference "Harmony of Two Worlds? Song, Image, and Space in the Early Modern Atlantic World," University of Michigan, Clements Library, by invitation; the Atlantic Studies Initiative.
January 2008 "What Happened to Music History?"
Invited public presentation for the University of Michigan Institute for the Humanities in its 20th-anniversary year.
May 2007 "Teatro musical barroco en tierras hispanas---óperas, géneros, y patrones," invited lecture, Escuela Superior de Música de Catalunya, Departamento de Musicología / Departamento de Música Antigua. Barcelona
May 2007 "Marin Marais: La Voix de la Viole," Pre-concert Lecture, for Concert by Jordi Savall with Xavier Díaz-Latorre and Pierre Hantai, The Chamber Music Society of Detroit.
December 2006 "Private and Public Musical Spaces in the Early Modern Spanish Orbit: Madrid and Rome." Paper for the workshop "The Music Room: Music and the Domestic Interior," The Victoria and Albert Museum, London, UK.
November 2006 "La ópera hispana del siglo XVII: sus espacios y sus patrones," invited lecture, Facultad de Geografía e Historia, Universidad Complutense, Madrid
November 2006 "La función de la música y el poder del canto en el teatro español del siglo de oro," invited lecture, Universidad Autónoma, Madrid
August 2006 "España y la ópera italiana del siglo XVII: Cavalli's L'Ipermestra y el nacimiento de Felipe Próspero."  The Cervantes Lecture 2006, by invitation, Instituto Cervantes and the Holland Festival of Early Music, Utrecht
August 2006 "Spanish Travelers at the Opera, from Venice to Naples."  Invited paper for the STIMU International Symposium "Passaggio in Italia: Music of the Grand Tour in Seventeenth-Century Italy." Holland Festival of Early Music, Utrecht
March 2006 "The First Opera of the Americas: La púrpura de la rosa." Introductory lecture, University of Michigan, School of Music and Institute for the Humanities, as part of the "Opera in the Americas---American Opera" theme semester.
October 2005 "Opera for a Doomed Princess and a Bewitched King: Private and Public, Operas, and Patrons, in 1680s Naples." Annual Meeting of the American Musicological Society, Washington, DC
September 2005 Invited lectures on Spanish musical theater, "Música y literature durante el siglo de oro," for the Cursos Internacionales Manuel de Falla, Universidad de Granada, Granada (Spain)
July 2005 "La música y la comedia caballeresca---el poder del canto." Invited paper for the Jornadas de Teatro Clásico, Festival de Teatro Clásico, Almagro (Spain)
April 2005 "Venus amid the thorns: Zarzuela and the Erotic Politics of Monarchy." Invited paper for the Literary Studies Colloquium, Fordham University, New York, NY
February 2005 "Private and Public in the Production, Politics, and Financing of Opera in Madrid and Naples. Early Modern Institutions and Conventions." Invited paper for the session on "Music and the Law," symposium on Structures of Feeling in Seventeenth-Century Cultural Expression, the Clark Library at UCLA, Los Angeles, CA
April 2004 "'Una música de noche que llaman aquí serenata;' Spanish Patrons and the Serenata in Rome and Naples," for the annual meeting of the Society for Seventeenth-Century Music, La Jolla, CA
May 2003 "La Serenata in Italia e suoi mecenati spagnoli." Invited paper for the conference La Serenata tra Seicento e Settecento, Convegno Internazionale di Studi, Reggio di Calabria (Italy)
January 2003 "Powerful Patrons, Seductive Songs: The Political Work of Opera in Two Worlds." Invited lecture for departments of History, Music, and Spanish, University of Kentucky, Lexington, KY
October 2002 "El Misterio de Elche y las convenciones de la música teatral barroca" VII Seminari Internacional de Teatre i Música medievals, La Festa i Elx. Elche (Spain)
August 2002 Filmed interview for the "The Private Life of a Masterpiece: Rokeby Venus," produced by Mick Gold, Fulmar Television & Film Limited for the BBC, London (UK)
August 2002 "Spaniards at the Opera around 1700: Opera and Hispanic Patrons, Listeners, and Reporters of Two Worlds," paper for the 17th International Congress of the International Musicological Society, Leuven (Belgium)
May 2002 "Women Who Ruled: Female Singers of the Stage and Chamber in Early Modern Culture," lecture in conjunction with the exhibit "Women Who Ruled: Queens, Goddesses, Amazons 1500-1650," for the Museum of Art, University of Michigan, Ann Arbor, MI
April 2002 Seminar on music and theater in colonial Peru, focused on "Music, Musical Histories, Classical Mythology, the Inca Inheritance, and Political Catechism in Early Eighteenth-Century Lima," by invitation for the Workshop in the Anthropology of Latin American, The University of Chicago, Chicago, IL
April 2002 Seminar on "Music, Theater, and Opera in Seventeenth-Century Madrid," by invitation, Department of Music, The University of Chicago, Chicago, IL
April 2002 "Musicians and Musical Instruments in Dutch Paintings in the Time of Vermeer," and "Renaissance Composers of the Low Countries," two lectures by invitation for the University of Michigan Alumni Association, during the Alumni Association tour of "Village Waterways of Holland and Belgium."
April 2002 Opera in the "atascadero:"  Seventeenth-Century Spanish views on Opera, Politics, and the Pleasures of Venice," for the annual meeting of the Society for Seventeenth-Century Music, Princeton University, Princeton, NJ
February 2002 Seminars (in Spanish) on "Words and Music," for the Department of Modern Languages and the Program in Music, at the Universidad Nacional Autónoma de México, Mexico City
February 2002 "Music, Musical Histories, Classical Mythology, the Inca Inheritance, and Political Cathechism in Early Eighteenth-Century Lima," paper for the conference on "Music, Myth, and Magic in the Early Modern World," Northwestern University and The Newberry Library Center for Renaissance Studies, Chicago, IL
November 2001 "La púrpura de la rosa y su identidad musical en el Perú colonial," invited opening paper for the conference "Los rostros del barroco: sociedad y cultura en el Perú virreinal 1600-1720," V Jornadas de Estudio sobre Pensamiento, Cultura y Sociedad Colonial, Pontificia Universidad Católica del Perú, Lima (Peru)
April 2001 "'De la contera del mundo': Opera navigating between Two Worlds and Four Cultures," paper for the session on Culture and Knowledge in the Iberian Empires, Annual Meeting of the Society of Spanish and Portuguese Historical Studies, Santa Fe, NM
January 2001 "El teatro cortesano, los músicos de la Capilla Real, y la Capilla Real como institución, doctoral seminar for the Seminario Internacional de Historia y Música sobre la Real Capilla de Palacio en la época de los Austrias.  Corte, ceremonía y música. Fundación Carlos de Amberes and Universidad Complutense, Madrid (Spain)
November 2000 "En esas músicas bellas... ", Calderón y el afecto musical," invited conferencia de clausura for the international conference Calderón y la España del Barroco, organized by España Nuevo Milenio, the Universidad Complutense, and the CSIC, Madrid (Spain)
October 2000 "The Origins and Character of recitado," invited paper for the International Conference on Early Opera and Monody, In Armonia Favellare, University of Illinois, Urbana-Champaign, IL
August 2000 "Música y prácticas musicales en el teatro de Calderón," seminars for the Curso Internacional de Música Antigua organized by Jordi Savall, Centro Internacional de Música Antigua, Barcelona, San Feliu de Guixols (Spain)
July 2000 "'De la contera del mundo'; navegación y política de las primeras óperas Hispanas," invited paper for Nuevas Direcciones en el Estudio de la Comedia, symposium organized by the Association for Hispanic Classical Theater and the Festival de Teatro de Almagro, Almagro (Spain)
April 2000 "Terpsichore's Harp and the Temptation of St. Jerome: Harps, Gender, Hispanic Music and Society," paper for The Society for Seventeenth-Century Music, Annual Meeting, Shrine to Music Museum, Vermillion, SD
March 2000 Calderón y los viajes de las primeras óperas Hispanas," invited paper for the Simposio sobre Pedro Calderón de la Barca y el Teatro Español del Siglo de Oro, Universidad Autónoma de Ciudad Juárez, Cuidad Juárez (Mexico)
February 2000 "Erato's Song, Terpsichore's Harp, Cupid's Dance, and the Temptation of St. Jerome," invited paper for the Humanities Colloquium, Colgate University, Hamilton, NY
January 2000 "Terpsichore's Harp and the Temptation of St. Jerome," invited paper for the conference "On Religious Grounds: From Discipline to Disciplinarity in Medieval and Renaissance Studies," University of Michigan

Recordings and Concerts Based on my Research

February - April 2008Celos aun del aire matan, performances conducted by Andrew Lawrence-King at the University of Sheffield, Sheffield, UK
March 2006 La púrpura de la rosa, staged performance conducted by Eduardo López Banzo, directed by Joshua Major; Louise K. Stein dramaturg and co-producer; Opera Workshop, University of Michigan, School of Music, as part of the 125th Anniversary celebration and the "Opera in the Americas---American Opera" theme semester.
May 2006 Excerpts from La púrpura de la rosa performed in two concerts of the Estonian Philharmonic Chamber Choir and Tallinn Chamber Orchestra on their regular season program in Estonia (guest conductor, Andrew Lawrence-King).
August 2003 La púrpura de la rosa, staged performance directed by Andrew Lawrence-King, Amherst Early Music, Storrs, CT
Feb.- March 2003 La púrpura de la rosa, staged student performances directed by Andrew Lawrence-King, Sheffield and Manchester, UK
July 2002 La púrpura de la rosa, concert performance, The Harp Consort directed by Andrew Lawrence-King, the Kuhmo Chamber Music Festival, Kuhmo, Finland.
May 2002 The Triumph of Love and Fortune. Songs from the 17th-Century Zarzuelas," The Newberry Consort, Mary Springfels, director, with Ellen Hargiss, soprano. Early Music from The Newberry Library, Chicago, IL
January 2001 Concert performances of Celos aun del aire matan (ed. Louise K. Stein) by La Capella Reial de Catalunya, directed by Jordi Savall; L'Auditori - Sala Sinfónica, Barcelona; and Wiener Konzerthaus, Vienna.
January 2000 (USA) Release of La púrpura de la rosa: The First Opera in the New World, The Harp Consort directed by Andrew Lawrence-King; Editor, Artistic Advisor and Dramaturg, Louise K. Stein [BMG / deutsche harmonia mundi, 05472-77355-2, 2 compact discs]
1999-2004 La púrpura de la rosa, excerpts performed on USA and European tours, The Harp Consort, directed by Andrew Lawrence-King.
August 1998 La púrpura de la rosa, performed at the Lacock (UK) Summer Course for Early Music, directed by Andrew Lawrence-King
Spring 1998 La púrpura de la rosa, excerpts performed on USA touring program "Luz y norte," The Harp Consort, directed by Andrew Lawrence-King.
October 1997 "Venus (Un) Veiled. Songs from 17th-Century Spain, Dances from Africa and Mexico, Opera from Peru," The Harp Consort with Ellen Hargis and Judith Malafronte, directed by Andrew Lawrence-King, Ann Arbor, Michigan, for the Conference on the Rhetorics and Rituals of (Un) Veiling in Early Modern Europe.
September 1997 La púrpura de la rosa, recording on BMG Classics/Deutsche Harmonia Mundi, by an international cast with The Harp Consort, directed by Andrew Lawrence-King, and concertante performances with dance at the Holland International Festival of Early Music, Utrecht; I served as artistic advisor to these performances and recording, as a member of the directorial team, and the performances and recording are based on my edition of the musical and literary materials.
1991, 1999 ¡Ay Amor! Spanish Seventeenth-Century Songs and Theater Music, The Newberry Consort, Mary Springfels, director, with Judith Malafronte, soprano. Compact Disc, Harmonia Mundi [reissued 1999 as HMT 7907022]
February 1991 "Imperial Entertainments:  Music for the Habsburg Courts of Madrid and Naples." The Newberry Consort, Mary Springfels, director, with Drew Minter, countertenor. Early Music from The Newberry Library, Chicago
February 1987 "Seventeenth-Century Spanish Theater Music." The Newberry Consort, Mary Springfels, director, with Julianne Baird, soprano. Early Music from The Newberry Library, Chicago
November 1986 "Spanish Theatrical Music of the Golden Age." The Collegium Musicum, Louise K. Stein, director, The University of Chicago.
April 1985 "Music from the Spanish Golden-Age Theater: Songs from the Novena Manuscript." Terry La Garde, soprano, with students in the Department of Music, The University of North Carolina, Chapel Hill
November 1984 "Baroque Music from Spain." The Collegium Musicum, Mary Springfels, director, and the Motet Choir, Bruce Tammen, director, The University of Chicago
July 1981 "Música en el teatro de Pedro Calderón de la Barca." Members of the SEMA, directed by Juan José Rey, Louise K. Stein organizer, advisor, and harpsichord, Biblioteca Nacional, Madrid

Conferences Organized

2009Organized "Music and Culture of Native Americans in Colonial and Contemporary North America" an interdisciplinary symposium held at the William L. Clements Library with funding from the Eisenberg Institute for Historical Studies, the Center for World Performance Studies, the Office of the Senior Vice-Provost for University Affairs, the Program in American Culture, the Program in Native American Culture, and the King/Chavez/Parks initiative.
2008 Organizer (with Professor David Hancock, History and Atlantic Studies) for the two-day interdisciplinary conference "Harmony of Two Worlds? Song, Image, and Space in the Early Modern Atlantic World," focused on the circulation of music and visual art, and involving some 17 invited speakers from the fields of music, history of art, history, and history of architecture; supported by the Atlantic Studies Initiative and many other units at the University of Michigan.
2004-2006 Organizer of the interdisciplinary symposium "Opera in the Americas---American Opera" for the Institute for the Humanities and the School of Music; also organized and co-produced performances of La púrpura de la rosa with Opera Workshop, hosting visit of Eduardo López-Banzo and visiting continuo musicians with funding from the Center for World Performance Studies and the Office of the Provost.
2011 Organized residency and events for King-Chavez-Parks Visiting Professor Eloy Cruz
2001-03, 2007 Organized Master Classes and Workshops on "Singing Early Music" by visiting artists
1997 Organizing Committee for the interdisciplinary conference "The Rhetorics and Rituals of (Un)veiling in Early Modern Europe" and organized and secured funding for "Venus {un} Veiled. Songs from 17th-century Spain, Dances from Africa & Mexico, Opera from Peru," performed byThe Harp Consort.
1995-96 Organizing and Program Committees for the interdisciplinary conference "Venice Reflected: The Making of Culture 1500-1800;" lectured before concert and organized the concert "Bizzarie Poetici: Barbara Strozzi and her Time," performed by The Harp Consort.

Professional Service

2014-17Alvin H. Johnson AMS 50 Dissertation Fellowship Committee, the American Musicological Society
2012-2013 Adjudicator of fellowship applications, American Association of University Women
2012-13 Organizer of two sessions about the scholarly legacy of Howard Mayer Brown, for the 59th Annual Meeting of the Renaissance Society of America, San Diego
2011-2014 Committee on Cultural Diversity, the American Musicological Society
2011 Speaker on panel "How to Succeed in The Job Search," American Musicological Society, Annual Meeting, San Francisco
2004-2007 Otto Kinkeldey Award Committee, the American Musicological Society
2002-3 Chair, Robert M. Stevenson Award Committee, the American Musicological Society
2001-3 Nominating Committee, the American Musicological Society
2001-2 Nominating Committee, the Society for Seventeenth-Century Music
2000 Chair, Noah Greenberg Award Committee, the American Musicological Society
1999-2000 Invited member, 'Comité Científico' for the many scholarly meetings and performance forums organized for Calderón 2000, 400th anniversary of Pedro Calderón de la Barca's birth, times and works, Spain
1998-2000 Noah Greenberg Award Committee, the American Musicological Society
1998- Nominated and ran for office of Director at Large, the American Musicological Society
1996-7 Editorial Board, Journal of Seventeenth-Century Music, online journal of the Society for Seventeenth- Century Music
1995-6 Program Committee for 1996 Annual Meeting of the American Musicological Society, Baltimore
1995-6 Program Committee for 1996 Annual Meeting of the Society for Seventeenth-Century Music, Wellesley College
1993-4 Chair, Council Committee on Honorary and Corresponding Members, the American Musicological Society
1992-95 Elected member of the Council of the American Musicological Society
1992 Nominated and ran for Vice-President of the Society for Seventeenth-Century Music

Consulting

Professor Stein was a consultant and "talking head" for Fulmar Television & Film Limited (UK) for the BBC television program "The Private Life of a Masterpiece:  Rokeby Venus." She was a consultant to the Royal Shakespeare Company and playwright Helen Edmundson during their U.S. residency concerning Edmundson's play about Sor Juana Inés de la Cruz.  She has advised or provided materials for early music performances or recording by Jordi Savall and Montserrat Figueras, Andrew Lawrence-King and The Harp Consort, Mary Springfels and Chicago's Newberry Consort, and Compagnia Vocale (Utrecht) directed by Mary H. Sayre.  Stein was a founding board member (Patrona Vocal) of the Fundació Centre Internacional de Música Antiga (Barcelona), founded and directed by Jordi Savall, and served on the editorial board for the publications of the Early Music Institute at Indiana University under general editor Paul Hillier.  She served on the advisory board for the XXI Festival de Teatro del Siglo de Oro, Chamizal National Memorial, El Paso, Texas.  Beginning in 1993, Stein served as Area Editor for Spanish, Portuguese, and Latin American composers and genres of the 16th, 17th, and early 18th centuries for the revision of The New Grove Dictionary of Music and Musicians carried out under the general editorship of Stanley Sadie.  She was also a consultant in the preparation of volume 2 of the Storia dell'Opera Italiana, edited by Lorenzo Bianconi and published by the Società Italiana di Musicologia.   

Service at University of Michigan

In the SMTD, Professor Stein has twice served as Interim Chairperson of the Musicology Department.  For a number of years she was Director of Graduate Studies and chaired the graduate admissions committee in Musicology.  She currently serves as Director of the Rackham Certificate Program in Musicology and Senior Advisor for Music Concentrators and Music Minors in the College of LSA.  Stein founded and secured funding for the Musicology Distinguished Lecture series and for some 20 years served as coordinator of the Musicology department's public events and lectures.  She has chaired and served on numerous faculty search advisory committees for the SMTD and the Provost's Office.  Professor Stein has served on the CDR, the Scholarship Committee, and the Faculty Research Committee in the SMTD, and as a consultant to the University Musical Society. 

Beyond the SMTD, she has read postdoc applications to the Michigan Society of Fellows in her capacity as a Senior Fellow.  Her service to the Horace H. Rackham Graduate School includes contributions as an elected member of the Executive Board, the Divisional Board for the Humanities, the selection committee for the Barbour Fellowships, the Humanities Division Review Panel for Faculty Fellowships, the Selection Committee for the Rackham Pre-doctoral Fellowships, and as a mentor in the Rackham Research Partnership Program. 

She has served on the Executive Committee of the Program in Medieval and Early Modern Studies, the Executive Committee at the Institute for the Humanities, and the faculty selection committee for the Fulbright-Hays Fellowships, and has mentored undergraduate students in the SROP and the UROP from time to time. 

Professor Stein has played a role in faculty governance at Michigan, on the Faculty Senate, as SACUA liaison to Student Relations Advisory Committee, and then as an elected member of the Senate Advisory Committee on University Affairs while still an assistant professor.  She has also contributed to alumni enrichment programs offered through the U-M Alumni Association.

 

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Photography Credits:

U-M Photo Services

Joe Welsh

Peter Smith

David Smith

Glen Behring

Tom Bower

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