| Louise K. Stein |
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Profile
Professor, Department of Musicology
Center for European Studies, Program in Latin American and Caribbean Studies, and Program in Medieval and Early Modern Studies
Louise K. Stein is an authority on European, Spanish, and colonial Latin American music of the late Renaissance and baroque eras, with particular emphasis on vocal music, theater music, and opera. She received a Bachelor’s of Music degree from Oberlin College Conservatory of Music, and M.A. and Ph.D. degrees (1984 and 1987) in the History and Theory of Music from The University of Chicago. Before coming to Michigan in 1987 she taught at the University of North Carolina at Chapel Hill and was a Visiting Assistant Professor at the University of Chicago, where she also directed the Collegium Musicum (1986–87). In 2006 she held a visiting appointment at The University of Chicago, and in1998 she taught in Madrid as invited professor in the graduate program in Musicology at the Universidad Complutense. She has also given seminars at the Universidad Autónoma in Madrid, the Universidad de Valladolid, the Universidad de Granada, the Universidad Nacional Autónoma de México, and the Pontifícia Universidad Católica del Perú in Lima.
Louise Stein is on the board of directors of the Fundació Centre Internacional de Música Antiga (Barcelona) directed by Jordi Savall. Among her many consulting projects, she served as Area Editor for coverage of Spanish, Portuguese, and Latin American composers and genres of the sixteenth, seventeenth, and early eighteenth centuries for the revised 2001 edition of The New Grove Dictionary of Music and Musicians edited by Stanley Sadie, and collaborated in the preparation of the Storia dell’Opera Italiana, edited by Lorenzo Bianconi for the Società Italiana di Musicologia, and the Diccionario de la Música Española e Hispanoamericana edited by Emilio Casares.
Professor Stein has chaired the Robert M. Stevenson Award Committee (2002-3), the Noah Greenberg Award Committee (2000), and the AMS Council Committee on Honorary and Corresponding Members (1993-4) of the American Musicological Society, and also served on the Otto Kinkeldey Award Committee (2004-7), the Noah Greenberg Award Committee (1998-2000), the Annual Meeting Program Committee (1996), and the Council (1992-5) of the AMS. She has also served on the editorial board of the Journal of Seventeenth-Century Music, the online journal of the Society for Seventeenth-Century Music, and the nominating committee (2001-2) and the program committee (1996) for this society. At the University of Michigan she is a member of the Executive Committee of the Program in Medieval and Early Modern Studies, and previously was a member of the Executive Board of the Institute for the Humanities. She has served as an elected member of the Executive Board of the Horace H. Rackham Graduate School, and of the Senate Assembly Committee on University Affairs. She is frequently called upon to organize and participate in interdisciplinary projects and faculty governance.
Professor Stein has received Fellowships from Fulbright-Hayes, the American Council of Learned Societies, the National Endowment for the Humanities, the Gladys Kriebel Delmas Foundation, and the Program for Cultural Cooperation between Spain’s Ministry of Education and Culture and United States’ Universities. At Michigan, her research has been supported by grants and Fellowships from the the Institute for the Humanities, the Institute for Research on Women and Gender, the Horace H. Rackham School of Graduate Studies, the Office of the Vice-President for Research, the Office of the Senior Vice-Provost for Academic Affairs, the Program in Latin American Studies, and the School of Music, Theatre & Dance Faculty Research Fund. She has been honored with three year-long Distinguished Research Partnership awards for her mentoring of graduate-student research at Michigan, and four Distinguished Research Partnership awards for summer support of graduate students.
Professor Stein has published essays, articles, and book chapters internationally, and has given lectures and seminars in Europe and Latin America, as well as in the U.S., including some for the American Musicological Society, the Modern Language Association, the Royal Musical Association, and the International Musicological Society. 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 the1995 First Book Prize from the Society for Spanish and Portuguese Historical Studies. Her second book is an 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 by Ediciones Autor/ICCMU in Madrid in 1999 after being the basis for the BMG Classics recording directed by Andrew Lawrence-King, for which she also served as artistic advisor and dramaturg. In 1996 the American Musicological Society awarded her with the Noah Greenberg Award for “distinguished contributions to the study and performance of early music.” She has collaborated regularly with Jordi Savall, and her work with Mary Springfels and Chicago’s Newberry Consort resulted in ¡Ay amor!, a widely acclaimed recording of 17th-century Spanish theatrical songs released by Harmonia Mundi.
Current Research
At present Louise Stein is completing a performing edition of Juan Hidalgo’s Celos aun del aire matan (Madrid, 1660) and working on two books—one about the first Hispanic operas, musical patronage, and musical eroticism, and the other on “Music, Theater, and Society: Case Studies from the Baroque.” She is also working on various projects concerning music in colonial Peru and Mexico, musical patronage in the seventeenth century, and the history of musical improvisation.
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, N.J.: Prentice Hall, Inc., 1999. 396 pages.
La púrpura de la rosa. Tomás de Torrejón y Velasco/Juan Hidalgo and Pedro Calderón de la Barca. Madrid: ICCMU and SGAE, 1999. 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, 1660), music by Juan Hidalgo, text by Pedro Calderón de la Barca. Edition and critical commentary with notes on performance [360 pages; performed publicly in concert versions in Barcelona and Vienna conducted by Jordi Savall in 2000]; forthcoming, A-R Editions (Madison, Wisconsin).
EDITED COLLECTION
“Opera in the Americas---American Opera.” Special issue of Opera Quarterly, edited by Daniel Herwitz and Louise K. Stein (Chicago: University of Chicago Press) [forthcoming 2007].
BOOKS AND EDITIONS IN PROGRESS
Spaniards at the Opera. Opera crossing borders, baroque opera as heard, produced, and perceived in the Spanish context and by Spaniards abroad, Focuses 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, and Lima in the late seventeenth century. Parts of this project have been presented in papers given in 2002-2007.
Music, Theater, and Society: Case Studies 1570–1750. A book-length study of the several ways in which social context (social, political, and economic factors), literary trends, theatrical traditions, and musical developments interacted to produce significant works during a crucial period for the history of music and theater. The focus is on whole works (not excerpts) from several genres including opera. Research and writing in progress.
Erotic Harmonies: Venus, ‘The Blood of the Rose’ and the first New World Opera. A study of baroque musical eroticism and the first opera performed and composed in the Americas (La púrpura de la rosa Lima, 1701; text by Pedro Calderón de la Barca, music by Tomás de Torrejón y Velasco). This monograph focuses on the opera’s heritage, its cultural contribution as an expression of elite culture in colonial Lima, its significance as a link between the musical cultures of Europe, the Iberian peninsula, and Peru, and its erotic politics.
Humanism and Anti-Humanism in Spanish Musical Theory and Practice. A short monograph coming out of my unpublished research with Spanish Renaissance writings on music, poetry, and secular song. Some of my findings and tentative conclusions were presented at the meeting of the American Musicological Society in 1986, and in an expanded hour-long presentation for the Renaissance conference at Brown University in 1990.
Hispanic Songs 1550–1700, Their Musical Sources and Performance Traditions. An index to sixteenth- and seventeenth-century Hispanic secular songs, their musical settings, poetic sources, and citation in works from other literary genres. To date, almost 9000 entries. A reference work that will be of value both to musicologists and to scholars of Hispanic literature.
ARTICLES, BOOK CHAPTERS, ESSAYS, REVIEWS
“The First Opera of the Americas and its Contexts,” for Opera Quarterly [at press, forthcoming].
“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, to be published by the Clark Library Center for Seventeenth and Eighteenth-Century Studies at UCLA [University of California Press; at press]
“Spanish Travelers at the Opera, from Venice to Naples” for the volume Passeggio in Italia: Music of the Grand Tour in Seventeenth-Century Italy, ed. Margaret Murata and Dinko Fabris (with the support of STIMU and the Holland International Festival of Early Music, Utrecht) [near completion]
Chapter on Spain and its Colonies for the Cambridge Companion to Eighteenth-Century Opera, ed. Pierpaolo Polzonetti (Cambridge University Press) [in progress]
"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, 2006) [at press; typescript 57 pages, in English]
"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 BrewerLtd., 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.
“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, 2001) (at press; typescript 50 pages).
“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, 2001) (at press; typescript 75 pages).
“De la contera del mundo: las navegaciones de la ópera entre dos mundos y varias culturas,” La ópera en España e Hispanoamérica , vol. 1 (Madrid: Fundación Autor / ICCMU, 2001) (at press; 20 pages in page proofs)
“Three paintings, a double lyre, opera, and Eliche’s Venus: Velázquez and music at the Royal Court in Madrid.” A substantial article commissioned for the Cambridge Companion to Diego Velázquez, edited by Suzanne Stratton-Pruitt Cambridge: Cambridge University Press, 2001. (at press; typescript 43 pages).
“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), 251–75.
“Calderón y el poder de la música,” Scherzo 142 (2000): 144–48.
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 ModernSpain.” Musical Quarterly 82 (1998): 654–77; 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): 169–89.
Liner notes to José Marín: Tonos Humanos, performed by Montserrat Figueras and Rolf Lislevand, compact disc Alia Vox 9802, 1998.
“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.
“Spain.” Chapter 15 of The Early Baroque Era: from the Late 16th Century to the 1660s, edited by Curtis Price, pp. 327–48. 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, pp. 411–34. Volume 4 of Music and Society, ed. Stanley Sadie. London: The Macmillan Press, Ltd., 1993; Englewood Cliffs, N.J.: Prentice Hall, 1993.
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): 332–43.
“Opera and the Spanish Political Agenda.” Acta Musicologica. Journal of the International Musicological Society 63 (1991): 125–67.
“The Spanish and Portuguese Heritage: Music in Spain, Portugal, and the Spanish New World in the Baroque.” Companion to Baroque Music, pp. 327–37. Edited by Julie Anne Sadie. London: J. M. Dent and Sons, Ltd., 1990; New York: Schirmer Books, 1991.
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).
“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, pp. 13–92. Teatro del Siglo de Oro, Ediciones Críticas, no. 7. Kassel: Edition Reichenberger, 1986.
“Un manuscrito de música teatral reaparecido: Veneno es de amor laenvidia.” Revista de musicología 5 (1982): 225–33.
“El ‘manuscrito novena’: sus textos, su contexto histórico-musical y el músico Joseph Peyró.” Revista de musicología 3 (1980): 197–234.
ARTICLES AND ESSAYS IN PROGRESS
"The Marqués del Carpio, a Spanish patron and producer of opera in seventeenth-century Madrid, Rome, and Naples," essay or book chapter, research in progress and ongoing.
"On the staging of Celos aun del aire matan and La púrpura de la rosa." A study of the visual aspects of production for the first extant Spanish opera and the first New World opera, with special emphasis on how the mythological iconography of the staging reinforced the political allegory and social conventions in music and libretto. Intended for Early Music.
"`No se enmendará jamás:' text and music in Handel's Spanish cantata"
PUBLISHED PAPERS
“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.
“Una música de noche, que llaman aquí serenata:” Spanish patrons and the serenata in Rome and Naples,” in La Serenata tra Seicento e Settecento, ed. Gaetano Pitarresi and Nicolò Maccavino (Reggio di Calabria) [at press; typescript 35 pages]
"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 Origins and Character of recitado,” in proceedings of the International Conference on Early Opera and Monody, In Armonia Favellare, University of Illinois, Urbana-Champaign, to be published in Journal of Seventeenth-Century Music (2001, at press).
“’En esas música bellas…’: Calderón y el afecto musical”, in Calderón y la España del Barroco, Actas del congreso internacional (Madrid, 2001) (at press).
“’Este nada dichoso género’: la zarzuela y sus convenciones.” Música y Literatura en la Península Ibérica: 1600–1750. Valladolid, 1997. pp. 185–217.
“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
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“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.
“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, pp. 615–19. Madrid, 1994.
“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.
“Accompaniment and Continuo in Spanish Baroque Music.” Actas del Congreso Internacional sobre España en la Música de Occidente, 1: 357–70. Madrid: Instituto Nacional de las Artes Escénicas y de la Música, Ministerio de Cultura, 1987.
“Música existente para comedias de Calderón de la Barca.” Actas del Congreso Internacional sobre Calderón y el Teatro Español del Siglo de Oro, 2: 1161–72. Madrid: Consejo Superior de Investigaciones Científicas, 1983.
“Fuentes para la música vocal profana del siglo XVII.” Actas del Primer Congreso de Bibliografía Musical. Madrid: Instituto de Bibliografía Musical, 1982.
RECENT PROGRAM NOTES AND ESSAYS FOR MAJOR CONCERT SERIES OR INTERNATIONAL PRODUCTIONS
May 2003: Program essay “Antonio Literes, la zarzuela y la cultura musical en el Madrid de comienzos del siglo XVIII,” in Festival Mozart 2003 (La Coruña, 2003), 41-47, for performances of Literes, Júpiter y Semele directed by Eduardo López Banzo.
January 2001: Program essay (in Catalán) “Celos aun del ayre matan, en el seu moment històric,” in the program book produced by España Nuevo Milenio to accompany 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: Program essay (in Spanish) for “Música en el teatro del siglo de oro,” performed by Maite Arubarrena, Sergi Casademunt, and others (members of Hesperion XXI), Real Aacademia de la Historia, Madrid.
November 1999: “Opera Hispana de Dos Mundos,” program essay (in Spanish) for the Teatro de la Zarzuela (Madrid) production of La púrpura de la rosa, performed by Gabriel Garrido and Ensemble Elyma.
June 1999: Program essay (in English) for the Boston Early Music Festival, “Tonos Humanos y Diferencias,” performed by Jordi Savall and Hesperion XX
June 1999: Program essay (in Spanish) for the series “Fiestas Reales,” Spanish vocal and instrumental music from the sixteenthth through eighteenth centuries, performed by Jordi Savall and Hesperion XX; Madrid, Palacio Real de El Pardo.
April 1999: Program essay (in Spanish) for series “Música en tiempos de Velázquez,,” instrumental music from the time of Diego Velázquez, performed by Orphenica Lyra directed by José Miguel Moreno; Madrid, Real Academia de Bellas Artes de San Fernando.
April 1999: Program essay (in Spanish) for series “Música en tiempos de Velázquez,” concert of “Tonos Humanos” secular songs, performed by Marta Almajano and Il Giardino Armonico; Madrid, Palacio Real de El Pardo.
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.
Articles for The New Grove Dictionary of Music, 2d ed, ed. Stanley Sadie (London and New York: Macmillan, 2001)
“Auto sacramental”
“Calderón de la Barca, Pedro”
“Cañizares, José de”
“De la Cruz, Ramón”
“Durón, Sabastián”
“Hidalgo, Juan”
“Literes, Antonio”
“Navas, Juan Francisco de,”
“Peyró, José”
“Serqueira de Lima, Juan”
“Spain”
“Villaflor, Manuel de”
“Zarzuela (to 1800)”
Articles for the 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, forthcoming)
“Opera” (to 1800)
“Serqueira de Lima, Juan”
“Zarzuela” (to 1800),
Articles for The New Grove Dictionary of Opera, ed. Stanley Sadie (London and New York: Macmillan, 1992), 1: 11.
“Acis y Galatea”
“Celos aun del aire matan,”
“Celos hacen estrellas, Los”
“Durón, Sebastián”
“Hidalgo, Juan”
“Literes, Antonio”
“Púrpura de la rosa, La”
“Selva sin amor, La”
“Semi-Opera,” (in Spain)
“Torrejón y Velasco, Tomás de”
“La Zarzuela,” Musica in scena. Storia dello spettacolo musicale, v. 4 Altri generi di teatro musicale, ed. Alberto Basso (Torino: Unione Tipografico-Editrice Torinese, 1995), 4: I, 3–11.
“Tonadilla,” The New Harvard Dictionary of Music, ed. Don M. Randel (Cambridge: Harvard University Press, 1986), 861–62.
“Zarzuela,” The New Harvard Dictionary of Music, ed. Don M. Randel (Cambridge: Harvard University Press, 1986), 938–40.
Papers and Presentations
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 in Hispanic baroque music---sources, and practice, University of Sheffield, Sheffield, UK.
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,” Victoria and Albert Museum, London (UK)
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 “Pasaggio 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, 2005
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 de 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 Cathechism 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, New Mexico.
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.
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
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
August 2000 “Música y prácticas musicales en el teatro de Calderón,” seminars for the Curso Internacional de Música Antigua organized by Jordi Savall, CentroInternacional de Música Antigua (Barcelona), San Feliu de Guixols (Gerona) 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, South Dakota
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
November 1999 “Las primeras óperas hispanas y la política castellana,” invited paper for the conference “La ópera en España e Hispanoamérica. Una creación propia / Opera y fin de siglo: un debate necesario,” Madrid, Ministerio de Educación y Cultura and Instituto Complutense de Ciencias Musicales (Spain)
October 1999 Introductory and concluding remarks for session on “Contemporary Perceptions of Josquin’s Canon and Style,” for the International Conference New Directions in Josquin Scholarship, Princeton University
October 1999 “Henri Desmarest and the Spanish Context: Musical Harmony for a World at War,” invited paper for the Colloque International “Le parcours européen du compositeur Henry Desmarest” Centre de Musique Baroque de Versailles / Abbaye des Prémontrés, Pont-a-Mousson and Versailles (France)
August 1999 “Terpsichore’s Harp and the Temptation of St. Jerome: Harps, Gender and Society from Binchois to Hidalgo,” invited paper for the Historical Harp Society Conference, held at University of Wisconsin, Madison
June 1999 “El poder de la música: convenciones del teatro musical barroco”, invited public lecture to celebrate the close of the academic year (Teresa Berganza had given the previous lecture!), Conservatorio Superior de Música, Vigo, Spain
March 1999 “La púrpura de la rosa, joya del barroco Hispano,” invited paper, Conservatorio Nacional Superior de Música, Lima, Perú
March 1999 “La púrpura de la rosa y Lima, 1701,” invited public lecture, Pontificia Universidad Católica del Perú, Lima, Perú
December 1998 “El Triunfo de Poppea en la historia de una disciplina” invited paper for the curso magisterial “Monteverdi Hoy,” directed by maestro Alberto Zedda, Teatro de la Zarzuela, Madrid
November 1998 “‘De la contera del mundo’: La púrpura de la rosa y la política de la nobleza española,” invited seminar, Seminario en Historia Cultural, directed by Prof. James Amelang, Departamento de Historia Moderna, Universidad Autónoma, Madrid
July 1998 “Música en el teatro en tiempos de Felipe II (1527–1598), invited lecture for “El mundo musical de Felipe II. Corte, Capilla y Ciudad,” Cursos de Verano, Fundación General de la Universidad Complutense de Madrid, San Lorenzo de El Escorial
May 1998 “El poder de la música: convenciones del teatro musical barroco,” invited lecture for the humanitites division, Universidad de Burgos, Burgos, Spain
March 1998 “‘De la contera del mundo’: opera navigating between two worlds and four cultures c1700,” Royal Musical Association, Conference on Music and Theatre, New College, Oxford University, Oxford UK
February 1998 “Handel’s Semele and ornament as erotic delight,” for the cast and production team of the University of Michigan opera project performing Semele
October 1997 “Venezia favorita: Josquin, Rore, and ritual at San Marco,” Philips Educational Presentation, for concert by the Gabrieli Consort, “High Mass for Christmas from San Marco,” University Musical Society, Ann Arbor
October 1997 “Hearing Venus: the Rhetoric of (Un)Veiling and Seduction in 17th-century Hispanic Songs,” pre-concert lecture for concert by The Harp Consort, for the Conference on “The Rhetorics and Rituals of (Un)veiling in Early Modern Europe,” University of Michigan
September 1997 “Eros, Erato, Terpsíchore and the Hearing of Music in Early Modern Spain,” paper for the symposium “Music as Heard: Listeners and Listening in Late-Medieval Europe (1300–1600),” Princeton University
September 1997 “Staging La púrpura de la rosa,” pre-concert lectures on the first New World opera, La púrpura de la rosa, for the Holland International Festival of Early Music, Vredenburg Concert Hall, Utrecht, The Netherlands
September 1997 Leader, Study Day Symposium on Latin American music, for the Holland International Festival of Early Music, Utrecht, The Netherlands
August 1997 “Seducing the Ear: Harmonious Eros, Hispanic Music, and the Politics of Eroticism,” paper for the 16th International Congress of the International Musicological Society, London
August 1997 Chair, Study Session on “Music, Politics, and Patronage in Spanish and Portuguese Dominions in the Early Modern Period,” 16th International Congress of the International Musicological Society, London
April 1997 “Erato, Terpsíchore, the Politics of Eros, and Musical Patronage,” invited paper for the conference on Poder, Mecenazco e Instituciones en la Música Mediterránea 1400–1700, Avila, Spain
January 1997 “Escuela de destemplanza e incentivo de lascivia: Sixteenth-Century Spanish Theater and its Music,” invited paper for the Conference on Spanish Renaissance Music, University of Illinois, Urbana
January 1997 “Women in Musicology,” presentation for the panel discussion on Women in the Arts in the Academy, sponsored by the Institute for Research on Women and Gender, and the University Musical Society, University of Michigan
October 1996 “‘Had she been born in another era . . . ’: Barbara Strozzi and Her Music in Seicento Venice,” pre-concert lecture for the conference “Venice Reflected: The Making of Culture 1500–1800,” sponsored by the Institute for Research on Women and Gender, for concert by The Harp Consort, Museum of Art, University of Michigan
July 1996 “Eros armonioso: Convenciones en la representación de La púrpura de la rosa, primera ópera del Nuevo Mundo,” invited paper for the Association for Hispanic Classical Theater, “Simposio sobre el teatro del Siglo de Oro: el texto puesto en escena,” Almagro, Spain
July 1996 “Escuela de destemplanza e incentivo de lascivia: Sixteenth-Century Spanish Theater and its Music,” paper for The 23rd International Conference on Medieval and Renaissance Music, University of Southampton, Southampton, UK
July 1996 “Erotic Harmony: Venus, the ‘Blood of the Rose,’ Politics, and Music in the First New World Opera,” paper for the Seventh Biennial International Conference on Baroque Music, University of Birmingham, Birmingham, UK
June 1996 “Erotic Harmonies and Echoes: Hispanic Music and the Transformation of Italianate Genres in the 16th to early 18th Centuries,” invited presentation for the conference “Musicisti del Mediterraneo, Storia e Antropologia,” Convegno Internazionale di Studi, Bari and Molfetta, Italy
May 1996 “Eroticism, Politics, and the First New World Opera,” invited presentation for the Department of Music, King’s College, University of London, London, UK
May 1996 “La púrpura de la rosa: the First New World Opera, Politics, and Erotic Harmony,” invited paper for the conference on “Il Teatro dei due Mondi, migrazioni e circolazione del dramma per musica fra l’Italia, la Spagna, il Portogallo e le Americhe Latine,” Università degli Studi, Padova, Italy
April 1996 Chair and organizer, session on “Spanish Continuo Playing,” Annual Meeting, Society for Seventeenth-Century Music, Wellesley College, Wellesley MA
April 1996 “‘To draw the hearer by chains of gold by the ears . . . ‘: English Sacred Music of the Renaissance,” Philips Educational Presentation, for concert by The Tallis Scholars, University Musical Society, Ann Arbor
March 1996 “Seducing the Ear: Hispanic Music and the Concept of Baroque,” invited lecture for “Spain and its New World Empire,” Marquette University and the Historical Keyboard Society, Milwaukee
March 1996 “Al seducir el oido ... delicias y convenciones del teatro musical en el siglo XVII,” invited plenary lecture for the annual meeting of the Asociación Internacional de Teatro Español y Novohispano de los Siglos de Oro, Universidad Autónoma, Ciudad Juárez, Mexico
June 1995 “Opera in the Cross Currents: The First New World Opera and its Heritage,” invited faculty lecture for The Aston Magna Academy for Music and the Humanities (funded by the NEH), Rutgers University, New Jersey
May 1995 “Sor Juana Inés de la Cruz and Conventions of Musical Expression and Theatricality in the Hispanic Baroque,” invited lecture for the international conference “Sor Juana Inés de la Cruz and Baroque Theatricality,” Center for Medieval and Renaissance Studies, The University of California, Los Angeles.
April 1995 Chair, Session on “Seventeenth-Century Women in Music,” Annual Meeting, Society for Seventeenth-Century Music, Danville Kentucky
February 1995 “’Este nada dichoso género’: la zarzuela y sus convenciones,” invited paper for the international conference “Música y Literatura en la Península Ibérica: 1600–1750,” Universidad de Valladolid, Valladolid, Spain
November 1994 Chair, Session on “Power and Creativity in the Early Seicento,” Annual Meeting, American Musicological Society, Minneapolis
September 1994 “Maravall’s Baroque and Spanish Music,” opening lecture in the Music History Colloquium series, Peabody Conservatory of The Johns Hopkins University, Baltimore
July 1994 “Maravall’s Baroque and Recitative as Cultural Transmission in the Seventeenth Century,” Sixth Biennial International Conference on Baroque Music, Edinburgh, Scotland
March 1994 “Moving the Affections, Claiming Audible Space: Baroque Music and the Spanish Theater.” Invited plenary session speaker for the Annual Golden Age Drama Symposium, University of Texas, El Paso, Texas
November 1993 Respondent at Large for the Study Session devoted to “Hispanic Music and its Challenges to Accepted Historiography,” Annual Meeting of the American Musicological Society, Montreal 1993
April 1993 “Climbing into the Abyss: Interdisciplinarity and the Individual Scholar,” for the Conference on Collaboration, Institute for the Humanities, University of Michigan
August 1992 Seminar concerning “Las convenciones del teatro musical y la herencia de Juan Hidalgo,” invited for the interdisciplinary summer course “Bances Candamo y el teatro musical de su tiempo (1662–1704),” Curso de Musicología de La Granda (Avilés), Fundación Escuela Asturiana de Estudios Hispánicos/Universidad de Oviedo (Spain)
May 1992 Seminar “Opera as Theater” for the Summer Humanities Camp, Institute for the Humanities, University of Michigan
April 1992 Paper on musical patronage in the Spanish royal court for the Round Table “Local Traditions of Musical Patronage 1500–1700” at the 15th Congress of the International Musicological Society, Madrid 1992
April 1992 Introductory remarks, Chair of Study Session “Cross-Cultural Musical Processes and Results: Iberia and America” 15th Congress of the International Musicological Society, Madrid
March 1992 Paper “Rossini’s Barber and Comic Timing,” for the Comedy Semester, Department of English and the School of Music, Theatre & Dance, University of Michigan
November 1991 “Recitative in Seventeenth-Century Europe” for the NEH-funded project Music as a Cultural Institution in the Middle Ages and the Renaissance; The Center for Renaissance Studies, The Newberry Library, Chicago
March 1991 “Interpreting Mozart’s Don Giovanni” for The Alumni Association, University of Michigan
June 1990 “Moving the Affections, Making People Believe: Expression and Meaning in Baroque Music,” seminar for the Alumni University, University of Michigan
March 1990 “Humanism, Anti-Humanism, and Metaphysics Made Real in Spanish Musical Thought and Practice of the Sixteenth and Seventeenth Centuries” invited paper for the Renaissance Studies Conference, “Spain under Philip II: The Arts and the City,” Brown University
November 1988 “Opera and the Spanish Political Agenda,” Annual Meeting of the American Musicological Society, Baltimore
July 1988 “Baroque Music Speaks: Meaning and Expression in Music of the Baroque,” seminar for the Alumni University, University of Michigan
June 1988 Participant in panel discussion “The Making of Il Sant’Alessio: a round-table on Roman Baroque opera,” for the E. Nakamichi Baroque Music Festival, University of California, Los Angeles
February 1987 “Style and Genre in Seventeenth-Century Spanish Theatrical Music,” invited paper for the music history colloquium series, Peabody Conservatory of Johns Hopkins University, Baltimore
November 1986 “Humanism and Anti-Humanism in Spanish Musical Theory and Practice,” Annual Meeting of the American Musicological Society, Cleveland
February 1986 “Textual Type and Musical Genre in Seventeenth-Century Spanish Court Plays,” paper for colloquia at the Department of Music at The University of Chicago, and the Department of Music at the University of California at Berkeley
December 1985 “Musical Genre and Dramatic Type in Spanish Baroque Court Plays,” Annual Meeting of the Modern Language Association, Chicago (by invitation of the Section on Spanish Theater)
October 1985 “Accompaniment and Continuo in Spanish Baroque Music,” paper by invitation of the Congreso Internacional sobre España y la Música de Occidente, Salamanca
October 1984 “Text and Music in the Seventeenth-Century Spanish Theater: the Spanish Style at Court and in the Corrales,” Annual Meeting of the American Musicological Society, Philadelphia
November 1982 “Music in the Seventeenth-Century Spanish Theater: the Musical Sources,” Annual Meeting of the American Musicological Society, Ann Arbor
May 1982 “Study and Analysis of the Musical Sources of the Iberian Theater of the Seventeenth Century,” given in Spanish, by invitation, Quinto Encuentro de Música Antigua, Universidad de Salamanca, Salamanca
December 1981 Seminar on “Music in the Theater of Pedro Calderón de la Barca,” given in Spanish, by invitation of the seminar in music, Madrid, Universidad Complutense
October 1981 “Sources and Problems in Seventeenth-Century Spanish Vocal Music,” in Spanish, for the Primer Simposio sobre Musicología Española, Sociedad Española de Musicología, Madrid
August 1981 Seminar concerning “Extant Music Composed Especially for the Staged Works of Calderón,” given in Spanish, by invitation, for Tercer Curso de Música Barroca y Rococó, San Lorenzo de El Escorial
July 1981 “Extant Music for the Comedias of Calderón,” given in Spanish, for the Congreso Internacional sobre Calderón y el Teatro Español del Siglo de Oro, Consejo Superior de Investigaciones Científicas, Madrid
May-July 1981 Collaborator for radio broadcasts about Pedro Calderón de la Barca and Spanish theatrical music of his epoch, Radio Nacional de España, Madrid
Teaching at the University of Michigan
Louise K. Stein now teaches graduate and undergraduate courses and seminars focusing on Renaissance and baroque music, as well as graduate courses on musicological writing and research methods, and the pedagogy of teaching introductory courses in music.
RECENT COURSE OFFERINGS
MEMS interdisciplinary proseminar (Winter 2008)
HISTART 689.003 MUSICOL 605
Arts, Patrons, Courts in Early Modern Culture
This pro-seminar is designed for graduate students interested in reading and writing about the patronage and production of music, the visual arts, architecture, and theater in the early modern period. The course is open to scholars and performers. We will explore the role of individual patrons and institutional patronage, public and private, in early modern societies, through careful case-studies of patrons, producers, artists, and performers, male and female, in selected times and places. Our work seeks to better understand systems of production as well as the variability and complexity of relationships between patrons/producers and artists/composers/performers in Europe and Latin America in the period roughly1500- 1750.
Topics in Baroque Music
MHM 420/520
This course is designed to focus on selected topics in the history of music of the seventeenth and early eighteenth centuries (roughly 1570–1750), but it is not designed as a strict survey of Baroque music. Particular emphasis will be given to the invention and definition of musical genres, the relationship of music to text, and the place and function of music (secular and sacred, vocal and instrumental, for court, chamber, church, and theater) in early modern society. In addition to studying music by such European composers as Monteverdi, Cavalli, Schütz, Lully, Purcell, Corelli, Rameau, Vivaldi, Handel, and J. S. Bach, we will also study music from Spain and its Latin American colonies. Moreover, this course introduces students to writings about music, musical sources, and aesthetic theories of the period as we seek to understand baroque music as cultural and historical discourse. The work of this course consists of listening, score study, and reading. We will discuss music in class, in some detail.
Singing Early Music 1450–1750
MHM 643: Seminar in Baroque Music, with subtitle “Singing Early Music 1450–1750”
MHM 407: Special course with subtitle “Singing Early Music 1450–1750”
A consideration of the history of singing, with vocal music construed not only as a “compositional” project (i.e., the written-down composition of songs and other kinds of vocal music) but as a performative one centered on the art of singing and its many cultural dimensions. In the standard models of the history of cultivated art musics, musicologists have traditionally privileged musical composition as the primary activity for historical study, such that past musical cultures from which we have greater and more easily understood evidence—written pieces of music, musical masterworks, and musical repertories attributable to composers—are favored in our narratives over those cultures for which we have fewer or apparently less imposingly notated pieces of musical “compositional” evidence.
For some of the repertories of early music between 1500 and 1750, we have written evidence in the form of musical compositions (songs and sacred choral music, for example) but our performance of these repertories today could be better informed by a study of the art of vocal improvisation and aspects of the lives, times, and culture of the singers who brought this seemingly ephemeral music to life as dazzling display.
Through study and analysis of music, writings on music, documents about musical performance, the history of singers and singing, the evidence from musical iconography, and various kinds of primary and secondary sources, students in this course will learn about the history of singing, early vocal repertories, the importance of various non-notated aspects of singing in the early modern period of Western musical history, voice and gender, singing as cultural expression, and singers in early modern society. In addition to a combination of written work (research and/or analytical papers) and guided performance projects, the class will work on a class bibliography on early vocal performance practice and early singers. Weekly assignments will involve listening, score study, reading, library work, and participation in class discussions.
Topics in the History of Opera to 1800
MHM 413/513
This course is devoted to the study of opera in the first two centuries of its existence, from its beginnings just before 1600 to nearly the end of the eighteenth century. Here opera is to be studied critically as music, as theater, as spectacle, as performance medium, and as cultural expression.
Special lectures in this course address operatic eroticism, opera’s arrival in the Americas, staging practices and issues of performance practice in early opera. While some of the lectures and listening assignments will be organized around excerpts, others will be designed to focus on whole operas, their musical dramaturgy, historical significance, economics, modes of production, and impact and reception in performance. Composers to be studied include Cavalli, Da Gagliano, Gluck, Handel, Hasse, Hidalgo, Landi, Lully, Monteverdi, Mozart, Peri, Piccinni, Purcell, Rameau, Sarti, A. Scarlatti, and Vivaldi. The assignments are primarily listening assignments, to be supplemented by score study, readings from the coursepack or materials on reserve, and some in-class performances.
Eroticism in Music and Theater 1550–1750
MHM 642: Seminar in Late Renaissance Music
Music’s potential eroticism has long been recognized. In the late Renaissance, composers set amorous and erotic texts as madrigals and solo songs designed to “move the affects of the listener.” Erotically charged moments abound in seventeenth-century musical theatre and musical scenes of spoken plays. This course investigates eroticism in vocal, theatrical, and dance music of the late Renaissance and baroque eras, including madrigals, solo songs, music from court spectacles, and opera (Monteverdi’s L’incoronazione di Poppea and Handel’s Semele, for example). We will study the erotic intention and achievement of figures such as Barbara Strozzi, a prolific female composer connected to the Venetian academies, and the eroticism of the first New World opera (Lima, 1701). Throughout the term we will seek to understand music’s interaction with literature and visual art, and the definition of eroticism in the historical cultures under study. Readings will be taken from plays and libretti, primary and secondary sources about eroticism, art, music, literature, theater, history, and culture. This course will function as a large seminar or as a lecture course with a heavy discussion component.
OTHER COURSES
Music and Culture: Handel’s London Operas
“La música de dos orbes,” Hispanic Music 1500–1700
Music, Theater, and Society 1570–1750
Baroque Music and Politics
Handel: Opera and Oratorio
DISSERTATIONS ADVISED
Roark T. Miller, "The Composers of San Marco and Santo Stefano and the Development of Venetian Monody (to 1630)."
Awarded a Gladys Kriebel Delmas Award. Ph.D. granted 1993
Catherine Gordon-Seifert, "The Language of Music in France: Expression and Rhetoric in French Airs, 1650-1700." Later
awarded the AMS Noah Greenberg Award. Ph.D. granted 1994
Todd M. Borgerding, "Music, Religion, and Society in 16th-century Spain: the Marian Motet in Andalusia." Awarded an
AMS 50 Dissertation Fellowship. Ph.D. granted 1997
Rose A. Pruiksma, "Dansé par le Roi: Constructions of French National Identity in Louis XIV’s Court Ballets.” Awarded
a Rackham Predoctoral Fellowship and a Fulbright Fellowship, later an NEH Fellowship. Ph.D. granted 1999.
Amanda Eubanks Winkler, "Gender and Genre: Musical Conventions on the English Stage, 1660-1705." Numerous
awards, including an NEH/Folger Library Fellowship. Ph.D. granted 2000.
Paul Wiebe, “To Adorn the Groom with Chaste Delights”: Music and Court Wedding Festivals in Early Modern Stuttgart
1575-1609.” Awarded a Social Sciences and Humanities Fellowship from the government of Canada. Ph.D.
granted 2004.
Todd Decker, dissertation on comic scenes in eighteenth-century opera and intermezzo, their singers, patrons, context,
influence, and trans-cultural consumption. Project awarded the Presser Music Award, School of Music, University
of Michigan (2004) [Todd Decker subsequently completed a dissertation in the field of American Music and
Broadway Musicals.]
Nicholas Field, "Patronage in Exile: Music at the Stuart Court in Saint-Germain-en-Laye." Dissertation in progress.
DISSERTATION COMMITTEES SERVED ON
Barbara Dobbs-MacKenzie (Musicology, Ph.D. 1993)
Timothy Taylor (Musicology, Ph.D. 1993)
Linda Schubert (Musicology, Ph.D. 1994)
Mark Knoll (Musicology)
Paul Laird (Musicology, Ph.D. University of North Carolina at Chapel Hill)
Diane Schreiner (Ethnomusicology)
Susan Walton (Ethnomusicology, Ph.D. 1996)
Mauro Botelho (Music Theory)
Robert Snarrenberg (Music Theory)
Elizabeth Young (Department of English, Ph.D. 1989)
Stephen Burton (Department of Philosophy, Ph.D. 1992)
Patricia Garrido (Department of Romance Languages, Ph.D. 1995)
Charlene Black (Department of History of Art, Ph.D. 1995)
Donald McManus (Department of Theater and Drama)
Contact Information
Professor Louise K. Stein
School of Music, Theatre & Dance
University of Michigan
Ann Arbor, MI 48109–2085
Office telephone: (734) 764–6511
Fax at the School of Music, Theatre & Dance: (734) 763–5097
lkstein@umich.edu
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