{"id":2427,"date":"2018-04-03T12:38:55","date_gmt":"2018-04-03T16:38:55","guid":{"rendered":"https:\/\/www.bu.edu\/beethovencenter\/?page_id=2427"},"modified":"2020-11-25T11:28:51","modified_gmt":"2020-11-25T16:28:51","slug":"2018-symposium","status":"publish","type":"page","link":"https:\/\/www.bu.edu\/beethovencenter\/events\/2018-symposium\/","title":{"rendered":"2018 Symposium"},"content":{"rendered":"
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April 11 & 12, 2018<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

The Symposium is organized in conjunction with the String Department of the School of Music.
\nThis year’s work: String Quartet in E flat, Op. 127<\/h4>\n\n\n\n\n\n\n
Wednesday, April 11<\/strong><\/td>\n11 AM-1 PM
\nBU College of Fine Arts Concert Hall
\n<\/strong><\/td>\n
\n<\/strong>Open Rehearsal of Op. 127, Graduate Student String Quartet coached by Prof. Peter Zazofsky<\/span><\/span>
\n<\/strong><\/td>\n		\u00a0<\/span><\/span><\/strong><\/td>\n<\/tr>\n
<\/strong><\/td>\n4-6:30 PM
\nBU School of Music
\nMarshall Room
\n<\/strong><\/td>\n		Formal Presentation of Research Papers<\/strong><\/p>\n

Robin Wallace \u201cOpus 127 as a Window into Beethoven\u2019s Visual World\u201d
\nResponse by Theodore Albrecht

<\/span><\/p>\n

Lucy Turner \u201cBeethoven\u2019s Late Beginnings: On the Four \u2018Introductions\u2019 of Op. 127″
\nResponse by David Levy

<\/p>\n

Barbara Barry \u201cRe-Contextualizing Beethoven\u2019s E-Flat Major Quartet Op. 127: Spiral Time and the Paradigm of Persuasion\u201d
\nResponse by Alan Gosman<\/p>\n

\u00a0<\/strong><\/td>\n<\/tr>\n

<\/strong><\/td>\n8:00 PM
\nBU College of Fine Arts<\/strong>
\nConcert Hall<\/strong><\/td>\n		Opening Remarks: Lewis Lockwood
\n<\/strong>
\nPerformance, String Quartet in E flat, Op. 127,
\n<\/strong><\/p>\n

Fabio Peixoto, violin 1<\/span><\/p>\n

Andrew Lin, violin 2<\/span><\/p>\n

Yejin Han, viola<\/span><\/p>\n

Heejo Jeon, cello<\/span><\/p>\n<\/td>\n<\/tr>\n

Thursday, April 12<\/strong><\/td>\n9-12:00
\n808 Commonwealth Ave, Seminar Room
\n<\/strong><\/td>\n
\n<\/strong>Round-Table Discussion of Op. 127,
\nConference Participants and BU faculty and students.
\n<\/strong><\/td>\n		\u00a0<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


\nParticipants:<\/strong><\/h3>\n\n\n\n\n\n\n\n\n\n\n\n\n
\"lewis-Lockwood_BW\"<\/a><\/td>\n\n

Lewis Lockwood, Co-Director BU Center for Beethoven Research<\/h4>\n

BA, Queens College of the City University of New York; PhD, Princeton University. Lewis Lockwood is a musicologist of international distinction and renown. His scholarship on Renaissance music and Beethoven studies includes several award-winning books and more than a hundred articles and reviews. This depth of scholarship is matched by an impressive list of editorial and administrative accomplishments, including terms as the Editor of the Journal of the American Musicology Society<\/em> (1964-1967), President of the American Musicological Society (1987-1988), and as the founding Editor of the yearbook Beethoven Forum<\/em> (1992-2007). His book Music in Renaissance Ferrara<\/em> (1984) received the Otto Kinkeldey Award of the American Musicological Society, and his Beethoven: the Music and the Life<\/em> (2003) was a finalist for the Pulitzer Prize in the category \u201cBiography\u201d. The Lewis Lockwood Award of the American Musicological Society is also named in his honor.

<\/span><\/p>\n<\/td>\n<\/tr>\n

\"sholes\"<\/a><\/td>\n\n

Jacquelyn Sholes, Acting Co-Director (Spring 2018)<\/h4>\n

Jacquelyn Sholes (Ph.D., M.F.A., Brandeis University; B.A.\u00a0summa cum laude<\/em>\u00a0in music and mathematics, Wellesley College) works primarily on repertory of the eighteenth through twentieth centuries, focusing especially on Austro-German and American music. Her book,\u00a0Allusion as Narrative Premise in Brahms\u2019s Instrumental Music<\/em>, is forthcoming from Indiana University Press and has been awarded an AMS 75 PAYS subvention from the American Musicological Society.\u00a0Dr. Sholes has authored articles and reviews appearing in\u00a019th-Century Music<\/em>,\u00a0Nineteenth-Century Music Review, The Journal of Musicological Research, Notes, Ars Lyrica,\u00a0<\/em>and\u00a0The American Brahms Society Newsletter,\u00a0<\/em>as well as prefaces to several score editions and entries in\u00a0The New Grove Dictionary of American Music<\/em>, 2nd\u00a0ed. She organized a recent symposium entitled \u201c\u2018Footsteps of a Giant: Brahms and the Influence of Beethoven\u201d and sponsored by Boston University\u2019s Center for Beethoven Research.

<\/p>\n

In 2017-18, concurrent with her faculty appointment in the Department of Musicology & Ethnomusicology, Dr. Sholes holds a position as Scholar in Residence at Boston University\u2019s Center for Beethoven Research and is also serving as visiting faculty at Brown University. She currently serves as President of the New England Chapter of the American Musicological Society and as a member of the Board of the Phi Beta Kappa Association of Boston. Prior to arriving at Boston University, she held faculty appointments at Williams College and Wellesley College.

<\/p>\n<\/td>\n<\/tr>\n

\"Ted<\/a><\/td>\n\n

Theodore Albrecht, Kent State University<\/h4>\n

After studying oboe with Charles Veasey and conducting with George Yaeger (both of the San Antonio Symphony Orchestra), he received his bachelor’s degree in music education from St. Mary’s University there in 1967. Albrecht’s graduate studies at North Texas State University included conducting under Anshel Brusilow, as well as musicology under Dika Newlin, Helen Hewitt and Michael Collins, and led to a Ph.D. in musicology in 1975.
\n<\/span><\/p>\n

Today, Albrecht is perhaps best known as a Beethoven specialist. His three-volume Letters to Beethoven (a collection of over 500 documents, dozens never before available in any language) was published by the University of Nebraska Press in 1996. In the BBC Music Magazine (May, 1997), Barry Cooper hailed it as “the largest and most important collection of Beethoven source materials to be published in English for many years.” His complete new edition of Beethoven’s conversation books, now translated into English in their entirety for the first time is being published by Boydell Press.<\/p>\n

\u00a0<\/span><\/td>\n<\/tr>\n

\"Barbara_Barry\"<\/a><\/td>\n\n

Barbara Barry, Hebrew University (Jerusalem)<\/h4>\n

Barbara Barry has been on the music faculty of the Music Department at University of London Goldsmiths’ College and Chair of Music History at the Guildhall School of Music and Drama, one of Europe’s foremost conservatories in the Barbican Arts Center in London. In the United States she was Chair of Music History at the Longy School of Music, and taught at Clark University, New England Conservatory of Music, the Radcliffe Seminars, Lynn Unversity, and at Harvard University. She has five degrees in music – two in piano performance from Trinity College of Music, London, and three in music history and theory from the University of London, including a PhD awarded \u2018magna cum laude’. <\/o:p><\/p>\n

She is the author of four books, two in music theory and two fiction books, and many articles on music history. She has been awarded two Fellowships by the National Endowment for the Humanities, the Fran Steinberg Memorial Prize for outstanding non-fiction, and is the first recipient of the Kathleen Cheek-Milby Endowed Faculty Fellowship at Lynn University.

<\/o:p><\/p>\n

\n<\/td>\n<\/tr>\n

\n

\"agosman\"<\/a><\/h4>\n<\/td>\n

\n

Alan Gosman, University of Arkansas<\/h4>\n

Alan Gosman is associate chair of the Department of Music and associate professor of music theory.\u00a0 He has published on Beethoven\u2019s sketchbooks and compositional process, musical form, canons, and links between performance and analysis.\u00a0 Prior to joining the faculty at the University of Arkansas, he was an associate professor at the University of Michigan, where he was the Director of Graduate Studies in Music Theory. Before that, he taught at Michigan State University and Harvard University.<\/p>\n

Alan Gosman\u2019s recent work on Beethoven includes his book,\u00a0Beethoven’s “Eroica” Sketchbook: A Critical Edition,\u00a0<\/em>coauthored with Lewis Lockwood, which one reviewer called \u201cevery bit as heroic as the symphony to which this sketchbook gave rise.\u201d \u00a0He has chapters about Beethoven\u2019s compositional process published in the books\u00a0Keys to the Drama: Nine Perspectives on Sonata Forms<\/em>, and\u00a0Genetic Criticism and the Creative Process: Essays from Music, Literature, and Theater<\/em>.\u00a0 A forthcoming article in Nineteenth-Century Music Review <\/em>is on Beethoven\u2019s \u201cPrometheus\u201d works.\u00a0 He is also excited to be involved with preparations for several events to celebrate the 250th anniversary of Beethoven\u2019s birth, including a 2020 conference at the Beethoven-Haus Bonn, and a multimedia project with Robert Levin and Lewis Lockwood.

<\/p>\n<\/td>\n<\/tr>\n

\n

\"David_Levy_3\"<\/a><\/h4>\n<\/td>\n

\n

David Levy, Wake Forest University<\/h4>\n

David Levy is the author of Beethoven: The Ninth Symphony<\/em>\u00a0(Schirmer Books, 1995; revised edition, Yale U P, 2003), winner of Choice<\/em>\u00a0Outstanding Academic Book (1996); and of Beethoven: The Nine Symphonies<\/em> (Yale UP, forthcoming). Additional research on Beethoven, Berlioz, Wagner, music history and criticism in the nineteenth century. Contributor to Schriften zur Beethoven Forschung<\/em>,\u00a0Beethoven Forum<\/em>,\u00a0Berlioz Studies<\/em>,\u00a0Dictionnaire Berlioz<\/em>,\u00a0Essays on Music for Charles Warren Fox<\/em>,\u00a019th-Century Music<\/em>,\u00a0CMS Symposium<\/em>, Historical Performance<\/em>, and\u00a0<\/strong>Music Library Association Notes<\/em>; musicological\/artistic advisor, Saint Paul Chamber Orchestra (2002-03 season), program annotator and pre-concert lecturer for Winston-Salem Symphony (1980-present) and Chautauqua Symphony Orchestra (2015-present).
\nHe is a member of American Beethoven Society (advisory board), Steering Committee of New Beethoven Research<\/em> Group, American Musicological Society (SE Chapter chairman, 1984-86, 2008-2010; representative to Council, 1981-83, 2010-12), College Music Society; Endowed Chair in Musicology, University of Alabama (2009). Levy has lectured throughout the United States, Austria, Germany, Israel, and the Czech Republic. Teaches Music History, Beethoven, First Year Seminars; Summer Graduate School Faculty, Eastman School of Music (Rochester, NY, 1996-2005). Chair, WFU Department of Music (1994-2006). Program Director, Flow House, Vienna<\/a>, 2009-present. Associate Dean of the College for Faculty Governance (2013-2016). Winner of Donald O. Schoonmaker Faculty Prize for Community Service (2016).

<\/p>\n<\/td>\n<\/tr>\n

\n

\"lucy-turner\"<\/a><\/h4>\n<\/td>\n

\n

Lucy Turner, Columbia University<\/h4>\n

Originally from Raleigh, NC, Lucy Turner is a PhD student in Historical Musicology at Columbia University, where she began in 2016. In 2012, Lucy received her Bachelor of Music in violin performance from Vanderbilt University, where she did a concentration in music history and completed an honors thesis in musicology entitled “Music in a Familiar Accent: Linguistic Rhythm as Nationalist Sentiment in the Sibelius, Enescu, and Jan\u00e1\u010dek.” She went on to receive a Master of Music, also in violin performance, from Boston University in 2014. Lucy is interested in early Austro-German Romanticism, manuscript studies, and the music of Beethoven, particularly form and meaning in the late quartets.

<\/p>\n<\/td>\n<\/tr>\n

\n

\"Robin<\/a><\/h4>\n<\/td>\n

\n

Robin Wallace, Baylor University<\/h4>\n

Robin Wallace, Professor of Musicology, has taught at Baylor since 2003. Dr. Wallace received his AB from Oberlin College and his MPhil and PhD from Yale University. Prior to Baylor he taught at the Petrie School of Music at Converse College. Dr. Wallace is the author of Take Note: An Introduction to Music through Active Listening, an introductory textbook published by Oxford University Press. He is an authority on the critical reception of the music of Beethoven, which is the subject of his first published book and of two volumes of primary sources he translated and edited. His publications also include numerous journal articles, reviews, and book chapters. He is currently writing a book about Beethoven\u2019s deafness. Dr. Wallace teaches the music of the Romantic period to both undergraduates and graduate students. He also teaches in the Baylor Interdisciplinary Core, whose graduates fondly recall his performance of John Cage\u2019s 4\u201933″ even if they don\u2019t remember a note of the music.

<\/p>\n<\/td>\n<\/tr>\n

\"Peter_Zazofsky\"<\/a><\/td>\n\n

Peter Zazofsky, Boston University<\/h4>\n

Student of Joseph Silverstein, Ivan Galamian, and Dorothy Delay. First Prize, Montreal International Competition, 1979; Second Prize, Queen Elizabeth of Belgium Competition, 1980. Soloist with Boston Symphony Orchestra, Minnesota Orchestra, Philadelphia Orchestra, Baltimore Symphony, Berlin Philharmonic, Rotterdam Philharmonic, and Vienna Symphony. Recitals throughout Europe and United States. Member,\u00a0Muir String Quartet. He has taught at Boston University since 1987.<\/p>\n<\/td>\n<\/tr>\n

<\/td>\n\n

<\/h4>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The Symposium is supported by a generous grant from the Boston University Center for the Humanities<\/em><\/h4>\n","protected":false},"excerpt":{"rendered":"

April 11 & 12, 2018 The Symposium is organized in conjunction with the String Department of the School of Music. This year’s work: String Quartet in E flat, Op. 127 Wednesday, April 11 11 AM-1 PM BU College of Fine Arts Concert Hall Open Rehearsal of Op. 127, Graduate Student String Quartet coached by Prof. […]<\/p>\n","protected":false},"author":8544,"featured_media":0,"parent":1245,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/pages\/2427"}],"collection":[{"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/users\/8544"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/comments?post=2427"}],"version-history":[{"count":27,"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/pages\/2427\/revisions"}],"predecessor-version":[{"id":2850,"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/pages\/2427\/revisions\/2850"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/pages\/1245"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/media?parent=2427"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}