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Division News

Susan Parisi’s new book (a collaborative project) has just been published: The Music Library of a Noble Florentine Family: A Catalogue Raisonné of Manuscripts and Prints of the 1720s to the 1850s collected by the Ricasoli Family, now housed in the University of Louisville Music Library. With essays on the History of the Collection and on Music in the Ricasoli Chapels and Household by Robert Lamar Weaver. Edited by Susan Parisi. Catalogue compiled by John Karr, Caterina Pampaloni, and Robert Lamar Weaver. 496 pp. Harmonie Park Press, 2012. The book was awarded a publication subvention from the Manfred Bukofzer and Martin Picker Endowments of the American Musicological Society.

Christina Bashford and Nicholas Temperley are joint organizers for the North American British Music Studies Association’s fifth biennial conference, which will be held at UIUC in July. The conference theme is Anglo-American musical connections. In related news, Bashford has contributed “Hidden Agendas and the Creation of Community: The Violin Press in the Late 19th Century” to Music and Performance Culture in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley, a volume of essays that is forthcoming in June 2012. Additionally, Temperley is giving a keynote response to a panel session titled “What might the lands with music learn from the land without?” at the 17th Biennial International Conference on Nineteenth-Century Music in Edinburgh this summer; Bashford is one of the panelists.

Katherine Syer’s article, “‘It Left Me No Peace’: From Carlo Gozzi’s La donna serpente to Wagner’s Parsifal,” recently appeared in The Musical Quarterly.

Jeffrey Magee’s book Irving Berlin’s American Musical Theater was just published by Oxford University Press.

Aaron Ziegel’s comparative study of film scores by Georges Auric and Philip Glass appeared in the most recent issue of Music Research Forum.

Bruno Nettl and Thomas Turino, with emeritus faculty members Charles Capwell and Isabel Wong, U of I alumnus Philip Bohlman, along with Timothy Rommen and Byron Dueck, are co-authors of the sixth edition of the widely used text for world music surveys, Excursions in World Music, published by Pearson/Prentice Hall. The first edition of this book was published in 1992.

Gabriel Solis was the recipient of honorable mention in the IPRH 2011 faculty prize for research in the humanities.

Bruno Nettl’s book of essays on the history of ethnomusicology, titled Nettl’s Elephant: On the History of Ethnomusicology, was recently published by the University of Illinois Press. He is also the author of two essays in recently published collected editions: “Music Ownership and Control in Blackfoot Culture,” in Timothy Rice, ed., Ethnomusicological Encounters with Music and Musicians: Essays in Honor of Robert Garfias (Farnham, Surrey, U.K.: Ashgate, 2011), pp. 271–82; and, co-authored with Victoria Lindsay Levine (U of I PhD in musicology, 1989), “Strophic Form and Asymmetrical Repetition in Four American Indian Songs,” in Michael Tenzer and John Roeder, ed., Analytical and Cross-Cultural Studies in World Music (Oxford University Press, 2011), pp. 288–315.

A two-volume facsimile edition of the autograph manuscript of Beethoven’s Diabelli Variations has appeared through the Bonn Beethoven-Haus, for which William Kinderman wrote the commentary (in English and German).

Gayle Magee’s recent publications include “Marketing the Voice: Opera, Film, and the Case of Robert Altman” in the journal Theatre Survey (November 2010); “Robert Altman and the New Hollywood Musical” in the book The Sound of Musicals, edited by Steven Cohan (British Film Institute, 2011); and the second edition of Charles Ives: A Research Guide (Routledge, 2010). A paperback edition of her monograph Charles Ives Reconsidered (University of Illinois Press, 2008) was issued last fall.

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