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Daniel
Beller-McKenna is Associate Professor of Music at UNH. His research has
focused on Brahms, including his 2004 Brahms
and the German Spirit, a book on nationalism and religion in
Brahms’s music. Beller-McKenna has published articles on Brahms and on
John Lennon in 19th-Century Music,
Journal of Musicology, Music and Letters, Journal of Musicological Research,
Current Musicology, and the New
York Times, and he has contributed chapters to volumes from
Cambridge University Press, W. W. Norton, and University of Nebraska Press.
Currently he is writing a book on Brahms and nostalgia and preparing various
projects related to the intersection country and rock music around 1970.
Beller-McKenna serves on the Board of Directors of the American Brahms
Society, of which he was President from 2001-2007.
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Robert
W. Eshbach is Associate Professor of music at
UNH ,where he teaches violin and viola, music literature, and coaches chamber music. He studied violin, music history,
and German studies at Yale University, the Vienna Conservatory in Austria, and
the New England Conservatory. His teachers have included Marianne Pashler, Broadus Erle, Walter Barylli, and Eric Rosenblith.
He has studied chamber music with Paul Doktor and
Eugene Lehner. Prof. Eshbach
has performed as concerto soloist, recitalist and chamber musician in the US and Europe.
He was a founding member of the ProArte Chamber
Orchestra of Boston. Eshbachis the author of
several articles on Joseph Joachim, on whom he is currently writing a
biography.
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Marjorie
Hirsch is Associate Professor of Music at Williams College,
where she teaches courses in eighteenth- and nineteenth-century music.
Professor Hirsch earned her doctorate from Yale University.
Her book Schubert’s Dramatic Lieder (Cambridge University Press, 1993)
examines Schubert’s introduction of dramatic poetic and musical traits
within his solo song settings. Hirsch’s second book, Romantic Lieder
and the Search for Lost Paradise (CUP, 2008), explores manifestations of the
archetypal myth of lost paradise in songs by Schubert and other
nineteenth-century composers, with emphasis on works conveying nostalgia for
classical antiquity, childhood, and folk song.
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Tobias
Huenermann, born in Dernbach
(Rhineland-Palatinate) in 1980, studied musicology, German literature and
philosophy at the University
of Cologne, finishing
the program with a master’s degree in July 2007. From 2003 to 2007 he
was a collaborator in the research project for cultural studies Media and
Cultural Communication (SFB/FK 427) whose musicological division dealt with
electro-acoustic transformations of music since 1950. His master’s thesis
on Luciano Berio’s Coro (1975-76) was
awarded the Prize of the Faculty of Philosophy. As a Fulbright grantee he is
currently continuing his musicological studies at the University
of New Hampshire in Durham. In his research he addresses
compositional, analytical and aesthetical questions of twentieth-century
music, focusing particularly on the analysis of both electro-acoustic and
recent instrumental/vocal music as well as the connections between
musicological research and present media theory.
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Benjamin
Korstvedt is Associate Professor of Music and
Chair of the Department of Visual and Performing Arts at Clark University.
In 2007 he was a senior fellow at the Internationales
Forschungszentrum Kulturwissenschaften
in Vienna, where he worked on a project entitled
"Reading Music Criticism beyond the 'fin-de-siécle
Vienna'
Paradigm". Currently he is Vice President of the Haydn Society of North
America. His publications include a monograph on Bruckner's 8th Symphony
(Cambridge, 2000), a critical edition of the 1888 version of Bruckner's
Fourth Symphony for the Bruckner collected works edition (Vienna, 2004), as
well as articles on Bruckner scholarship in the Third Reich, issues of
textual criticism, and Wagner reception by the German left. His current
projects include a book entitled Listening for Utopia in Ernst Bloch's
Musical Philosophy (Cambridge).
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Ryan
Minor's research focuses on nineteenth-century German music, with
emphasis on opera, choral music, and music's participation in the public sphere;
his interests also encompass analysis and hermeneutics, dramaturgy, and
nationalism. His recent and forthcoming publications (Cambridge Opera
Journal, 19th-Century Music, Liszt and his World) have focused in particular
on the aesthetic and political trajectories of the chorus within the changing
landscapes of German musical culture in the nineteenth century. He has also
written on recent Wagner scholarship, and recently co-organized a conference
on Parsifal. He is currently working on a book exploring the musical and
political resonance of the chorus in nineteenth-century Germany. His
teaching interests include music and art-religion; Brahms, Wagner, and
Bruckner; Lieder; aesthetics of the sublime and the monumental; and recent
approaches to musical analysis.
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Jacquelyn Sholes expects to receive
her Ph.D. this May from Brandeis
University. Her
dissertation, entitled "'Transcendence,' 'Loss,' and 'Reminiscence':
Brahms's Early Finales in the Contexts of Form, Narrative, and
Historicism," has been completed with a Karl Geiringer Scholarship from the
American Brahms Society and a Phyllis Redstone Dissertation Fellowship from
Brandeis. Previously, Jacquelyn earned a B.A. summa cum laude in Music and
Math from Wellesley
College and studied
Piano at The New England Conservatory. She has held teaching appointments at
the University of Massachusetts / Boston
and Brandeis University
and has worked as a head teaching assistant at Harvard University.
In 2008-09, she will be a visiting assistant professor at Williams College.
The paper she presents at this symposium serves as subject matter for an
article currently in preparation.
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