Podcasts about musicological research

In this episode, I sit down with Dr. Eric Saylor - a Professor of Music History at Drake University, the He is the author of English Pastoral Music: From Arcadia to Utopia, 1900–1955. His articles and reviews have been published in the Journal of the Royal Musical Association, The Musical Quarterly, The Musical Times, Musik-Konzepte, The Journal of Musicological Research, Music and Letters, the Journal of the Society for Musicology in Ireland, and Nineteenth-Century Music Review. Dr. Saylor is also the author of the Vaughan Williams entry in Oxford Bibliographies Online, contributed a chapter on Vaughan Williams's dramatic works to the Cambridge Companion to Ralph Vaughan Williams, and was a contributor to the second edition of the New Grove Dictionary of American Music. He just recently completed a Life and Works biography of Vaughan Willams for Oxford University Press's Master Musician. Today's podcast is entitled: RVW 150. This year, 2022, is the 150th anniversary of the birth of renowned English composer Ralph Vaughan Williams. To mark this occasion, Opus One will present a monumental concert on Sun, May 22 (4pm) at St John Baptist de la Salle church in Shillington, PA, entitled “A Celebration of Vaughan Williams”. The highlight of the concert will be the American premiere of "The Garden of Proserpine", a rediscovered work composed in 1899, scored for solo soprano, chorus, and a 40 piece orchestra. Other programmed works include: 6 Choral Songs to be Sung in Time of War, 5 Mystical Songs, The Voice out of the Whirlwind, and several familiar hymn tunes. For this performance, Opus One will be joined by CW's Choraliers, under the direction of Sarah McGrory, and Gov. Mifflin's Governors, under the direction of Greg Hill. Maggie Riker will serve as the soprano soloist for Garden of Proserpine and your's truly will sing the baritone solos in 5 Mystical Songs, conducted by Peter Sunderman. Tickets for the in-person event may be purchased at the door.The concert will also be available to stream online from May 26 through June 12. Please visit our website for more information - www.OpusOneChamberChoir.com Host: Christopher HosterFeatured Music:En Bateau from 'Petite Suite' by Debussy (OCTAVO's theme)*Played by Geert Ruelens and Diana Cook Selections from A Celebration of Vaughan Williams (upcoming concert) For more information about Opus One: Berks Chamber Choir, visit: www.OpusOneChamberChoir.com

The Metropolitan OperaNaomi Andre attended Westtown SchoolEric Mitchko is the General Director for the North Carolina Opera.Barnard College, Columbia UniversityThe Magic Flute is an opera by Wolfgang Amadeus Mozart.Der Rosenkavalier is a comic opera by Richard Strauss.Tatiana Troyanos was an American mezzo-soprano of Greek and German descent, remembered as "one of the defining singers of her generation" (Boston Globe).Dame Gwyneth Jones is a Welsh operatic dramatic soprano.Kathleen Battle is an American operatic soprano known for her distinctive vocal range and tone.Khovanshchina is an opera by Modest Mussorgsky.Dialogues des Carmélites is an opera, divided into twelve scenes with linking orchestral interludes, by Francis Poulenc.Manon Lescaut is an opera by Giacomo Puccini.Columbia UniversityJessye Norman is an American opera singer and recitalist.Sieglinde is a character in Die Walküre, the second of the four music dramas that constitute Richard Wagner's Der Ring des Nibelungen.Leona Mitchell is an American operatic soprano and an Oklahoma Music Hall of Fame inductee.Mimi is a character in the opera La bohème, composed by Giacomo Puccini.Martina Arroyo is an American operatic soprano who had a major international opera career from the 1960s through the 1980s. She was part of the first generation of black opera singers of Puerto Rican descent to achieve wide success, and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world.Aida is an opera by Giuseppe Verdi.Dame Kiri Te Kanawa is a New Zealand soprano.The Māori are the indigenous Polynesian people of New Zealand.Nabucco is an Italian-language opera composed in 1841 by Giuseppe Verdi.Samuel Ramey is an American operatic bass.Andrea Gruber is an American dramatic soprano particularly admired for her interpretations of the works of Puccini, Verdi, and Wagner.James Levine is an American conductor and pianist. He is primarily known for his tenure as Music Director of the Metropolitan Opera, a position he held for 40 years.Alfred Walker is an American operatic bass-baritone.Michèle Crider is an American lirico spinto operatic soprano.Mark Rucker, baritone, serves as professor of voice at MSU's College of Music.Porgy and Bess is an English-language opera by the American composer George Gershwin.Fidelio is Ludwig van Beethoven's only opera.Marian Anderson was an American contralto singer, one of the most celebrated of the twentieth century.Elizabeth Taylor Greenfield, dubbed "The Black Swan" (a play on Jenny Lind's sobriquet, "The Swedish Nightingale”, was an African-American singer considered the best-known black concert artist of her time.James Alan Bland, also known as Jimmy Bland, was an African-American musician and song writer.Thomas Dartmouth Rice, known professionally as Daddy Rice, was an American performer and playwright who performed blackface and used African American vernacular speech, song and dance to become one of the most popular minstrel show entertainers of his time."Oh, Dem Golden Slippers" is a popular song commonly sung by blackface performers in the 19th century.Prada S.p.A. is an Italian luxury fashion house, specializing in leather handbags, travel accessories, shoes, ready-to-wear, perfumes and other fashion accessories, founded in 1913 by Mario Prada.Gucci is an Italian luxury brand of fashion and leather goods. Gucci was founded by Guccio Gucci in Florence, Tuscany, in 1921.Ralph Shearer Northam is an American politician and physician serving as the Governor of Virginia.Matilda Sissieretta Joyner Jones, known as Sissieretta Jones, was an American soprano. She sometimes was called "The Black Patti", a reference to Italian opera singer Adelina Patti.The Daughters of the American Revolution is a lineage-based membership service organization for women who are directly descended from a person involved in the United States' efforts towards independence.Eleanor Roosevelt was an American political figure, diplomat and activist, and served as First Lady of the United States.Rosa Parks was an American activist in the civil rights movement best known for her pivotal role in the Montgomery bus boycott.Mattiwilda Dobbs was an African-American coloratura soprano and one of the first black singers to enjoy a major international career in opera.Lillian Evanti was an African-American opera singer.Mary Lucinda Cardwell Dawson was an African-American musician and teacher and the founding director of the National Negro Opera Company.Theodore Drury, born in Kentucky, was a singer and music promoter.Dr. Kristen Turner’s work has been published in the Journal of the Society for American Music, and the Journal of Musicological Research. Her research interests are in 19th century opera, 19th and 20th century American musical culture, African American music, music and politics, and music and gender.Sir Rudolf Bing, KBE was an Austrian-born opera impresario who worked in Germany, the United Kingdom and the United States, most notably as General Manager of the Metropolitan Opera in New York City from 1950 to 1972.Ulrica is a character in the opera Un ballo in maschera, an opera by Giuseppe Verdi.RCA Studio B is a music recording studio in Nashville, Tennessee built in 1956. Originally known simply by the name “RCA Studios”, it became known in the 1960s for being an essential factor to the development of the production style and technique known as the Nashville Sound.“O don fatale” is an aria from the opera Les Troyens, a French grand opera by Hector Berlioz.Dom Sébastien, Roi de Portugal is a French grand opera by Gaetano Donizetti.Leontyne Price is an American soprano. She rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer, or prima donna, at the Metropolitan Opera, and one of the most popular American classical singers of her generation.The Julliard SchoolWilliam Warfield was an American concert bass-baritone singer and actor.Alice Ford is a character in the opera Falstaff.Donna Anna is a character in the opera Don Giovanni.Franco Corelli was an Italian tenor who had a major international opera career between 1951 and 1976.Il Trovatore is an opera by Giuseppe Verdi.Madame Butterfly is an opera by Giacomo Puccini.Liù is a character in the opera Turandot by Giacomo Puccini.The Messa da Requiem is a musical setting of the Catholic funeral mass (Requiem) for four soloists, double choir and orchestra by Giuseppe Verdi.Joe is a character in the musical Show Boat by Jerome Kern.La Scala is an opera house in Milan, Italy.Otello is an opera by Giuseppe Verdi.Atlanta Symphony OrchestraRussell Thomas is an American operatic tenor.Robert Spano is an American conductor and pianist.The Gershwin Initiative at the University of MichiganHouston Grand OperaLyric Opera of ChicagoFrancesca Zambello is an American opera and theatre director. She serves as General Director of The Glimmerglass Festival and Artistic Director of the Washington National Opera.The Neil Simon Theatre, formerly the Alvin Theatre, is a Broadway venue built in 1927.Götterdämmerung is the last in Richard Wagner's cycle of four music dramas titled Der Ring des Nibelungen.Treemonisha is an opera by African-American composer Scott Joplin, who is most noted for his ragtime piano works.Harry Lawrence Freeman was a United States opera composer, conductor, impresario and teacher. He was the first African-American to write an opera (Epthalia, 1891) that was successfully produced.Voodoo is an opera in three acts with music and libretto by Harry Lawrence Freeman.William Menefield is a Cincinnati-born composer. How work Fierce will be premiered by the Cincinnati Opera in 2020.Sheila Williams is the author of Dancing on the Edge of the Roof, On the Right Side of a Dream, The Shade of My Own Tree and Girls Most Likely.

Microhistories are an important method of investigating an historical moment with a fine-grain focus that can puncture holes in the generalizations that historians sometimes make. In her new book, Charleston Belles Abroad: The Music Collections of Harriet Lowndes, Henrietta Aiken, and Louis Rebecca McCord (University of South Carolina Press, 2019), Candace L. Bailey uses a close reading of the music owned and performed by three prominent women in antebellum Charleston to demonstrate the varied experiences and perspectives of figures who also had much in common. All three women were sophisticated, well-traveled, and moved in the highest social circles of the planter class in Charleston. Yet, each woman had unique educational backgrounds, upbringings, and musical choices. They all experienced the Civil War and its aftermath quite differently. Rather than confining herself simply to an analysis of the musical repertoire each woman owned, Bailey examines the scores with the attention often reserved for Medieval manuscripts to discern the implications of the publishers, source of the scores, and the handwritten markings left by her subjects as they learned the music. She thoroughly contextualizes the collections within the time period, the milieu of upper-class Southern women, the history of Charleston, and, most importantly, the lives of the three women as evidenced by other documents they and those in their circle left behind. In doing so, Bailey reminds us that we must balance studying sweeping historical trends with the lived experiences of individuals. Candace Bailey is a Professor of Music at North Carolina Central University. She began her career studying seventeenth-century British keyboard music, but in the last decade has devoted much of her research time to the role of music among middle- and upper-class women in the Southern United States during the nineteenth century. Charleston Belles Abroad is her third book, and she has published articles in many journals including the Journal for the Society for American Music, Music & Letters, and the Journal for Musicological Research. In 2015, she received a National Endowment for the Humanities Award for Faculty at Historically Black Colleges and Universities. She will be a Fellow of the National Humanities Center for the 2019–2020 academic year. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Microhistories are an important method of investigating an historical moment with a fine-grain focus that can puncture holes in the generalizations that historians sometimes make. In her new book, Charleston Belles Abroad: The Music Collections of Harriet Lowndes, Henrietta Aiken, and Louis Rebecca McCord (University of South Carolina Press, 2019), Candace L. Bailey uses a close reading of the music owned and performed by three prominent women in antebellum Charleston to demonstrate the varied experiences and perspectives of figures who also had much in common. All three women were sophisticated, well-traveled, and moved in the highest social circles of the planter class in Charleston. Yet, each woman had unique educational backgrounds, upbringings, and musical choices. They all experienced the Civil War and its aftermath quite differently. Rather than confining herself simply to an analysis of the musical repertoire each woman owned, Bailey examines the scores with the attention often reserved for Medieval manuscripts to discern the implications of the publishers, source of the scores, and the handwritten markings left by her subjects as they learned the music. She thoroughly contextualizes the collections within the time period, the milieu of upper-class Southern women, the history of Charleston, and, most importantly, the lives of the three women as evidenced by other documents they and those in their circle left behind. In doing so, Bailey reminds us that we must balance studying sweeping historical trends with the lived experiences of individuals. Candace Bailey is a Professor of Music at North Carolina Central University. She began her career studying seventeenth-century British keyboard music, but in the last decade has devoted much of her research time to the role of music among middle- and upper-class women in the Southern United States during the nineteenth century. Charleston Belles Abroad is her third book, and she has published articles in many journals including the Journal for the Society for American Music, Music & Letters, and the Journal for Musicological Research. In 2015, she received a National Endowment for the Humanities Award for Faculty at Historically Black Colleges and Universities. She will be a Fellow of the National Humanities Center for the 2019–2020 academic year. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Microhistories are an important method of investigating an historical moment with a fine-grain focus that can puncture holes in the generalizations that historians sometimes make. In her new book, Charleston Belles Abroad: The Music Collections of Harriet Lowndes, Henrietta Aiken, and Louis Rebecca McCord (University of South Carolina Press, 2019), Candace L. Bailey uses a close reading of the music owned and performed by three prominent women in antebellum Charleston to demonstrate the varied experiences and perspectives of figures who also had much in common. All three women were sophisticated, well-traveled, and moved in the highest social circles of the planter class in Charleston. Yet, each woman had unique educational backgrounds, upbringings, and musical choices. They all experienced the Civil War and its aftermath quite differently. Rather than confining herself simply to an analysis of the musical repertoire each woman owned, Bailey examines the scores with the attention often reserved for Medieval manuscripts to discern the implications of the publishers, source of the scores, and the handwritten markings left by her subjects as they learned the music. She thoroughly contextualizes the collections within the time period, the milieu of upper-class Southern women, the history of Charleston, and, most importantly, the lives of the three women as evidenced by other documents they and those in their circle left behind. In doing so, Bailey reminds us that we must balance studying sweeping historical trends with the lived experiences of individuals. Candace Bailey is a Professor of Music at North Carolina Central University. She began her career studying seventeenth-century British keyboard music, but in the last decade has devoted much of her research time to the role of music among middle- and upper-class women in the Southern United States during the nineteenth century. Charleston Belles Abroad is her third book, and she has published articles in many journals including the Journal for the Society for American Music, Music & Letters, and the Journal for Musicological Research. In 2015, she received a National Endowment for the Humanities Award for Faculty at Historically Black Colleges and Universities. She will be a Fellow of the National Humanities Center for the 2019–2020 academic year. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Microhistories are an important method of investigating an historical moment with a fine-grain focus that can puncture holes in the generalizations that historians sometimes make. In her new book, Charleston Belles Abroad: The Music Collections of Harriet Lowndes, Henrietta Aiken, and Louis Rebecca McCord (University of South Carolina Press, 2019), Candace L. Bailey uses a close reading of the music owned and performed by three prominent women in antebellum Charleston to demonstrate the varied experiences and perspectives of figures who also had much in common. All three women were sophisticated, well-traveled, and moved in the highest social circles of the planter class in Charleston. Yet, each woman had unique educational backgrounds, upbringings, and musical choices. They all experienced the Civil War and its aftermath quite differently. Rather than confining herself simply to an analysis of the musical repertoire each woman owned, Bailey examines the scores with the attention often reserved for Medieval manuscripts to discern the implications of the publishers, source of the scores, and the handwritten markings left by her subjects as they learned the music. She thoroughly contextualizes the collections within the time period, the milieu of upper-class Southern women, the history of Charleston, and, most importantly, the lives of the three women as evidenced by other documents they and those in their circle left behind. In doing so, Bailey reminds us that we must balance studying sweeping historical trends with the lived experiences of individuals. Candace Bailey is a Professor of Music at North Carolina Central University. She began her career studying seventeenth-century British keyboard music, but in the last decade has devoted much of her research time to the role of music among middle- and upper-class women in the Southern United States during the nineteenth century. Charleston Belles Abroad is her third book, and she has published articles in many journals including the Journal for the Society for American Music, Music & Letters, and the Journal for Musicological Research. In 2015, she received a National Endowment for the Humanities Award for Faculty at Historically Black Colleges and Universities. She will be a Fellow of the National Humanities Center for the 2019–2020 academic year. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Microhistories are an important method of investigating an historical moment with a fine-grain focus that can puncture holes in the generalizations that historians sometimes make. In her new book, Charleston Belles Abroad: The Music Collections of Harriet Lowndes, Henrietta Aiken, and Louis Rebecca McCord (University of South Carolina Press, 2019), Candace L. Bailey uses a close reading of the music owned and performed by three prominent women in antebellum Charleston to demonstrate the varied experiences and perspectives of figures who also had much in common. All three women were sophisticated, well-traveled, and moved in the highest social circles of the planter class in Charleston. Yet, each woman had unique educational backgrounds, upbringings, and musical choices. They all experienced the Civil War and its aftermath quite differently. Rather than confining herself simply to an analysis of the musical repertoire each woman owned, Bailey examines the scores with the attention often reserved for Medieval manuscripts to discern the implications of the publishers, source of the scores, and the handwritten markings left by her subjects as they learned the music. She thoroughly contextualizes the collections within the time period, the milieu of upper-class Southern women, the history of Charleston, and, most importantly, the lives of the three women as evidenced by other documents they and those in their circle left behind. In doing so, Bailey reminds us that we must balance studying sweeping historical trends with the lived experiences of individuals. Candace Bailey is a Professor of Music at North Carolina Central University. She began her career studying seventeenth-century British keyboard music, but in the last decade has devoted much of her research time to the role of music among middle- and upper-class women in the Southern United States during the nineteenth century. Charleston Belles Abroad is her third book, and she has published articles in many journals including the Journal for the Society for American Music, Music & Letters, and the Journal for Musicological Research. In 2015, she received a National Endowment for the Humanities Award for Faculty at Historically Black Colleges and Universities. She will be a Fellow of the National Humanities Center for the 2019–2020 academic year. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Microhistories are an important method of investigating an historical moment with a fine-grain focus that can puncture holes in the generalizations that historians sometimes make. In her new book, Charleston Belles Abroad: The Music Collections of Harriet Lowndes, Henrietta Aiken, and Louis Rebecca McCord (University of South Carolina Press, 2019), Candace L. Bailey uses a close reading of the music owned and performed by three prominent women in antebellum Charleston to demonstrate the varied experiences and perspectives of figures who also had much in common. All three women were sophisticated, well-traveled, and moved in the highest social circles of the planter class in Charleston. Yet, each woman had unique educational backgrounds, upbringings, and musical choices. They all experienced the Civil War and its aftermath quite differently. Rather than confining herself simply to an analysis of the musical repertoire each woman owned, Bailey examines the scores with the attention often reserved for Medieval manuscripts to discern the implications of the publishers, source of the scores, and the handwritten markings left by her subjects as they learned the music. She thoroughly contextualizes the collections within the time period, the milieu of upper-class Southern women, the history of Charleston, and, most importantly, the lives of the three women as evidenced by other documents they and those in their circle left behind. In doing so, Bailey reminds us that we must balance studying sweeping historical trends with the lived experiences of individuals. Candace Bailey is a Professor of Music at North Carolina Central University. She began her career studying seventeenth-century British keyboard music, but in the last decade has devoted much of her research time to the role of music among middle- and upper-class women in the Southern United States during the nineteenth century. Charleston Belles Abroad is her third book, and she has published articles in many journals including the Journal for the Society for American Music, Music & Letters, and the Journal for Musicological Research. In 2015, she received a National Endowment for the Humanities Award for Faculty at Historically Black Colleges and Universities. She will be a Fellow of the National Humanities Center for the 2019–2020 academic year. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber's new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women's clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices