The Idea of Canon in the Twenty-First Century 

September 22-23, 2018

All events are free and open to the public!

Final Program (abstracts available here

Saturday, September 22:

9:-10:30: Canon and the (Un)Making of Genre

Marta Beszterda, McGill University: “New Music Canon in (Post)-Communist Poland: Composers, Gender, and the Nation"

Marian Wilson Kimber, University of Iowa: “American Women’s Concerts and the Idea of a Middlebrow Canon”

Kate Storhoff, Wake Forest University: “Confronting Greatness: Canonic Aspirations of the American Wind Ensemble”

11-1:00: Canonic Conversions

Elena Dubinets, Seattle Symphony: “Russian Music and Beyond: Ethnic Canon as an Opportunistic Tool”

Paula Harper, Columbia University: “‘Substance and Profundity’: Groupmuse, the Gig Economy, and Classical Music in the 21st Century”

Robert Fink, UCLA: “Musical Canon as Dataset”

James Currie, University at Buffalo: “The Inoperative Canon”

2-3:30: Musical Creation and Canonic Aspiration

 Amanda L. Scherbenske, Eugene Lang College: “Becoming Composers: Jazz, Improviser-Composers, and Crossover”

Kiersten van Vliet, McGill University: “Democratizing the Canon: André Mathieu, Québécois Nationalism, and the Neo-Romantic Turn”

Jacquelyn Sholes, Central Connecticut State University: “The Canon as Challenge to Iconic and Obscure Composers Alike: Case Studies in Brahms and Jenner”

4:15-6:00: Keynote Address
Leonora Saavedra, University of California, Riverside: "Whose Canon? A View From Mexico"

For decades musicologists have addressed, attacked or deconstructed the canon of Western art music. Yet the canonic fantasy remains steadfast. Any attempts to eradicate it face heated, emotional responses. This talk presents a different perspective, one that provincializes Europe and positions us as scholars of the American continent. I address the canon’s origins and widespread expansion as products of colonialism and nationalism. I examine the ontology and epistemology implicit in the canon, and their impact on the historiographical premises of our historical narratives. I will then present a view from Mexico that will help to clarify the perspective I take on these matters.

Sunday, September 23:

9-10:30: The Materials of Canon

Stephen Meyer, University of Cincinnati “‘Leaving the Wolf’s Glen’: Measuring Decanonization in the Digital Age”

Sophie Lewis, Princeton University: “Unpacking the Archive of the International Music Score Library Project”

Peter Mondelli, University of North Texas: “The Musical Canon as Capitalist Commodity: Outlining a 200-Year History”

11-1:00: Locating Canon

Denise Von Glahn, Florida State University: “Institutional Imprimaturs, Intellectual Knighthoods: The Role of the John Simon Guggenheim Memorial Foundation in American Musical Canon Formation”

Dale Chapman, Bates College: “‘Pulitzer Kenny’: Contemporary Black Music and the Western Canon”

Seth Brodsky, University of Chicago: “Canon, Carters, TIDAL, Power”

William Weber, California State University, Long Beach: "Toward a Conceptual Vocabulary for Rethinking the Nature of Musical Canons”

1:00-3:00: Lunch and wrap-up conversation