Updated January 2011
Roster of Classicists with Backgrounds in Musical Performance and the History of Music
The colleagues listed below are willing to share their expertise in both music and classical antiquity with individuals writing or performing musical works that are set in the ancient Greco-Roman world, draw on ancient Greek ad Latin literary texts, or feature clasical figures and themes.
D’Angour, Armand, Fellow and Tutor in Classics, Jesus College Oxford (email@example.com)
I studied piano and cello jointly at the Royal College of Music in London (1976–1979, with Anna Shuttleworth and Angus Morrison), obtaining an ARCM, before going on to do my Classics degree at Oxford. I then worked for two years as a professional cellist, playing solo recitals in Europe and in occasional groups, and taking lessons in baroque cello (with the Dutch virtuoso Anner Bylsma). I continue to play both cello and piano and to give concerts and recitals. Ancient Greek music is one of my areas of research, and I recently supervised a forthcoming publication by Stuart Lyons on Music in the Odes of Horace, which considers ancient Roman musical practices and presents medieval musical settings of Horatian odes.
Dorf, Samuel N., University of Victoria (firstname.lastname@example.org)
Samuel N. Dorf recently received his PhD in musicology at Northwestern University. His dissertation, titled “Listening between the Classical and the Sensual: Neoclassicism in Parisian Music and Dance Culture, 1870–1935,” focuses on three separate types of musical, visual, and choreographic representations of ancient Greek fantasies (erotic and Orientalist, ascetic and Hellenistic, and those that claim to be scientifically authentic reconstructions, or “authentistic” performances of ancient Greek music and dance). He is currently working on a book project, Imagining and Performing Greek Antiquity in Parisian Music and Dance Culture, 1890–1935, which will explore the collaborations between classicists, philologists, and archaeologists studying Greek antiquity and arts patrons, composers, choreographers, dancers, and musicians involved in the reconstruction of ancient Greek music, drama and dance in the first decades of the twentieth century. Building upon current scholarship on historical reenactments (particularly the work of Vanessa Agnew), the book examines these performances and the philosophies, social networks, technologies and scholarship that created them.
He has published on representations of Sappho in fin-de-siècle Parisian opera and ballet, the reception of Isadora Duncan’s “Greek” dances, Erik Satie’s neoclassicism in Socrate (1918), and is currently collecting essays for a special issue of the journal Opera Quarterly on performances of antiquity. Last year he was invited to give a paper at Harvard University’s centennial celebration of Diaghilev’s Ballets Russes, where he presented on the company’s works evoking ancient Greece. He has shared his work at international symposia and conferences in a variety of fields: musicology, dance history, literary studies, and archaeology.
Ewans, Michael, Professor of Drama and Music in the School of Drama, Fine Art and Music, University of Newcastle, Australia (Michael.Ewans@newcastle.edu.au)
Michael Ewans (MA Oxford, PhD Cambridge) specializes in directing plays and chamber operas, translating Greek tragedy and comedy, and writing books and articles which explore how operas and dramas work in the theatre. He is the author of JanáÄek’s Tragic Operas,Georg Büchner’s Woyzeck,Wagner and Aeschylus, and a complete set of accurate and actable translations of Aeschylus and Sophocles in four volumes, with theatrical commentaries based on his own productions. His most recently published book is Opera from the Greek: Studies in the Poetics of Appropriation, containing eight case studies in the appropriation of material from Greek tragedy and epic by composers from Monteverdi to Mark-Antony Turnage. Aristophanes: Lysistrata, The Women’s Festivaland Frogs—in his own new translations with theatrical commentaries—is scheduled for publication by Oklahoma University Press in 2010; and he completed Aristophanes: Acharnians, Knightsand Peace in 2009. In recognition of his achievements, Michael Ewans was elected in 2005 to a Fellowship of the Australian Academy of the Humanities.
Fandl, Allison, University of Illinois at Urbana-Champaign (email@example.com)
Although I am a classicist now, my previous life was as a percussionist. In high school, I was actively involved with my own school’s ensembles, indoor and outdoor, as well as courses and lessons on music theory, violin, clarinet, guitar, piano, and voice. I also competed with drum and bugle corps over the summers. Originally, I went to college for music. At Moravian College, I excelled in theory and composition and played important percussion parts in many ensembles. Unfortunately I was quickly permanently sidelined from life as a professional musician by debilitating tendonitis. I transferred to the University of Pennsylvania to pursue a BA in Classical Studies. I joined the Penn Band and also taught on the staff of a few high school marching bands. After getting my BA (2006), I took a year off from school before returning to Penn for the post-baccalaureate program, when I decided to pursue graduate studies in the field. Now I am at the University of Illinois at Urbana-Champaign, where I am the token Hellenist in a department full of Latinist students, but, oddly enough, not the only person who knows her way around a marimba. My passion for music is secondary only to my passion for Classics, and I love teaching above all else. Anything that combines these areas is something with which I would absolutely love to be involved. I would be interested in any aspect from email questions to performance or other consultation. My specialty is mallet/keyboard percussion, but I am also quite competent with everything else under the category of percussion, such as timpani, snare drum, cymbals, marching percussion, orchestral percussion, and the fine art of playing the triangle.
Fogel, Jerise, Montclair State University (firstname.lastname@example.org)
Jerise Fogel has background and experience in piano, guitar, choral singing, and conducting. She has performed in and directed many Greek plays, both in English translation and in ancient Greek, and places great importance on the chorus and their music in ancient performance. Plays she has directed for which she solicited and taught original musical scores to the chorus, and in most cases conducted, sang and/or accompanied the chorus instrumentally, include: Sophocles’ Trachiniai (1993; in Greek; music by John Roe, based on ancient Greek modes), Euripides’ Trojan Women (2005; in English; outdoor production; music by Mark Zanter), Euripides’ Hippolytus (2006; in English; outdoor production; music adapted by Jerise from Greek and Macedonian folk songs), Euripides’ Phoenician Women (1998; in English; outdoor production; music by Erika Stark); Euripides’ Iphigenia among the Taurians (2004; in English; music composed and accompanied by Raed Shaik on oud and Farouk Radhwan on tabla). She has also organized a Sapphophest (2002; NYC) that included original and older musical settings of Sappho’s poetry. Jerise lives in NYC and would be delighted to share whatever she knows with ancient music enthusiasts.
Franklin, John, University of Vermont (John.Franklin@uvm.edu)
John Franklin holds a B.M(us). in Composition form the New England Conservatory of Music (1988), where he also specialized in electronic music, including a one-year student stint at the MIT Media Lab. I hold an MA in Classics (1995) from the University of Washington, and a PhD in Classics from University College London (2002). Most of my published work concerns Ancient Greek music, Near Eastern music, and the cultural interface between the two, from the Bronze Age through the Hellenistic period. I have been a member of the International Study Group for Music Archaeology since 2000. I continue to compose, producing among other things two musical “recompositions” of Greek dramas: Aeschylus Libation Bearers at King’s College London (1999), part of the Eleventh London Festival of Greek Drama; and Aristophanes Clouds, Edinburgh Fringe (2000) and American Academy in Rome (2001). I have also produced a CD of my ancient music impressions, The Cyprosyrian Girl: Hits of the Ancient Hellenes. I am currently teaching an honors seminar called “In Search of the Lost Chord: Introduction to Music Archaeology.” Publications and CV at https://vermont.academia.edu/johnfranklin.
Gagliardi, Filomena, Italian Institute of Historical Studies, Naples (email@example.com)
I graduated at the University of Macerata with a degree in Classics. The title of my thesis was «L’estetica musicale di Aristotele: studio del trattato “περá½¶μουσικá¿†ς” all’interno di Politica VIII». The thesis was primarily based upon a philological approach. In addition, it covered interdisciplinary issues. I emphasized the different functions that the Stagirite assigns to the musical subject in the context of state education.
I have also compared the text of Politica with other Aristotelian and non-Aristotelian works, concerning not only the subject of music strictu sensu, but also the theme of sound and of listening in general. Through the analysis of Aristotelian texts, I have noticed that they represent an excellent source in order to study the history of Greek music.
My research in this field has been broadened by my attendance of a course on the history of Greek music (academic year 2006/2007). This course of lectures was given at the University of Macerata by Professor Marcello La Matina, who was examiner for my graduate thesis. He also asked me to give a lecture in his course during the academic year 2008–2009.
I joined Moisa, an association that studies Greek-Roman music and on behalf of that association I was invited to present a poster at the annual conference that took place in Ravenna in October 2009. I attended (on 25th–28th May 2009) the seminar given by Professor A. Barker titled “Sulla musica antica fra Grecia e Vicino Oriente” that was part of the research doctorate in Geopolitics and Mediterranean Cultures, at the SUM centre in Naples.
As a grant recipient, I am continuing my research on Greek music, in particular on Aristotle, at the Italian Institute of Historical Studies (Naples) for the academic year 2009-2010.
Gloyn, Liz, Rutgers, the State University of New Jersey (firstname.lastname@example.org)
Liz Gloyn is a PhD candidate at Rutgers, the State University of New Jersey. Her dissertation is titled “Seneca and the ethics of the family”; her broader research interests include Latin literature of the early imperial period, gender and the family in the ancient world, the Roman philosophers and the reception of classics.
Liz is a singer in the bel canto tradition, and currently studies with Evelyn Reynolds in New York. She has also sung with many church choirs, most recently at Christ Church in New Brunswick, N.J. She is hoping to take her ABRSM Grade 8 examination in 2011.
Henson, Beau (email@example.com)
Beau Henson graduated from Vanderbilt University in2007 with a BA in Classical Languages and a minor in acting/directing. He then went on to earn a Master of Performance degree in musical theatre from the Royal Scottish Academy of Music and Drama in 2008. Topics of concentration during his undergraduate career included Late Republican and Early Imperial Rome with special attention paid to the career of Augustus and the works of Horace and (earlier) Catullus. He believes strongly in the teaching of Classical Studies as a vital, relevant discipline and of Latin and Ancient Greek as spoken languages. Projects in progress along these lines include AVGVSTVS, a biographical musical set against the backdrop of political upheaval and composed in American musical styles; and MYTHOS, a song cycle which places mythemes in contemporary musical styles.
Hunt, Patrick, Stanford University (firstname.lastname@example.org)
Patrick Hunt (Ph.D., UCL Institute of Archaeology, University of London 1991) is an archaeologist whose fieldwork was sponsored in 2007–2008 by the National Geographic Society’s Expedition Council. In addition, Hunt is a musician and an award-winning classical music composer with several years of awards from ASCAP (1997–2000; 2005–2009) and has been a full writer of ASCAP since 1980, with multiple published musical compositions. Among many other choral, orchestral and instrumental works, his “Songs of Exile” (1999) lieder for baritone and piano were performed several times, including at Duke University, Raleigh Center for the Arts, and in Washington, D. C. He has also performed and been recorded in movie scores and has directed early music consorts in various academic venues, including colleges. His musical training includes the San Francisco Conservatory of Music. One of Hunt’s private teachers was Clara Tietelbaum, a Juilliard student of Alexander Siloti (student of Franz Liszt, student of Carl Czerny, student of Ludwig van Beethoven). Author of nine published books, Hunt has written on ancient acoustics in Ten Discoveries that Rewrote History (Penguin/Plume, 2007) and elsewhere. Much of Hunt’s creative inspiration derives from the classical world. While a graduate student at the American School of Classical Studies, Athens, one of his graduate projects was Greek theater acoustics, especially at the Theater of Epidauros. Hunt is currently composing an opera, Byron in Greece, and arias from it have been performed in Switzerland, London and at Stanford on several occasions since 2005. He also worked with and been published by the Royal Danish Opera (Det Kongelige Teater) in 2009 on Britten’s Rape of Lucretia and has written published program notes for San Francisco Opera.
Jones-Lewis, Molly, Lecturer in Greek and Latin, The Ohio State University (email@example.com)
Molly Jones-Lewis’ primary research focus is ancient medicine. During her undergraduate years she studied recorder under Gwyn Roberts in Philadelphia and has attended and performed at the Amherst Early Music Festival and American Recorder Society workshops. She is proficient in Renaissance and Baroque performance as a player of recorder, early double reeds, and bassoon, and has a working knowledge of reading early notation. She has been a member of the Swarthmore College Baroque Ensemble and the Swarthmore a capella choir Cantatrix, an audition-only group specializing in all-female early a capella.
Kuin, Inger Neeltje, New York University (firstname.lastname@example.org)
Inger Kuin is a PhD student at New York University. She has played the cello for many years in symphony orchestras and smaller ensembles, performing mostly classical repertoire, and occasionally modern compositions. At the moment she plays regularly with the String Orchestra of Brooklyn and in a small chamber ensemble, and she is interested mostly in 19th and 20th century composers, but also in contemporary music. After completing a BA in Philosophy at the University of Amsterdam, she did an MA in Journalism and worked as a reporter and editor for a Dutch newspaper, writing on social issues and music, and as a business reporter for Dow Jones Newswires. At the New School for Social Research in New York and the University of Amsterdam she completed an MA in Philosophy, and then came to NYU via the Post-Baccalaureate program in Classics at Columbia University. She’s mostly a Hellenist, and her main interests include ancient philosophy, ancient political thought, Greek authors of the early Roman empire, ancient religion, and gender in antiquity. She's interested in sharing her knowledge of ancient literature drawing on her experience in music performance for the purpose of creating new works and productions.
Ledbetter, Grace M., Associate Professor of Classics and Philosophy, Swarthmore College (email@example.com)
Grace Ledbetter has trained as a ballet dancer with Nina Stroganova, Vladimir Dokoudovsky, and with Lori Ardis. She is an Associate Professor of Classics and Philosophy at Swarthmore College, where her current scholarly interests focus on the role of Greek mythology and ancient art in the history of ballet. She has a particular interest in neoclassical ballet and is currently at work on a book length study of Balanchine and Stravinsky’s Apollo—Apollo Dancing: The Greek Mythology of Neoclassical Ballet. Professor Ledbetter has an A. B. from Bryn Mawr College, an MA in philosophy from The University of Virginia, and a Ph. D. in Classics from Cornell University (1996). She was a Townsend Traveling Fellow at Corpus Christi College, Oxford (1994-5). She holds a joint appointment in Classics and Philosophy and specializes in Ancient Philosophy and Greek Poetry. She regularly teaches courses at all levels on Greek and Latin languages, Plato, the history of ancient philosophy, Homer, Greek tragedy, Greek lyric poetry, Greek religion, and Greek myth in 20th Century performing arts. Her book, Poetics Before Plato: Interpretation and Authority in Early Greek Theories of Poetry(Princeton University Press 2003), examines theories of poetry in the early Greek literary and philosophical traditions. She has also published articles on causation in Plato, on Achilles and Patroclus in Homer’s Iliad, on Sophocles’ Antigone, and on the Stoic theory of emotion. Ledbetter has founded, along with undergraduates, the Swarthmore student Classics journal, Hapax Legomenon. Professor Ledbetter is a regional fellow for the 2009-10 academic year at the Penn Humanities Forum. A podcast of her recent lecture, “Muses of the 20th Century: Greek Myth in Opera, Ballet, and Modern Dance,” is available at http://media.swarthmore.edu/faculty_lectures/?cat=58
Marchetti, Chris, Flint Hill School (firstname.lastname@example.org)
Dr. Christopher Marchetti teaches Latin, Greek, and Ancient History at Flint Hill School in Oakton, VA. He completed his dissertation, “AristoxenusElements of Rhythm: A Text, Translation, and Commentary,” at Rutgers University in 2009. He has given recitations of Ancient Greek and Latin lyric poetry, including Sappho, Pindar, Sophocles, Catullus and Horace for both academic and general audiences, and is currently working on a recitation of the choral odes from SophoclesAntigonein Ancient Greek and English. A full-scale production of the entire play in Greek is an eventual goal for this project.
One area of particular interest has been the use of music notation software to produce rhythm tracks for improving accuracy in recitation. Some recordings are available at www.tadorapress.com. Another area of interest is ancient Greek melodic theory and the practical exploration of microtonal music with specially strung fretted and non-fretted string instruments.
McDonald, Marianne, Professor of Theatre and Classics, University of California-San Diego (email@example.com)
Marianne McDonald, Professor of Theatre and Classics at the University of California, San Diego, a member of the Royal Irish Academy, with about 250 publications, is a pioneer in the field of modern versions of the classics, besides an award winning playwright and translator of
Classical drama. In addition to her articles and book chapters, her published books include: Euripides in Cinema: The Heart Made Visible (Centrum Press, 1983), Ancient Sun, Modern Light: Greek Drama on the Modern Stage (Columbia University Press, 1992);Sing Sorrow: Classics, History and Heroines in Opera (Greenwood, 2001); and The Living Art of Greek Tragedy (Indiana University Press, 2003); with J. Michael Walton: Amid Our Troubles: Irish Versions of Greek Tragedies (Methuen, 2002); and The Cambridge Companion to Greek and Roman Theatre (2007). Her performed translations (three a year since 1999 nationally and internationally with many published) include: Sophocles’ Antigone, dir. Athol Fugard in Ireland (1999); Trojan Women (2000 and 2009); Euripides’ Children of Heracles (2003); Sophocles’ Oedipus Tyrannus and Oedipus at Colonus (2003-4); Euripides’ Hecuba, 2005, Sophocles’ Ajax, 2006, Euripides’ Iphigenia at Aulis and Bacchae, 2006; and 2007 and 2009; Euripides’ Phoenician Women, 2009); Medea (2007); Seneca’s Thyestes (2008) and with J. Michael Walton Aeschylus’ Oresteia and Aristophanes’ Frogs (2007); Helen (2008); Orestes (2010); versions and other works : The Trojan Women (2000); Medea, Queen of Colchester (2003), The Ally Way (2004); …and then he met a woodcutter (San Diego Critics’ Circle: Best New Play of 2005), Medea: The Beginning, performed with Athol Fugard’s Jason: The End (2006); The Last Class (2007); Fires in Heaven (2009), and A Taste for Blood (2010).
Miller, Michael, The Berkshire Review for the Arts (firstname.lastname@example.org)
I acquired a keen interest in my early teens, when I studied piano, solfège, and theory with a view to conservatory studies. (I’ve remained an avid concert and opera-goer since then.) I put this on the side, however, in high school, continuing with the piano while I was an undergraduate in Classics at Harvard. At this time I was strongly attracted to classical topics of a musical nature: Greek drama and lyric, especially Pindar, on whom I wrote my undergraduate thesis. At this time I also studied musical aspects of Euripides and other topics with Christian Wolff.
After finishing my Ph.D. in Classics and an M.A. in Fine Arts at Harvard, I pursued a career in curatorial work and the art business, in which I often worked on projects concerning the classical tradition, for example Piero di Cosimo on the origins of civilization and Perino del Vaga’s Cupid and Psyche cycle in Castel S. Angelo. Meanwhile I taught courses on art history and topics related to the Classics at Oberlin, NYU, Rutgers, the New School, and Williams.
I began to write music criticism in 2006 for an online arts magazine. The following year I launched my own publication, the Berkshire Review for the Arts, for which I regularly write articles and reviews of classical music, opera, theater, and art. In the course of this I have developed a research project on Louis XIV and Cupid and Psyche.
Moore, Timothy J., John and Penelope Biggs Distinguished Professor of Classics, University of Washington in St. Louis (email@example.com)
Timothy Moore (https://classics.artsci.wustl.edu/moore) holds a B.A. in Latin and History from Millersville University and a Ph.D. in Classics from the University of North Carolina at Chapel Hill. He has performed in many plays, including ancient Greek and Roman tragedies and comedies, and he has served as a consultant for theater companies performing plays with Classical themes. The performance of ancient drama, especially its musical aspect, is one of his primary research and teaching interests. He has written numerous works on ancient and other drama, including The Theater of Plautus: Playing to the Audience, Music in Roman Comedy, a translation of Terence’s Phormio, and works on the comparison between European and Japanese comic theater. He teaches courses and has lectured widely on ancient theatrical performance and on the similarities and differences between ancient and modern theater.
Palaima, Tom, Dickson Centennial Professor of Classics, University of Texas at Austin (firstname.lastname@example.org)
Classics, ancient history, mythology and classical reception. For 15 years I have taught upper-level honors seminars on human myths of war and violence, which includes the public or folk song tradition, ancient and modern. This last year I taught a full seminar on the history of song as social criticism and commentary.
I also do public intellectual writing and book reviewing. I reviewed The Cambridge Companion to Bob Dylan for the Times Higher Education last summer (18 June 09). I have reviewed for the THE for 11 years now, usually 2-3 per year. http://www.timeshighereducation.co.uk/story.asp?sectioncode=26&storycode=406985. My feature piece on Obama's oratory, for the THE, contains a large segment on the music of Big Bill Broonzy. http://www.timeshighereducation.co.uk/story.asp?sectioncode=26&storycode=406001&c=2. URLs and PDFs on music can be found at: http://www.utexas.edu/research/pasp/publications/dylan/dylana.html. See especially “Bob Dylan: Our Homer” (March 1, 2006).
I would especially like to elaborate on the theme of Bob Dylan as an oral poet of the Homeric type and what factors lead to the freezing of a canonical text for songs and what factors go into keeping a song's form and words mutable. By his songs and his other writings and interviews, Dylan has demonstrated a serious awareness of the themes, genres and forms of classical literature (from Ovid’s Ars Amatoria and exile poetry to Thucydides and Homer). But it goes beyond knowledge to practice, both in choice of topics and themes and in spontaneous creativity and “realization,” as Greil Marcus put it, of the song form at each performance. Like Homer, also, Dylan has given rise to Homeridae, some who play almost exclusively Dylan in various styles, others who tap into Dylan's music and put their own unique interpretations of stamps upon it.
For my formal studies of classical reception, see: “Courage and Prowess Afoot in Homer and the Vietnam of Tim O’Brien,” Classical and Modern Literature 20.3 (2000): 1–22. “The Browning Version’s and Classical Greek,” in B. Amden, P. Flensted-Jensen, T.H. Nielsen, A. Schwartz, and Chr. G. Tortzen eds., Noctes Atticae. Studies in Greco-Roman Antiquity and Its Nachleben (Museum Tusculanum Press, Copenhagen 2002) 199–214.
Perris, Simon, Victoria University of Wellington (email@example.com)
Simon Perris teaches Greek and Latin languages and literature in the Classics Programme at Victoria University of Wellington. His background is classical and musical rather than theatrical: his first degree was a BMus in Composition, followed by an MA (Victoria) in Classical Studies and a DPhil (Oxon) in Classical Languages and Literature.
As an occasional poet and sometime musician, he takes a keen interest in the musopoeic side of classical reception. He learned and taught classical piano for some years and has an equal appreciation for classical music, choral music, jazz, and classic rock. He is also a proficient guitarist, drummer, and church chorister.
These days, his research interests encompass Greek poetry and the reception thereof, particularly performance and translation of Greek drama. His 2008 doctoral dissertation, “Literary Translation and Adaptation of Euripides’ Bacchae in English in the Modern Era,” was effectively a cultural history of Bacchae in the latter half of the twentieth century. He has published or forthcoming articles on performance reception theory, translation of Greek drama, and Euripides.
He would happily advise on the performance of ancient literature, especially with respect to translation and/or staging.
Pittenger, Miriam R. Pelikan, Hanover College, Indiana (firstname.lastname@example.org)
Miriam R. Pelikan Pittenger graduated with a B.A. in Classics (summa cum laude) from Yale in 1989 and went on to receive her M.A. in Greek and Ph.D. in Classics from the University of California, Berkeley in 1991 and 1997, respectively. Along the way she was a Regular Member at the American School of Classical Studies at Athens in 1993-4 and participated in the Summer Program in Archaeology at the American Academy in Rome (1994). Her dissertation, directed by Erich Gruen, has recently been published by the University of California Press under the title Contested Triumphs: Politics, Pageantry, and Performance in Livy’s Republican Rome (c. 2009). After teaching for several years at the University of Illinois at Urbana-Champaign, in 2005 she joined the faculty of Hanover College. She is also a classically trained musician, having studied both piano and voice for many years, with a lifetime of choral and solo performance, not to say opera and concert-going, behind her. She has sung with many choral ensembles both sacred (including the Battel Chapel Choir at Yale and the choir of St. Mark’s Episcopal Church, Berkeley) and secular (including the Yale Glee Club and more recently the Louisville Bach Society) and participated in amateur theatricals and light opera throughout her school years (including several productions with the Yale Gilbert & Sullivan Society). She spent an unforgettable summer at the Boston University Tanglewood Institute Young Artists Vocal Program in 1985. It should probably also be noted in this context, as part of her musical background, that although her father, Jaroslav Pelikan, is known mainly as a church historian, he also wrote a book called Bach Among the Theologians (c. 1986) and collaborated with many famous musicians during his long and storied career, including Robert Shaw, Yo-Yo Ma, and Richard Westenburg of Musica Sacra in New York City. The young Miriam was often fortunate enough to go along for the ride.
Porter, David, Tisch Family Distinguished Professor of Liberal Arts, Skidmore College (email@example.com)
David Porter taught classics and music at Carleton College from 1962–1987, serving also as Carleton’s president in 1986–1987. From 1987–1999 he was president of Skidmore College, then taught at Williams College (1999–2008) and Indiana University (2008) before returning to Skidmore in 2009, where he teaches in the classics, English, and music departments. He has given recitals and lecture-recitals throughout the United States, in Great Britain, and on radio and TV, including in recent years numerous performances of Beethoven’s Diabelli Variations, Charles Ives’ Concord Sonata, and John Cage’s Sonatas and Interludes for Prepared Piano. Porter is the author of books on Horace and on Greek tragedy and of three monographs on Virginia Woolf and Bloomsbury, and editor, with Gunther Schuller and Clara Steuermann, of The Not Quite Innocent Bystander, a book on pianist and Schoenberg colleague Edward Steuermann, with whom Porter studied 1955-62. His book On the Divide: The Many Lives of Willa Cather was published in 2008 by the University of Nebraska Press, and Seeking Live Whole. Willa Cather and the Brewsters, co-authored with Lucy Marks of Drew University, appeared in 2009.
Prince, Cashman Kerr, Visiting Lecturer in Classical Studies, Wellesley College (firstname.lastname@example.org)
Cashman Kerr Prince holds a Ph.D. from Stanford in Classics with a minor in Comparative Literature, as well as a Diplôme d’Études Approfondies from Université de Paris-8 in French and Comparative Literature. He has also studied at the American School for Classical Studies (Athens) and at the École Normale Supérieure (Paris) where he studied opera and literature with Madame Béatrice Didier. Musically, he has sung in different choirs and is a cellist of some accomplishment (including study at the Washington Conservatory of Music with Ben Wensel). Currently he plays in the Wellesley-Brandeis Orchestra and the Wellesley Chamber Music Society. Among his publications is a forthcoming article in the International Journal of the Classical Tradition on polyphonic perversity in Widl/Mozart’s Apollo et Hyacinthus. Work in progress includes a study of queer French receptions of the Classics—including Gide, Louÿs (especially the Chansons de Bilitis), Cocteau, and Yourcenar—and a study of nineteenth to twenty-first century musical settings of Sappho (with papers presented on operas of Pacini and Gounod, and song-settings by Obermüller and Salonen).
Prins, Yopie, Professor of English and Comparative Literature, University of Michigan (email@example.com)
Yopie Prins is a founding member of “Contexts for Classics,” an interdepartmental faculty consortium that is part of the International Classical Reception Studies Network. She also serves on the board for the “Classical Receptions” journal, the APA “Committee on the Classical Tradition,” and the MLA Group on “Classical Studies and Modern Literature.” Specializing in Victorian literature and nineteenth-century Hellenism, she is the author of Victorian Sappho (Princeton 1999) and Ladies’ Greek (Princeton, forthcoming). Her other publications include several articles on music, including “Sappho Recomposed” in The Figure of Music in Nineteenth Poetry (Palgrave 2005). She plays the oboe and is currently writing a book about meter and music in Victorian poetry.
Rocchio, Josh (firstname.lastname@example.org)
My credentials as pertain to the world of Classics and Classical arts include both a B.A. and an M.A. in Latin and Greek. In the final year of my M.A, the APA honored me with an award for graduate student of the year. I have taught Classical mythology and Latin both at University of Maryland and in public schools. I teach spoken Latin as often as possible including but not solely in connection with SALVI. My contribution to Vicipaedia, the Latin version of Wikipedia, hovers at 15–20 hours a week, the fruits of which have been described in the Wall Street Journal.
My credentials in music include an undergraduate degree and 20 years of playing history on strings, percussion, guitar, piano, and voice. I also have extensive experience as a composer.
As a natural consequence of my interest in spoken Latin and my work at Vicipaedia, and due to the sizable difference between the spoken idiom and the type of language necessary for writing an encyclopedia, lexicography has become a major interest of mine. I especially hoard words and phrases for concepts considered outside the normal canon of Latin literature. This includes deep familiarity with terminology not only pertaining to instrumentation and musical theory, but also the mathematics and physics with which the medievalists, Renaissance writers, and later Neo-Latin authors described the ancient arts.
My interest in music is admittedly more modern, owing to the fact that there are inadequate records of what music actually sounded like in the ancient world. Thus while it is difficult to carry mp3s of Pythagorean modes on my iPod, I know well, as an ardent fan of Classical music, the many musical interpretations of Greek and Roman themes in modern times.
Rogers, Brett, Assistant Professor of Classics and Women, Gender, & Sexuality Studies, Gettysburg College (email@example.com)
An actor since the age of six and a musician since his reckless teens, Brett is a singer and multi-instrumentalist who plays guitar, bass, keyboards, and drums (the latter rather badly). A devotée of both classical antiquity and modern popular culture, Brett has often combined these two interests in both theater and music. In 1997, he co-wrote, co-directed, and did sound design for The Traditionally Badly Titled HUM 110 Play, a sophomoric parody of the Reed College Humanities curriculum. In 1999, his band The Atomic Swerve (named in honor of Lucretius’ clinamen) released its one and only album Giant Planet-Eating Robots, which included the antiquity-inspired pop songs “Greek Top Forty,” “Ancient Greek Astronauts,” and “Lefty Scaevola” (the latter once hailed by Professor James O’Hara as quite possibly the best song ever written about Gaius Mucius Scaevola).
Brett’s songwriting has strayed from antiquity, and he currently plays in the Gettysburg Pirate Orchestra (whose first album comes out October 29th). However, Brett maintains an active interest in the reception of classical antiquity in modern popular music. Brett also continues to work in theater, acting as dramaturg for Trojan Women (2007), khorêgos/director for Lysistrata (2009), guest director for Orestes (2010), and acting and singing in the CAMP productions of Cyclops (2008) and Thersites (2009).
In his more respectable professional guise, Brett writes on archaic Greek poetry, classical Greek and Roman drama, mythology, and ancient education. Brett remains interested in exploring ancient music, as well as the use of music and sound design in ancient and modern theatrical productions.
Ryan, Cressida, Oxford University (firstname.lastname@example.org)
I first worked on opera and Greek tragedy during my MPhil in 2001–2002 (under Simon Goldhill), when I studied Stravinsky’s Oedipus Rex and Lee Breuer / Bob Telson’s The Gospel at Colonus. I have also worked on Mark-Anthony Turnage’s Greek and Handel’s Serse.
The final chapter of my PhD (to be submitted April 2010) focuses on Antonio Sacchini’s opera Oedipe a Colone. I study both the libretto and the score, providing a musicological reading of the opera as well as a reading of its more obvious Sophoclean resonances. This interdisciplinary approach characterises all of my work. In order to sustain such work I have collaborated with the Music department at the University of Nottingham, which included giving a research paper in their Music on Screen and Stage seminar series. Other events at which I have spoken with a musical bent include:
- April 2009 “Seria-rising Sophocles: Oedipus at Colonus in Enlightenment opera” (Classics Department Research Workshop, University of Nottingham).
- February 2008 A session on music at the CRSN training day (Nottingham)
- May 2007 “Developments in Reception Studies–Music” (Current Debates in Classical Reception Studies, Open University)
- April 2003 “Herodotus, Handel and Hytner. Xerxes, Serse and the burning of the bridge” (Classical Association conference, Warwick)
I am a keen musician myself, singing in choirs and playing the flute, piano and piccolo (to grade 8 standard) and the clarinet. I have maintained an interest in music theory and would welcome the chance to continue working with musicologists.
Future research plans focus mainly on the musical reception of the Oedipus story, particularly Pietro Torri’s 1729 Oedipus, and Rossini and Mendelssohn’s music for the OC.
Scholtz, Andrew, Binghamton University, State University of New York (email@example.com)
With both a bachelor’s (Boston University) and a master’s degree (Manhattan School of Music) in musical performance, I was a dedicated student of cello from the age of 12, and an aspiring professional cellist from high school until my career switch in 1990, when I entered the PhD program in Classics at Yale. Along the way, I participated in the Berkshire Music Festival Fellowship program (for students and young professional musicians) at Tanglewood, Massachusetts. There, I got to observe Leonard Bernstein at work and to be conducted by Seiji Ozawa, Andre Previn, and others, not to mention studying and performing chamber music under the tutelage of members of the BSO and of the Music Center's teaching faculty. In pursuing the career of musician, I have performed in orchestras, in chamber groups, and solo, and have taught cello as well. Had I won an audition that I came close to winning once in Halifax, I might be in a very different place today. And although I no longer perform (indeed, no longer play, alas!), my love of music has not diminished; if anything, my listening tastes have branched out. I remain knowledgeable about music (music history and theory were always strengths of mine) and can now appreciate classically connected music with a more informed ear. I’m also an aficionado of traditional folk/world music, including Greek paradosiaka.
Scoditti, Francesco, Department of Classical and Christian Studies, University of Bari (firstname.lastname@example.org)
Francesco Scoditti,born in Bari, graduated in transverse flute at the N. Piccinni Academy of Music in Bari and for some years he has maintained intense activity as a member of numerous chamber music groups and of all the most important orchestral ensembles of Puglia. With a degree in Modern Literature with top grades, he contributes to the musical review Contrappunti, for which he writes reviews and musical essay articles. He is regularly invited to deliver lectures on subjects about Italian musical history, as well as to prepare listening guides for many concert associations in the province of Bari. In 2005, he published, for the collection Saggistica of the publishing house Aracne, the book Figure musicali. Incontri con musicisti: da Palestrina a Berio, and in 2009, he published for Congedo editors the book Solisti ed esecutori nella cultura musicale romana. He holds, furthermore, a Ph.D. (Dottore di Ricerca) in Graeco-Roman Civilization from the University of Salento, with a dissertation about Roman musical culture. He has also written important and innovating articles about Horace and Ovid, published by the classical philology journals Paideia,Classica et Christiana,Invigilata Lucernis, andIl giardino delle Muse.
Scourfield, David, Professor of Classics, National University of Ireland Maynooth (David.Scourfield@nuim.ie)
My interests in Classics and classical music developed on parallel tracks in my early life, and I have been fortunate in being able to pursue both during my professional career. The areas in which I teach and/or research include Greek and Roman tragedy, the ancient novel, Latin poetry, and the reception of the Greek and Roman worlds in twentieth-century fiction and other media. My musical education included the standard six or seven years of piano lessons, but I learned just as much (possibly more) from heavy involvement in choral singing in Oxford (Oxford Bach Choir and other choirs), London (London Choral Society, Simon Rattle), and Johannesburg (SABC Chamber Choir) for two decades. While a graduate student in Oxford I served as choral director of Oriel College Chapel Choir; other conducting assignments included a concert performance of Purcell’sKing Arthurwith choir and orchestra. In South Africa (where I taught for many years) I also did a great deal of music journalism, mostly opera reviews, forThe Weekly Mail(now theMail & Guardian) and other newspapers (an interview with Kiri Te Kanawa was a high point); wrote and presented two 50-minute radio documentaries (one on operatic treatments of the Orpheus legend, the other on Handel’s dramatic oratorios); and had the unforgettable experience of adjudicating a black choir competition in the Transkei. In recent years other demands have resulted in reduced involvement in music, but in 2007 I was able to combine my classical and musical interests in supervising an MA dissertation on ‘Representations of the Lyre, Aulos and Panpipes in Ancient Myth and Literature’ (mostly Ovid’sMetamorphosesand Longus’Daphnis and Chloe).
Suter, Ann, University of Rhode Island (email@example.com)
I have a PhD in Classical Philology and more than 30 years pedagogical and scholarly experience in ancient Greek and Roman myth, language and literature. I am a life-long lover of music of almost every kind, and have some performance experience of piano and singing. I wrote the libretto, based on the Homeric Hymn to Demeter, of an opera for which the music was written by Geoffrey Gibbs, a professional musician. The opera Potnia has had partial performances in Kingston, R.I., Providence, and Boston. Hence I know what is involved in using ancient materials in a modern form, and for contemporary concerns.
White, Andrew, American University and Stratford University (firstname.lastname@example.org)
A longtime theatre artist in the Washington, D.C., area and graduate of the “Great Books” program at St. John’s College, Annapolis, Andrew White received his Ph.D. in Theatre History from the University of Maryland, College Park, with a concentration in the theatre and ritual of Byzantium. Working from a variety of cultural theories—orality/literacy, media, glocality, et cetera—White has focused on modes of transmission of the Classical tradition among the Greek-speakers of the Mediterranean from Antiquity through the Middle Ages. His interest in Byzantine theatre is rooted in an understanding of Classical theatre as (initially) the realm of the citizen-amateur, and he believes much of what happens in Byzantium has its roots in the professionalization of acting and the exile of amateurs from the stage in the Hellenistic era.
Besides publishing a study on the elements of tragic music and ancient music theory in Byzantine chant, White has argued for a re-interpretation of Greek manuscripts as recording technologies that assume the presence of a live interpreter. Another focus of White’s research is the ideological coupling of theatre with religion and politics in Antiquity, its eventual divorce from these elements with the rise of Christianity, and the creation of an aesthetic, secular sphere in Late Antiquity.
In addition to Choricius of Gaza’s 6th century oration Defense of the Mimes, White has translated numerous Byzantine Greek texts on theatrical topics. Because of his background as a performer, he has a special interest in the orality intrinsic to pre-Gutenberg manuscripts. He has also revived the tradition of the Theatron, a salon or “chamber theatre” in which Greek intellectuals would regale each other with fictive monologues, dialogues and letters, some of them appropriating Classical themes for contemporary purposes.