CFP – AIWAC 2nd edition Rome 2022

This study presents a reconstruction of the performance of the melancholic character in Golden Age theater. It argues that critics have overlooked the way this character type was acted on the original stage. Using Lope’s El Príncipe melancólico [The Melancholic Prince] as a case-study to speculate on the actor’s paralinguistic gestures and movem…[Read more]

The CNTC’s 2017 production of La dama duende presented the transition between the two main characters’ rooms in the third jornada using two illuminated windows at the rear wall of the stage. The comparison between this rendition and other modern productions reveals two problems in adaptation: the fidelity with the original and the und…[Read more]

This paleographic comparison serves to support my argument in the following publication:

Van Rooy, Raf. Accepted. “Ippolita Maria Sforza, student and patroness of Greek in Milan (ca. 1465).” Renaissance Quarterly.

GB Folengo Commentry on Psalm 51, translated into English with brief annotations

overview on the history of the card game “Höllfahren” or “in die Höll”

This is a companion piece to an essay on Jerome Kern’s “All the Things You Are,” where an alternative ending with a rising melodic gesture is written into the published sheet music. The survey of Gershwin’s “Embraceable You” here was inspired by a similar figure in an early recorded performance by Sarah Vaughan.

Some cadences in European and European-influenced tonal music show a contradiction in direction between registral stasis and linear movement, the example being alternative endings written into a song by Jerome Kern. The topic is explored through analysis of 51 recorded performances.

In 2021, SMT-V, an online journal of the Society for Music Theory, published a video essay by Michael Buchler, Professor of Music in the College of Music, Florida State University. It’s titled “I Don’t Care if I Never Get Back: Optimism and Ascent in ‘Take Me Out to the Ball Game’.” In this essay I examine similar songs from the era: Charles K. Ha…[Read more]

According to conventional literary theory, when we interpret the text of a poem or work of fiction as a condensed or represented speech act, this implies a hypothetical speaker. The speaker may be a well-defined narrator who may also be a participant in the action. Often, however, the text offers few or no clues as to who is ‘speaking’. In suc…[Read more]