ABSTRACT
What is musical time? Where is it manifested? How does it show up in our experience, and how do we capture it in our analyses? “Enacting Musical Time” offers several answers to these questions by considering musical time as the form of the listener’s interaction with music. Building on evidence from music theory, phenomenology, c…[Read more]

When Offenbach’s La Vie parisienne premiered in Paris in 1866, it entered a longstanding debate on what it meant to be “Parisian.” This article uses La Vie parisienne to explore a key facet of Second Empire modernity: the notion that the Paris was a theater and that its dwellers were actors in a play. The operetta’s title alludes to a popular…[Read more]

How does history sound? What kind of historical document is music? What does it mean to study past music as music, and what do we learn when we think of past music as sound? In this seminar, we will take up these questions together, applying them to the sounds of Europe—musical and otherwise—in the two centuries between 1550 and 1750. While mus…[Read more]