CALL FOR APPLICATION VISITING PROFESSORS 2015

Transcription

1 CALL FOR APPLICATION VISITING PROFESSORS 2015 Al Magnifico Rettore Università degli Studi di Pavia To the Rector University of Pavia Il sottoscritto STEFANO CASTELVECCHI chiede di partecipare alla selezione per l assegnazione del contributo Visiting professors Personal Information (typewrite your data on this form in English) Family name: Castelvecchi Date of birth: 07/08/1960 Place of birth (city): Rome Nationality: Italian Sex (male/female): male Country of birth: Italy First name: Stefano 2. Address Permanent postal address: St John s College City: Cambridge CB2 1TP Country: UK Telephone: xx [email protected] 3. Home Institution Home Institution: University of Cambridge Department: Faculty of Music Visiting UNIPV in previous years: NO 4. Position Associate professor [University Lecturer] 5. Teaching Activities (Max 3000 Characters) The proposal relates to a broad thematic area, broken down into a series of meetings focusing on specific examples four or five seminar sessions addressed primarily to students on the Master and doctoral levels (but also to undergraduates and any interested members of the teaching body). Each meeting would include a ninety-minute lecture followed by a thirty-minute discussion session. MUSIC: HISTORICO-CULTURAL APPROACHES 1. Introduction. I would introduce the approach generally defined as cultural history (where culture is often understood in its anthropological sense) and its possible application to opera: in what ways our investigation into contexts (even less obvious ones) may contribute to the interpretation of operatic works and of their reception; but also how musico-theatrical life with its cultures and practices may contribute to broader historical and social phenomena. I would then move on to the case studies listed below. 2. Music and Italian identity in the eighteenth century. How operatic life the diffusion of practices, the circulation of texts and people may have contributed to the formation of a sense of Italian identity in the eighteenth century. The widespread diffusion of opera was a factor of social, linguistic and cultural integration across the states of the peninsula; moreover, the European success of Italian opera led to a diaspora of specialists (in its creation, performance and administration) who qua Italians interacted among themselves and with non-italians.

2 3. Music and Neoclassicism between the eighteenth and nineteenth centuries. The mutual influences between the European phenomenon of neoclassical culture (in archaeology, historiography, the visual arts, architecture and poetry) on the one hand, and music and opera on the other. The difficulties encountered in the application to musical historiography of broad (and often nebulous) cultural categories that emerged in other fields of study. 4. Opera and bourgeois drama. The complex relationships between opera and the development of the theories and practices of bourgeois drama in Europe, which in diverse ways influenced such works as Mozart s Nozze di Figaro and Verdi s Traviata (and perhaps Tchaikovsky s Onegin). 5. History of opera and history of psychiatry. The exchanges between the culture of theatre and opera and that of the nascent science of psychiatry from the late eighteenth century onwards. The extent to which musico-theatrical representations of mental illness were influenced by developments in the history of science, but also how the medical tradition may have adopted some of its language and modes of representation from literature and drama. 6. Proposed length of Stay Approximately from 11 / 01 / 2016 to 15 / 01 / 2016 N. of days (excluding travel) 5 Academic Discipline and department you want to teach: Humanities / Dipartimento di Musicologia e Beni Culturali (please refers to the call for Application ART. 4) 7. I, the undersigned STEFANO CASTELVECCHI confirm and guarantee that all the data and information contained in this application form and in all the attachments are accurate and complete. Date: 15 / 03 / 2015 Signature: 8. Application form + CV must be sent by to: [email protected] Late and incomplete applications will not be considered Deadline 15 March

3 STEFANO CASTELVECCHI Education and Qualifications 1996 University of Chicago: Ph.D. in Music, with honours 1992 University of Chicago: M.A. in Music 1992 University of California at Berkeley: Exchange Scholar 1988 University of Rome: Laurea in Humanities, cum laude 1984 Goethe Institut (Rome), Zertifikat Deutsch als Fremdsprache Conservatorio Santa Cecilia, Rome: studies in composition Professional History 1997 current Lecturer, Faculty of Music, University of Cambridge 1997 current Fellow, St John s College, Cambridge 2007 Visiting Associate Professor, University of Chicago Visiting Assistant Professor, Vassar College (New York State) Assistant to the Artistic Director, Fondazione Rossini (Pesaro) Other Appointments and Affiliations 2013 Advisory Board, Bollettino di studi belliniani 2013 Advisory Board, Rivista italiana di musicologia 2010 Steering Committee, Centre for Material Texts (University of Cambridge) 2007 Editorial Board, Works of Gioachino Rossini (Kassel: Bärenreiter) Council, American Musicological Society Editorial Board, Journal of the American Musicological Society Peer Review Activities referee for: Journal of the American Musicological Society Journal of the Royal Musical Association Eighteenth-Century Life assessor for: British Academy grant applications two Research Fellowships of the Fonds National Suisse de la Recherche Scientifique a Research Fellowship at Harvard University s Ratcliffe Institute a Princeton University appointment

4 2 Prizes, Awards and Other Honours 2013 Honorary Member, Italian Studies Library Group (British Library) 2002 Research Leave Grant, Arts and Humanities Research Board 1996 Paul A. Pisk Award, American Musicological Society AMS 50 Fellowship, American Musicological Society 1994 Stuart M. Tave Teaching Fellowship, University of Chicago Publications book as author: Sentimental Opera: Questions of Genre in the Age of Bourgeois Drama (Cambridge: Cambridge University Press, 2013) book as editor and co-translator: Abramo Basevi, The Operas of Giuseppe Verdi [1859], ed. Stefano Castelvecchi, trans. Edward Schneider with Stefano Castelvecchi (Chicago: University of Chicago Press, 2013) book as co-author (non academic): Conoscere la musica: Linguaggi grammatiche strutture (Rome: Editori Riuniti, 1988), with Elisabetta Stazi critical editions: Giuseppe Verdi, Alzira, vol. I/8 of The Works of / Le Opere di Giuseppe Verdi (Chicago: University of Chicago Press; Milan: Ricordi, 1994), with the collaboration of Jonathan Cheskin, pp. li, 420 (score), 147 (critical commentary) Gioachino Rossini, Tre cantate napoletane, ed. Marco Beghelli, Stefano Castelvecchi and Ilaria Narici, vol. II/4 of Edizione critica delle opere di Gioachino Rossini (Pesaro: Fondazione Rossini, 1999), pp. li, (score), (critical commentary) articles and shorter publications: Le Rossiniane di Mauro Giuliani, Bollettino del Centro rossiniano di studi, 1986, pp Alcune considerazioni sulla struttura drammaturgico-musicale della farsa, in I vicini di Mozart. II. La farsa musicale veneziana ( ), ed. David Bryant (Florence: Olschki, 1989), pp

5 3 Walter Scott, Rossini e la couleur ossianique: Il contesto culturale della Donna del lago, Bollettino del Centro rossiniano di studi, 1993, pp Sullo statuto del testo verbale nell opera, in Gioachino Rossini : Il testo e la scena, ed. Paolo Fabbri (Pesaro: Fondazione Rossini, 1994), pp From Nina to Nina: Psychodrama, Absorption and Sentiment in the 1780s, Cambridge Opera Journal, 8/2 (July 1996), pp reprinted in Essays on Opera: , ed. John A. Rice (Farnham: Ashgate, 2010); a later version in Italian as Eloquenza della psiche nell opera sentimentale del tardo Settecento, in Le passioni in scena: Corpi eloquenti e segni dell anima nel teatro del XVII e XVIII secolo, ed. Silvia Carandini (Rome: Bulzoni, 2009) L opera come drame: Il disertore, in Giovanni Simone Mayr: L opera teatrale e la musica sacra, ed. Francesco Bellotto (Bergamo: Comune, 1997), pp Sentimental and Anti-Sentimental in Le nozze di Figaro, Journal of the American Musicological Society, 53/1 (Spring 2000), pp Directions in Musicology: Statement and Closing Remarks, in Musicology and Sister Disciplines: Past, Present, Future, ed. David Greer (Oxford: Oxford University Press, 2000), pp , The Textualization of Opera, in Verdi in Performance, ed. Alison Latham and Roger Parker (Oxford: Oxford University Press, 2001), pp Verdi per la storia d Italia, in Verdi 2001, ed. Fabrizio Della Seta et al. (Florence: Olschki, 2003), pp reprinted in Giuseppe Verdi, Attila (Venice: Edizioni del Teatro la Fenice, 2004) Commentary: Was Verdi a Revolutionary?, Journal of Interdisciplinary History, 36/4 (Spring 2006), pp Le due musicologie, Il saggiatore musicale, 13/2 (2006), pp La furia e il perdono: Sul Furioso di Donizetti, Quaderni della Fondazione Donizetti, 37 (2013), pp entries Alzira and Voltaire, in The Cambridge Verdi Encyclopedia, ed. Roberta Montemorra Marvin (Cambridge: Cambridge University Press, 2013), pp , 480 Opera and Italian Identity: The Long View, Studia UBB Musica, 58/2 (2013), pp Donizetti e il mito romantico di Torquato Tasso, Quaderni della Fondazione Donizetti, 42 (2014), pp Invited Talks 1987 Rome, Discoteca di Stato: Conference Aspetti della musica strumentale italiana dell Ottocento 1995 London, Royal Opera House Covent Garden: International Conference Performing Verdi 1995 Austin, Texas: National Meeting of the American Society for Eighteenth-Century Studies 1995 Bergamo, Teatro Donizetti: International Conference on Giovanni Simone Mayr 1995 Chicago, Fishbein Center for the History of Science and Medicine: Colloquium 1996 Cornell University, Department of Music: Colloquium 1996 Baltimore: National Meeting of the American Musicological Society

6 London: Congress of the International Musicological Society 1998 London, King s College, Institute for Advanced Musical Studies: Colloquium 1999 University of Leeds, Department of Music: Colloquium 1999 University of Bristol: Colston Lecture 2001 London, University College: Symposium Words and Music 2001 Parma/New York/Yale: International Congress Verdi University of Bologna: Ottavo Colloquio di Musicologia del Saggiatore musicale 2004 University of Oxford: Conference From Fin de Siècle to Fascism: Music in Italian Culture, Parma, Teatro Regio and Istituto Nazionale di Studi Verdiani: Conference Il corsaro di Giuseppe Verdi 2004 Princeton University: Conference Opera and Society 2004 University of Durham, Department of Music: Colloquium 2005 Torrimpietra (Rome): Colloquio Malatestiano Le passioni in scena: Corpi eloquenti e segni dell anima nel teatro del XVII e XVIII secolo 2006 Open University, Department of Music: Colloquium 2008 London, King s College, Institute for Advanced Musical Studies: Colloquium 2010 University of Cambridge, Centre for Material Texts: Inaugural Conference 2010 University of Chicago: Symposium Divo and the Scholars 2011 Paris, Institut Culturel Italien: Conference Suona la tromba 2013 London, British Library: Annual Lecture of the Italian Studies Library Group Association with Visiting Academics I have hosted three Overseas Visiting Scholars at St John s College: Prof. Alessandro Roccatagliati (University of Ferrara, Italy), whom I advised on the critical edition of Bellini s Sonnambula Dr Giuliano Castellani (University of Fribourg, Switzerland), whom I supervised on the critical edition of Ferdinando Paer s Agnese Prof. Marcello Sorce-Keller (University of Bern, Switzerland), with whom I organised the conference Mysticism, Magic and the Supernatural in Mediterranean Music (2014)