Blake Howe - Louisiana State University

Blake Howe Assistant Professor of Musicology Louisiana State University College of Music and Dramatic Arts Louisiana State University 102 School of Music Road Baton Rouge, LA 70803

e-mail: [email protected] website: http://www.lsu.edu/faculty/bhowe

EDUCATION M.A./Ph.D. in Musicology, The Graduate Center (City University of New York), 2010 • Dissertation: “Music and the Embodiment of Disability” (Joseph N. Straus, advisor, and Richard Kramer, first reader). B.A. cum laude, Vassar College, 2005 • Double-major in Music and German. Minor in Medieval and Renaissance Studies. • Graduation with General Honors, Music Department Honors, and German Department Honors. ACADEMIC APPOINTMENTS Louisiana State University

Assistant Professor (2012–present) Visiting Assistant Professor (2011–12) Instructor of Music History (2010–11)

City College of New York

Adjunct Lecturer and Graduate Student Fellow (2007–09)

PUBLICATIONS Books Expressive Frictions: Musical Discourses of Disability (in preparation, four of six chapters complete). Edited Volumes The Oxford Handbook of Music and Disability Studies, co-edited with Stephanie JensenMoulton, Neil Lerner, and Joseph N. Straus (forty-four chapters under contract with Oxford University Press and expected to appear in 2014).

Blake Howe / CV (December 2013) / 2

Refereed Journal Articles “Paul Wittgenstein and the Performance of Disability,” The Journal of Musicology 27, no. 2 (2010): 135–80. “The Allure of Dissolution: Bodies, Forces, and Cyclicity in Schubert’s Final Mayrhofer Settings,” Journal of the American Musicological Society 62, no. 2 (2009): 271–322. “Norman Rockwell’s Shuffleton’s Barbershop: A Musical–Iconographical Riddle,” The Musical Quarterly 90, no. 1 (2006): 6–42. Book Chapters “Bounded Finitude and Boundless Infinitude: Schubert’s Contradictions at the ‘Final Barrier,’” in Schubert’s Late Music in History and Theory, ed. Lorraine Byrne Bodley and Julian Horton (under review at Cambridge University Press). “Disabling Music Performance,” in The Oxford Handbook of Music and Disability Studies, ed. Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph N. Straus (under contract with Oxford University Press and expected to appear in 2014). “Saul, David, and the Ideal Body of Music,” in The Oxford Handbook of Music and Disability Studies, ed. Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph N. Straus (under contract with Oxford University Press and expected to appear in 2014). Dictionary Articles Grove Dictionary of American Music, 2nd ed., edited by Charles Garrett (2012): “Rudolph Aronson” “Benjamin Colman Blodgett” “John Henry Cornell” “William Harold Neidlinger” “George Peabody” (revision)

“Thomas Philander Ryder” “Louis Arthur Russell” “Antoinette Sterling” (revision) “Charles Wels”

Book Reviews Of Poetry and Song: Approaches to the Nineteenth-Century Lied, edited by Jürgen Thym, in Music & Letters 92 (2011): 656–58. “In der Beschränkung zeigt sich erst der Meister”: Technik und Ästhetik der Klaviermusik für die linke Hand by Albert Sassmann, in Notes 68 (2011): 104–07. CONFERENCE PRESENTATIONS AND INVITED LECTURES “Who Composed ‘Je ne demande de vous’ (Bologna Q16)?” • Southern chapter meeting of the American Musicological Society, Tampa (8 February 2014)


“Paul Wittgenstein’s Performance Practice: Reflections on His One-Hand Arrangements” (written in collaboration with pianist Jamie Gurt) • Symposium on Music and Disability Studies, CUNY Graduate Center (20 May 2013), with pianist Inessa Bazayev [invited speaker] • American Musicological Society Annual Meeting, New Orleans (2 November 2012), with pianist Jamie Gurt • Music Forum, Louisiana State University (26 October 2012), with pianist Jamie Gurt [departmental lecture] “Helen van Dongen and the ‘Noise-Music’ of Oil Drilling in Louisiana Story (1948)” • Society for American Music Annual Meeting, Charlotte (16 March 2012) • Music Forum, Louisiana State University (9 March 2012) [departmental lecture] “Schubert at the ‘Final Barrier’” (“Schubert at the ‘letzte Schranke’”) • Music Finished and Unfinished: A Symposium in Honor of Richard Kramer, CUNY Graduate Center (18 May 2012) [invited speaker] • Thanatos as Muse: Schubert and Concepts of Late Style, National University of Ireland Maynooth (21–23 October 2011) • First Biennial Music Colloquium, Louisiana State University (21 May 2011) “Music and the Agents of Obsession” • Society for Music Theory Annual Meeting, Minneapolis (28 October 2011) • Music Forum, Louisiana State University (29 January 2010) [departmental lecture] • Symposium on Music and Disability Studies, CUNY Graduate Center (16 January 2010) “How to ‘Fix’ One-Hand Piano Music: Cautionary Tales from the Life of Paul Wittgenstein” • Music Forum, Louisiana State University (1 October 2010) [departmental lecture] “‘On mine herte is mad a wounde’: Britten and the Signs of Death” • Lyrica Society for Word–Music Relations, Modern Language Association Annual Meeting, Philadelphia (27 December 2009) “Schubert, Seidl, and the Threat of Finitude” [early version of “Schubert at the ‘Final Barrier,’” above] • American Musicological Society Annual Meeting, Philadelphia (12 November 2009) “Single-Handedly: Paul Wittgenstein and the Disability of Inability” • Society for Disability Studies Annual Meeting, Tucson (17 June 2009) “On Annihilation and Transcendence: Schubert’s Final Mayrhofer Settings” • Society for Music Analysis Conference, Cardiff, Wales (5 September 2008)


“Lecherous Men, a Mute Soprano, and Porpora in Gaspare Traversi’s Music Lesson” • Feminist Theory & Music 10, UNC Greensboro (30 May 2009) • Greater New York Chapter meeting of the American Musicological Society (26 April 2008) AWARD: Best Graduate Student Paper (AMS-GNY, 2007–2008) • Graduate Students in Music Conference, Columbia University (8 March 2008) “Norman Rockwell’s Shuffleton’s Barbershop: A Musical–Iconographical Riddle” • American Musicological Society Annual Meeting, Québec City (3 November 2007) • GAMMA-UT Conference, University of Texas, Austin (24 March 2007) • GAMuT Conference, University of North Texas (23 February 2007) TEACHING EXPERIENCE Louisiana State University (since 2010) Undergraduate Courses Survey of Western Music History I–II (MUSIC 2053 and 2054) Introduction to Film Music (MUSIC 4749) • A newly developed special-topics seminar. Graduate History Surveys Overview of Western Music History (MUSIC 3710) • A newly developed online course, with streaming lectures, automated quizzes, and discussion forums in a virtual classroom. Music of the Classic Era (MUSIC 7754) Music of the Romantic Era (MUSIC 7755) Graduate Seminars on Special Topics (Newly Developed) History of Film Music (MUSIC 7903) Music and Disability Studies (MUSIC 7904) Classical Music through Sketches and Fragments (MUSIC 7904) The German Lied: Music and Poetry (MUSIC 7998) Independent Studies History of Film Music Film Music and Embodiment Theory City College of New York (2007–09) Music Theory Courses Musicianship I (MUSIC 13200) Theory I (MUSIC 16200) Music History Courses Music Appreciation (MUSIC 10100)


The Arts: Music (HUMANITIES 10201) Writing about Music (MUSIC 21000) Vassar College, 2003–05 Music History Teaching Assistant (2004–05). Delivered weekly lectures designed to supplement the three-semester music history sequence. Writing Intern at the Vassar College Writing Center (2003–04). Assisted college students at various stages of the writing process. AWARDS AND HONORS Fellowships and Other Funding Council on Research Summer Stipend Program, Louisiana State University (2013) Capelloni Dissertation Fellowship ($20,000), CUNY Graduate Center (2009–10) Franziska Dorner Fund for Music Research, CUNY Graduate Center (2009) Robert E. Gilleece Fellowship, CUNY Graduate Center (2005–10) James Ryland and Georgia Kendrick Graduate Fellowship, Vassar College (2005) Chittendon Memorial Fellowship for summer music study, Vassar College (2004, 2005) Awards Best Graduate Student Paper (2007–08) at the Greater New York State Chapter Meetings of the American Musicological Society, for “Lecherous Men, a Mute Soprano, and Porpora in Gaspare Traversi’s Music Lesson.” Phi Beta Kappa, Vassar College (2005) SERVICE TO PROFESSION Organized Conferences Co-chair, Second Biennial Music Colloquium, Louisiana State University (11 May 2013). Co-chair, Symposium on Music and Disability, CUNY Graduate Center (15–17 January 2010). Chair, 12th Annual Graduate Students in Music Symposium: “Representing Music—or— Music Representing,” CUNY Graduate Center (25 April 2009). Editorial Positions Editor of Recording Reviews, Nineteenth-Century Music Review (Cambridge University Press) (2012–present). Assistant Editor, RILM [Répertoire International de Littérature Musicale] (2007–10).


Professional Leadership Co-chair, Study Group on Music and Disability Studies, American Musicological Society (since 2012). • Editor of the online Musical Representations of Disability Database and contributor to the Study Group’s blog. Peer Reviewer Journal of the American Musicological Society (2009) American Music (2011) UNIVERSITY SERVICE Thesis Advising Jamie Kurumaji, masters student in musicology at LSU: “The Film Music of Teiji Ito” (in progress) Grant Duplessis, masters student in musicology at LSU: “Basile Barès, Creole-of-Color Composer: Further Contributions to His Biography and Catalogue” (in progress) Jordan Scott, masters student in musicology at LSU: “Chorus mysticus: Faust, Liszt, and Redemption” (in progress) Thesis/Dissertation Committee Member Timothy Love, doctoral student in musicology at LSU (in progress) Jennifer Mitchell, masters student in composition at LSU (in progress) Karl Simmerman, masters student in musicology at LSU (in progress) Vaughn Cardona, DMA student in orchestral conducting at LSU (2013) Jonathan Mitchell, doctoral student in music theory at LSU (2012) Andrew Owen, masters students in musicology at LSU (2011) Service on Other Committees Diversity Committee (CUNY Graduate Center, 2007–09) Speakers Committee (CUNY Graduate Center, 2008–09) Executive Committee, student representative (CUNY Graduate Center, 2008–09) Admissions and Awards Committee, student representative (CUNY Graduate Center, 2008–09) PERFORMANCE Organized Concerts “Music for Silents: Early Film Scores and Improvisations” (Louisiana State University, 8 November 2011). Organized in conjunction with the Introduction to Film Music seminar (MUSIC 4749).


“Liederabend: Songs of Franz Schubert” (CUNY Graduate Center, 17 October 2006; Grand Montgomery Chamber Music Series, 16 September 2007). A miscellany of solo lieder, duets, trios, and quartets, featuring four singers. Experience as a Baritone Baritone soloist at numerous music festivals and institutes, including the Aspen Opera Theatre Center (Aspen Music Festival, 2006), Franz-Schubert Institut (Baden-bei-Wien, 2005), Internationale Sommerakademie (Salzburg, 2004), Amherst Early Music Festival (Bennington, 2004), and Songfest (Malibu, 2004–05). Baritone in the professional choirs of St. Paul’s Chapel [Trinity Wall Street] (2007–09) and St. Mary the Virgin [Times Square] (2005–06). Conductor, co-founder, and baritone soloist of the Vassar Camerata, an early music ensemble (2003–05). Teachers include Drew Minter and Irene Gubrud.