Ph.D. Columbia University

306 Baird Hall
University at Buffalo
Buffalo NY, 14260

tel:(716) 645-0629
fax: (716) 645-3824
email:  jcurrie@buffalo.edu
 

Selected Publications

• “Music’s Context: Genealogical and Political Considerations,” Conference Proceedings from “Music’s Intellectual History: Founders, Followers and Fads.” First Conference of the Répetoire International de Littérature Musicale, The City University of New York Graduate Center (forthcoming).
• “New (again),” essay for the catalogue for the exhibition Now Again the Past at the Carnegie Arts Center (March 2005), forthcoming.
• “Salvage Operation (In Three Parts)” in P-Queue, forthcoming.
• “Spookier than Spooky,” review article of Paul D Miller’s (aka DJ Spooky, That Subliminal Kid), Rhythm Science, in Popular Music, forthcoming.
• “Impossible Reconciliations (Barely Heard),” review article of Matthew Riley’s Music Listening in the German Enlightenment: Attention, Wonder, and Astonishment, in Music and Letters, forthcoming.
• “Adorno and Now the Act,” review article of Berthold Hoeckner’s Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment, in Nineteenth-Century Music Review, forthcoming.
• “The Context of Freedom: Towards a Political Critique of Postmodern Musicology,” in Interdisciplinary Studies in Musicology, edited by Maciej Jablonski (Poznan: University of Poznan Press, forthcoming).
• “Johannes Brahms,” and “Gustav Mahler,” Scribner’s Encyclopedia of Europe: 1789-1914, forthcoming.
• “Postmodern Mozart and the Politics of the Mirror,” Mozart Studies, edited by Simon P. Keefe.  (Cambridge: Cambridge University Press, forthcoming).
• “Between Mimesis and Metaphysics: An Essay on Interpreting Classical Instrumental Music,” The Musical Quarterly, forthcoming.
• Review of David Yearsley’s Bach and the Meanings of Counterpoint (Cambridge: Cambridge University Press, 2002), in Eighteenth-Century Music, Volume 1, Number 1 (March 2004), 100-104.
• “Better the Puppet?” Current Musicology 74 (Fall, 2002).
• “Splinters in the Eye: Interpreting Webern’s Bach Transcription,” Journal of Musicological Research 20 (2002): 167-195.

• "Melodrama," the Pierrot lunaire Project website at Columbia University in the City of New York, edited by Ian D. Bent.

• “’Viva la Libertà’: An Investigation into Tensions in the Interactions between Musical Signs in Late Eighteenth-Century Music,” S-European Journal of Semiotic Studies 14, I-II (2002): 33-52.

Selected Invited Papers, Panels, Talks

• March, 2006 (forthcoming): Panorama and the Veil of Song
  Colloquium Series
  Tulane University, New Orleans

           -and-

• September, 2005:
  Guest Lecture Series
  Department of Visual Studies
  The University at Buffalo

• June, 2005: Chair, Queer(ing)s
  Feminist Theory and Music 8
  The City University of New York Graduate Center

• March, 2005: Where There is Nothing Definitely to Find
  Colloquium Series
  Department of Music, University of Western Ontario, Canada

• April, 2004 (with Jacob Greenberg, Piano): Schoenberg’s Atonal Music Then, Our Freedoms Now
  Music Lecture Series 2003-2004
  The University at Buffalo, Department of Music

• July, 2003: Chair, Mahler and Berg
  Hull University Music Analysis Conference (Society for Music Analysis)
  University of Hull, UK

• June, 2003: Chair, Early Twentieth-Century Germanicism
  The Third Biennial International Conference on Twentieth-Century Music
  University of Nottingham, UK

• February, 2003: Towards a Forgetting of the Heiliger Dankgesang
  Music Lecture Series 2002-2003
  The University of Buffalo, Department of Music

• February, 2002: “Better the Puppet”: Vitellia’s Presence in Mozart’s La Clemenza di Tito
  Department of Music, University of Washington, Seattle

            -and-

• November, 2001:Colloquium Series, Society of Fellows in the Humanities, Columbia University, New York.

• November, 2001: Moderator of Music and Its Spheres: A Roundtable.  Participants: Giorgio Biancorosso, Walter Frisch, Lydia Goehr, Hilary Poriss, Elaine Sisman.
  Society of Fellows in the Humanities, Columbia University, New York.

• August, 2001: Can Learned Style be Enlightened?
  Department of Music, University of Glasgow, Scotland.

• June, 2001:  How might Music get Enlightened?
  Faculty of Music, University of Oxford, UK.

• October, 2000: ‘Viva la libertà’: An Investigation into Tensions in the Interactions between Musical Signs in Late Eighteenth-Century Music.
  Colloquium Series, Society of Fellows in the Humanities, Columbia University, New York.

            -and-

• May, 2000:
  Colloquium series, State University of New York, Stony Brook.

Selected Other Papers

• March, 2005: The Context of Freedom and the Antinomies of the New Musicology
  “Music’s Intellectual History: Founders, Followers and Fads”
  First Conference of the Répetoire International de Littérature Musicale
  The City University of New York Graduate Center

• November, 2004: Regulative Critical Principle or Empirical Reality?  Schoenberg’s Atonal Music and its Object of Desire
  Royal Music Association, 40th Annual Conference, Birmingham, UK

• July, 2003: Surface Depth: Towards a Stylistic Analysis of Schoenberg’s Op. 19, No. 1
  Hull University Music Analysis Conference (Society for Music Analysis)
  University of Hull, UK

• June 2003: Not Stylish, Done with Style: Schoenberg’s Op. 19 No.1 and the Depths of Appearance
  The Third Biennial International Conference on Twentieth-Century Music
  University of Nottingham, UK

• August, 2002: Physiognomic Traces: Redeeming Webern’s Style from Genealogical Cleanliness.
  17th Congress of the International Musicological Society, Leuven, Belgium.

• July, 2002: Far Away/Here: Unmasking Metaphysical Illusions in Schubert’s “In der Ferne.”
  Twelfth International Conference on Nineteenth-Century Music.  Leeds, UK.

• November, 2001: Sirens: On the Seductive Appearance of the Heiliger Dankgesang
  American Musicological Society, Annual Meeting, Atlanta, Georgia.

• July, 2001: ‘Vitellia is’ (Re)Presented.
  “Feminist Theory and Music 6: Confluence and Divide,” Boise State University, Idaho.

• November, 1999: ‘Viva la libertà’: An Investigation into Tensions in the Interactions between Musical Signs in Late Eighteenth-Century Music.
  Lunch Time Brown Bag Series, Department of Music, Columbia University, New York.

            -and-

• March, 1999: “Signs, Music, Society—A Tansdisciplinary Colloquium,” Institute for Socio-Semiotic Studies, Vienna, Austria.

• April, 1996: Style or Idea? Webern’s Orchestration of Bach’s Six-Part Ricercar and the Problem of Historical Interpretation.
  American Bach Society, University of California, Berkeley.

            -and-

• March, 1996: Lunch Time Brown Bag Series, Department of Music, Columbia University, New York.