GSS Conference: Keynote Speakers

Janet Schmalfeldt (Workshop lead)

Janet Schmalfeldt has taught at McGill University and at Yale. She joined the Music Department at Tufts University in 1995, where she is now Professor Emerita. In recent years she has offered graduate courses as a visiting professor in the music departments at the University of Chicago, Harvard, Boston University, and the University of Pavia, in Cremona. She is the author of a book on Alban Berg’s opera Wozzeck and has published widely on eighteenth- and early nineteenth-century music. Her book In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music received a 2012 ASCAP Deems Taylor Award and the 2012 Wallace Berry Award from the Society for Music Theory. She has served as President of the New England Conference of Music Theorists and of the Society for Music Theory. As an invited speaker, she has held seminars and workshops on musical form, performance, and analysis in Brazil, Italy, and the Netherlands, and has given papers in Estonia, Germany, Poland, Ireland, Belgium, and England. Her performances as pianist have included solo, concerto, and chamber music. It was her great delight to return to McGill University for the fall of 2018, where she taught a seminar that brought together graduate students from the departments of both Performance and Research, in dialogue with one another.

Anna Zayaruznaya (Keynote Speaker)

Anna Zayaruznaya received her Ph.D. in historical musicology from Harvard University in 2010. She taught at New York University (2010–2011) and Princeton University (2011–2013) before Yale University beginning in 2014. Bringing the history of musical forms and notation into dialogue with medieval literature, iconography, and the history of ideas, Zayaruznaya’s recent publications have focused on French and northern Italian music of the fourteenth and fifteenth centuries. Her first book, The Monstrous New Art: Divided Forms in the Late Medieval Motet, explores the role of monstrous and hybrid exempla in the musical aesthetics of fourteenth-century French motets. A second book currently in progress will focus on poet, composer, and public intellectual Philippe de Vitry (1291–1361).

Zayaruznaya has published articles and reviews in venues including the Journal of the American Musicological Society, the Journal of Musicology, Early Music History, Digital Philology, and Speculum, and has served on advisory and editorial boards for the Journal of Musicology and Music Theory Spectrum. In 2011 she was awarded the Van Courtlandt Elliott Prize from the Medieval Academy of America for her article “She has a Wheel that Turns…’: Crossed and Contradictory Voices in Machaut’s Motets” (Early Music History, 2009). Zayaruznaya has also received awards and fellowships from the American Musicological Society, the Institute of Advanced Study at Princeton University, and the Radcliffe Institute of Advanced Studies at Harvard University, where she spent the academic year 2013–14 as a fellow.

Jonathan Kregor (Keynote Speaker)

Jonathan Kregor is Professor of Musicology at the University of Cincinnati, College- Conservatory of Music. His research interests include aesthetics, Franz Liszt, musical reproduction, music and memory, virtuosity and gender, and art song. He is the author of Liszt as Transcriber (Cambridge University Press, 2010), winner of the inaugural Alan Walker Book Award from the American Liszt Society; Program Music (Cambridge University Press, 2015); articles and reviews in numerous academic journals; editor of works by CPE Bach and Clara Schumann; co-editor of Liszt et la France: Musique, culture et société dans l’Europe du XIX e  siècle (Vrin, 2012); and editor of Nineteenth-Century Programme Music: Creation, Negotiations, Reception (Brepols, 2019). Since 2012 he has been editor of the Journal of the American Liszt Society.