The Steven Stucky Memorial Residency for New Music Music
Concert Parking & Accessibility Music
James Webster is the Goldwin Smith Professor of Music at Cornell University. He specializes in the history and theory of music of the eighteenth and nineteenth centuries, with a particular focus on Haydn. His other interests include Mozart (especially his operas), Beethoven, Schubert, and Brahms, as well as performance practice, editorial practice, and the historiography of music; in theory he specializes in issues of musical form (including analytical methodology) and Schenkerian analysis. He was a founding editor of the journal Beethoven Forum, and was musicological consultant for the recordings of Haydn’s symphonies on original instruments, by the Academy of Ancient Music under Christopher Hogwood (Decca/L’oiseau-lyre). Among the many honors he has received are the Einstein and Kinkeldey Awards of the American Musicological Society, a Fulbright dissertation grant, two Senior Research Fellowships from the National Endowment for the Humanities, a Guggenheim Fellowship, and a Research Fellowship of the Alexander von Humboldt Foundation (Germany).
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James Spinazzolais an active conductor, ensemble clinician, saxophonist, and arranger. In addition to directing theCornell wind program, James teaches undergraduate courses in conducting, music theory, and chamber music; and servesasfaculty adviser to CU Winds, a student-driven organization devoted to the performance and promotion of wind band music.
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My interests align the creative aspects of listening to, analyzing, and making music. In recent years, this has meant embarking on research into acoustic-derived analysis of musical sound (similar to linguistic phonology and phonetics). Such an approach offers fresh perspective on the creative process; but also a material, non-notated basis for inquiry, potentially contributing to the active field-wide conversation about formulating a new theory pedagogy capable of addressing multiple genres of music in multiple ways.
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David Rosen’s research has centered on 19th-century and early 20th-century Italian music, primarily Verdi and Puccini, although he has written about opera theory, French grand opera, Mozart piano concertos, and film music as well. He edited Verdi’s Messa da Requiem in The Works of Giuseppe Verdi (the critical edition) and wrote the Cambridge Music Handbook about that work. He has long been interested in the staging manuals (disposizioni sceniche or livrets de mise en scène) and other sources that help us reconstruct the visual aspects of 19th-century opera, and he co-authored a volume dedicated to the disposizione scenica of Verdi’s Un ballo in maschera. A recurring theme in his work is compositional decision-making. He has also explored the censorship of operas in 19th-century Italy.
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