Ryan Minor
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- Education
- Academic Appointments
- Internal Awards and Fellowships
- Monograph
- Invited Panels
- Conference Organization
- “ Wagner’s Parsifal and the Performance of Culture,” University of Chicago, October 2005 (co-organized with Brian Hyer)
- Professional Affiliations
- Languages German: fluent French: reading knowledge Italian: reading knowledge Performance
Ryan MinorCurriculum Vitae Music Department office phone (631) 632 7338 Staller Center mobile phone (413) 346 7372 SUNY Stony Brook home phone (347) 987 3041 Stony Brook, NY 11794 Ryan.Minor@stonybrook.edu EducationPh.D., Musicology, University of Chicago, 2005 Dissertation: “National Memory, Public Music: Commemoration and Consecration in Nineteenth-Century German Choral Music”
Thesis: “Narrating Brahms: Op. 34 and the Principles of Developing Variation” Academic AppointmentsAssociate Professor, SUNY Stony Brook, 2011- Assistant Professor, SUNY Stony Brook, 2005-2011 Visiting Assistant Professor, Williams College, 2004-2005 Doctoral Fellow, Franke Institute for the Humanities, University of Chicago, 2003-2004 Instructor, University of Chicago, 2000-2003
External Awards and FellowshipsGuest Researcher, Sonderforschungsbereich “Ästhetische Erfahrung im Zeichen der Entgrentzung der Künste,” Freie Universität Berlin, 2013 Research Fellowship, Radcliffe Institute for Advanced Study, Harvard University, 2007-2008 Participant, “Operatic States,” DAAD Faculty Seminar, Cornell University, 2007 Mellon Postdoctoral Fellowship, University of Michigan, 2005-2006 (declined) Geiringer Award, American Brahms Society, 2002 Bundeskanzler Fellowship, Alexander von Humboldt-Stiftung, 2000-2001 Research Grant, Deutscher Akademischer Austauschdienst, 2000-2001 (declined) Summer Language Grant, Deutscher Akademischer Austauschdienst, 1999
SUNY Stony Brook FAHSS grant for summer research, “German Opera and its Publics, from Mozart to Weill,” 2013 FAHSS grant for conference “Mozart on the Border: Die Entführung aus dem Serail,” 2012 FAHSS grant for conference “Beyond Opera: Staging Theatricality,” 2010 FAHSS grant for summer research, “Monumentalism Reconsidered: Wagner and Performance in Wilhelmine and Weimar Germany,” 2010, 2009 FAHSS grant for summer research, “Choral Fantasies: Nationhood, Festivity, and the Chorus in Nineteenth-Century Germany,” 2007, 2006 University of Chicago Dissertation Fellowship, Franke Institute for the Humanities, 2003-2004 Tave Teaching Fellowship, 2002-2003 Katschins Dissertation Fellowship, 2002-2003 Melvin Gray Fellowship, 2001-2002 Century Fellowship, 1996-2000 Rice University Shepherd Society Scholar, 1992-1996 MonographChoral Fantasies: Music, Festivity, and Nationhood in Nineteenth-Century Germany (Cambridge University Press, 2012) Articles“The Chorus,” forthcoming in The Oxford Handbook of Opera, ed. Helen Greenwald (New York: Oxford University Press, 2013) “Choral Music and Choral Singing in Germany: An Overview,” in 19th-Century Choral Music, ed. Donna Di Grazia (London: Routledge, 2012) “When did German Music Lose its Innocence?” Review essay, Journal of the Royal Musical Association 133/2 (2008), 334-352. “Parsifal’s Promise or Parsifal’s Reality? On the Politics of Voice Exchange in Wagner’s Grail Operas,” The Opera Quarterly 22/2 (2007), 249-268. “Occasions and Nations in Brahms’s Fest- und Gedenksprüche,” 19th-Century Music 29/3 (2006), 261-288. “Prophet and Populace in Liszt’s ‘Beethoven’ Cantatas,” Franz Liszt and his World, ed. Christopher Gibbs and Dana Gooley (Princeton: Princeton University Press, 2006), 113-165. “Wagner’s Last Chorus: Consecrating Space and Spectatorship in Parsifal,” Cambridge Opera Journal 17/1 (2005), 1-36. Shorter Pieces “Beyond Heroism: Music, Ethics, and Everyday Cosmopolitanism,” in colloquy “Confronting the Cosmopolitan in 19th-Century Music,” ed. Dana Gooley, Journal of the American Musicological Society 66/2 (2013) Assorted entries, including “Die Meistersinger von Nürnberg,” and “The Chorus,” forthcoming in Nicholas Vazsonyi, ed., The Cambridge Wagner Encyclopedia (New York: Cambridge University Press, 2013) “Zemlinsky und das Kollektiv,” in Alexander von Zemlinsky und die Moderne. Interdisziplinäres Symposion vom 31. Mai bis zum 3. Juni 2007, ed. Katharina John (Berlin: Deutsche Oper Berlin, 2009) Introduction to Lars von Trier’s Stage Notes to Der Ring des Nibelungen and his Bayreuth “Deed of Conveyance,” The Opera Quarterly 23/1 (2008) “Voice,” “Hermeneutics,” “Nationalism,” and “Modernism” entries, New Harvard Dictionary of Music, second edition (Cambridge: Harvard University Press, 2003) Program Notes “Wagner and the Choral Tradition,” in program book for the 2009 Bard Music Festival “Wagner and his World” “Music and German National Identity,” in program book for the 2009 Bard Music Festival “Wagner and his World” “Zemlinsky und das Kollektiv,” in program book to accompany Der Traumgörge at the Deutsche Oper Berlin (2007) Edited Collection Guest editor, together with Brian Hyer, of special “Parsifal” issue of The Opera Quarterly 22/2 (2007) ReviewsReview of Dieter Borchmeyer, Drama and the World of Richard Wagner, and James Treadwell, Interpreting Wagner, Cambridge Opera Journal 18/1 (2006), 109-123. Review of Celia Applegate and Pamela Potter, eds., Music and German National Identity, H-NET Liste für Sozial- und Kulturgeschichte; available at http://hsozkult.geschichte.hu-berlin.de/rezensionen/2003-1-088.pdf Work in ProgressGerman Opera and its Publics, from Mozart to Weill (monograph) Wagner’s Meistersinger in the Twentieth Century (monograph) Papers and Presentations“Songs and Space in Billy Budd,” talk at the conference “Britten and Literature,” UCLA and LA Opera, February 2014 “Wagner contra Wagner: Listening in, and to, Tannhäuser,” University of Manchester, December 2013 “Fugues, Fugue States, and other Operatic Contagions,” University of Cambridge, November 2013 “Schlusschoral: Ethics, Performance, and the Fourth Wall in Ullmann and Weill,” Kings College London, October 2013 “The Mastersongs of Nuremberg, or: What Spooked Hans Sachs?” University College Cork, September 2013 “Wagner contra Wagner: Listening in, and to, Tannhäuser,” talk at the conference “Jenseits von Bayreuth. Richard Wagner Heute: Neue Kulturwissenschaftliche Perspektiven,” Université du Luxembourg, June 2013 “Tannhäuser contra Wagner, or the Pitfalls of Operatic Adaptation,” talk at the conference “Wagner and Adaptation,” University of Toronto, January 2013 “Beyond Heroism: Cosmopolitanism and Musical Commmunities,” International Musicological Society, Rome, July 2012 “Fugues, Fugue States, and other Operatic Contagions,” talk at the conference “Opera After Freud,” Stanford University, February 2012 “Zuhörerschaft, Emotionen, und Wagners Tannhäuser-Problem,” talk at the conference “Wagner und die Emotionen” held at the Bayreuth Festival, August 2011 “Die Meistersinger, Indoors and Out,” American Musicological Society, Indianapolis, November 2010 “In Search of the (Opera) Chorus,” keynote address at the conference “The Choir,” Sibelius Academy, Helsinki, May 2010 “What—and Why—did the Hamburg Cäcilienverein Sing in the Forest?” talk at the symposium “German Choral Traditions,” Harvard Divinity School, April 2010 “Schlusschoral: History and Meaning in Ullmann and Weill,” talk at the conference “Recovered Voices: Staging Suppressed Opera of the Early 20th Century,” UCLA and LA Opera, April 2010 “Die Meistersinger, Indoors and Out,” International Musicological Society, Amsterdam, July 2009 “Memory and Multiplicity in Felix Mendelssohn’s ‘Gutenberg’ Works,” talk at the conference “Purcell, Haydn, Handel, and Mendelssohn,” Oxford University, March 2009 “The Birth of Germany out of the Spirit of Song: Brahms, Memory, and Nationhood,” talk at the conference “Brahms and Memory,” University of New Hampshire, April 2008 “Music and Liberalism in Germany, c. 1840,” presentation at the Radcliffe Institute for Advanced Study, Harvard University, December 2007 “Zemlinsky and the Collective,” talk at the symposium “Alexander von Zemlinsky und die Moderne,” Deutsche Oper Berlin, June 2007 “Nuremberg Reimagined: Die Meistersinger in the Parlor,” colloquium at Rice University, March 2007 “The Birth of Germany out of the Spirit of Song, or Music’s Crisis c. 1871,” colloquium at Stony Brook University History Department, December 2006 “Choral Fantasies: Beethoven, von Schwind, and the Aesthetics of Participation,” American Musicological Society, Los Angeles, November 2006, and the 14th International Conference on 19th-Century Music, Manchester, England, July 2006 “Genre, History, and Disciplinarity in Recent Opera Studies,” Modern Language Association, Washington, D.C., December 2005 “‘Dich nur besingen wir’: Lohengrin, Parsifal, and the Politics of Voice Exchange,” talk for the conference “Wagner’s Parsifal and the Performance of Culture,” University of Chicago, October 2005 “Brahms, the Triumphlied Op. 55, and the Space of Song,” 11th Annual International Conference on Romanticism, Texas A&M University, October 2004 “‘Heil ihm! Heil uns!’: Choral Participation in Occasional Works of Felix Mendelssohn,” Symposium on the Composers and Compositions of the Berliner Sing-Akademie, Rhodes College, November 2003 “‘Solch ein Fest hat uns verbunden’: Music, Festivity and the Chorus in Liszt’s 1845 ‘Beethoven’ Cantata,” colloquium at Washington University in St. Louis, October 2002 “Occasions, Nations, and Disseminations in Brahms’s Op. 109 Fest- und Gedenksprüche,” American Musicological Society, Midwest chapter meeting, Chicago, September 2002 “Sublimating the Sublime: Communal Passions and the Founding of the German Choral Movement,” “Music and the Passions” conference, University of Chicago, March 2000 “‘without a center to surround’: Wagner, Die Meistersinger, and the Fantasm of the Chorus,” Lyrica Society conference “Dramaturgy On Stage/In Theory,” Flagstaff, September 1998 Invited Panels“The Agon of Opera and Dance,” Princeton University, May 2013 “Performative Languages of Emotion: Ein Dialog von Kunst und Wissenschaft,” Staatsoper unter den Linden Berlin and the Freie Universität Berlin, June 2012 “Thinking through Performance: Operatic Production since 1960,” American Musicological Society, San Francisco, November 2011 “Opera and the Place of Performance,” Tufts University, April 2011 “Remixing Opera,” Columbia University and Princeton University, January 2011 “The Nose in Transit: William Kentridge and the Poetics of Displacement,” Columbia University and The Metropolitan Opera, March 2010 “Opera and Austerity,” University of Virginia, February 2009 “Brahms at 175,” American Musicological Society, Nashville, November 2008 “Wagner and Scandal,” Brown University, March 2008 Conference Organization“Mozart on the Borders: Die Entführung aus dem Serail,” SUNY Stony Brook, April 2012“Beyond Opera: Staging Theatricality,” SUNY Stony Brook and Yale University, April 2010 (co-organized with Mauro Calcagno, Gundula Kreuzer, and Ellen Rosand)“Wagner’s Parsifal and the Performance of Culture,” University of Chicago, October 2005 (co-organized with Brian Hyer)Other Conference Activities Session Chair, “Producing Minimalist Opera,” American Musicological Society, Pittsburgh, November 2013 Session Chair, “The Idea of Opera,” American Musicological Society, San Francisco, November 2011 Session Chair, “Rival Sisters: Art and Music at the Birth of Modernism,” New York, March 2011 Session Chair, “L’Orfeo at 400,” Stony Brook University, April 2007 Pre-Concert and Non-Academic Talks New York Wagner Society, “Götterdämmerung Study Day,” February 2012 Lincoln Center “White Light” Festival, Collegium Vocale Gent, conductor Philippe Herreweghe, November 2010 Così fan tutte, Stony Brook Opera, April 2009 “Piano Project” on 4-Hand Piano Music, Stony Brook Music Department, March 2009 Stony Brook Chamber Music Festival, May 2006 Academic ServiceOrganizations: The Opera Quarterly Co-Executive Editor, with David Levin, 2012- Editorial Board and Associate Editor, 2008-2012 American Musicological Society Program Committee, 2014 Annual Meeting Council, 2010-2012 Subcommittee on Corresponding and Honorary Members, 2010 American Brahms Society Chair, Geiringer Award, 2013-2015 Program Committee, “Brahms in the New Century,” 2012 Board of Directors, 2008- Outside referee: Oxford University Press University of Chicago Press Cambridge University Press W.W. Norton Journal of the American Musicological Society Music & Letters Journal of Musicological Research The Opera Quarterly Acta Musicologica Institutional Service Stony Brook University: Curriculum Committee, College of Arts and Sciences, 2012-2015 “Faculty” Subcommittee, Middle States Accreditation, 2012-2013 Promotions and Tenure Committee, College of Arts and Sciences, 2008- 2009 Selection Committee, Mellon Foundation Seminar “Framing the Object,” 2008-2009 Fulbright Committee, 2006-2007 Honors College Advisory Committee, 2005-2006, 2006-2007
Chair, Baroque Search Committee, 2013-2014 18th-19th-Century Opera Search Committee, 2012-2013 Pre-1500 Search Committee, 2012-2013 Chair, 20th-Century Search Committee, 2011-2012 Head, History-Theory-Ethnomusicology Faculty, 2008-2009, 2009- 2010 20th-Century Search Committee, 2006-2007 Baroque-Classical Search Committee, 2006-2007 Digital Media Search Committee, 2006-2007 Chair, Colloquium Committee, 2005-2007, 2010-2011 20th-Century Search Committee, 2005-2006
Midwest Graduate Music Consortium: Co-organizer, 1999 Graduate Music Society: Secretary, 1997-1998
American Musicological Society Alexander von Humboldt Society of America
Research and Teaching InterestsNineteenth- and early twentieth-century music Opera staging and dramaturgy Music and the public sphere Spectatorship and mass culture Wagner
Brahms Mozart
LanguagesGerman: fluent French: reading knowledge Italian: reading knowledge PerformanceChicago Symphony Orchestra Chorus, 1999-2000 Atlanta Symphony Orchestra Chorus, 1991-1992 Directory: commcms -> music -> aboutus -> faculty faculty -> Curriculum vitae daniel allen weymouth commcms -> Carrie L. Shandra commcms -> Handbook on Migration and Social Policy Download 52.73 Kb. Share with your friends:
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