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CURRICULUM VITA
John S. Powell
School of Music,
University of Tulsa
800 South Tucker Drive, Tulsa, Oklahoma 74104
(918) 631-2771
(school), (918) 832-0256 (home)
e-mail:
john-powell@utulsa.edu
website: <http://www.personal.utulsa.edu/~john-powell/directory/>
Degrees Earned:
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Ph.D. |
1982 |
University of Washington (historical musicology)
Dissertation:
Music in the
Theater of Molière
(University of Washington, 1982) |
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M.Mus. |
1986 |
University of Washington (choral conducting) |
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M.A. |
1977 |
University of California Santa Barbara (musicology) |
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B.A. |
1974 |
University of California Santa Barbara (music history and theory) |
Professional Positions:
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Fall 2006 |
Université de Nancy 2 |
Visiting Professor of Musicology |
| 2005-present |
University of Tulsa |
Professor of Music History |
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1996-2005 |
University of Tulsa |
Associate Professor of Music History |
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1989-96 |
University of Tulsa |
Assistant Professor of Music History |
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1988-89 |
University of Minnesota |
Visiting Assistant Professor of Musicology |
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1986-88 |
University of Washington |
Acting Assistant Professor of Musicology |
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1985-86 |
Seattle University |
Lecturer in Music Theory and History |
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1983-84 |
Chinese University of Hong Kong |
Lecturer in Western Music |
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1982-87 |
University of Washington |
University Extension Lecturer |
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1979-82 |
University of Washington |
Teaching Assistant |
National Honors and
Awards:
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2006 |
Fulbright Teaching/Research Grant to Strasbourg, France |
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2000 |
National Endowment for the Humanities Fellowship |
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1999 |
Oklahoma Council for the Humanities Grant |
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1996 |
American Council of Learned Societies Travel Grant |
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1996 |
American Philosophical Society Research Grant |
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1993 |
National Endowment for the Humanities Summer Stipend |
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1989 |
National Endowment for the Humanities, Travel to Collections Grant |
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1989 |
American Council for Learned Societies, Grant-in-Aid |
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1980-81 |
Fulbright-Hays Full Grant (dissertation grant) |
Publications:
(N.B. use the "Back" button on your computer to return to the CV
after viewing each publication)
Monograph
Music and French Theater,
1600-1680
(Oxford University Press, 2000).
Articles and Book Chapters
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“Pierre
Beauchamps and the Public Theatre” in Dance, Spectacle, and the Body
Politick, 1250-1750, ed. by Jennifer Nevile (Indiana University Press,
2008), 117-135. |
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“Psyché
: The Stakes of a Collaboration,”
in Reverberations: Staging Relations in French Since 1500 - A Festschrift
in Honour of C. E. J. Caldicott, ed. Phyllis Gaffney, Michael Brophy,
and Mary Gallagher (University College Dublin Press, 2008), 1-25.
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"Les Conditions de
représentation au Théâtre de Guénégaud et à la Comédie-Française, d'après
les Mélanges," in Les Manuscrits autographes de
Marc-Antoine Charpentier, ed. Catherine Cessac (Paris: Mardaga, 2007),
271-86. |
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"Les
partitions théâtrales au XVIIe siècle: des débuts jusqu'au Malade
Imaginaire" in Le Parnasse du Théâtre: Les recueils
d'oeuvres complètes de théâtre au xviie siècle, ed. Georges Forestier,
Edric Caldicott, et Claude Bourqui (Paris: PUPS, 2007), 105-18. |
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“Music and Corneille’s Andromède,” in "L'esprit français" und die Musik Europas:
Entstehung, Einfluss und Grenzen einer ästhetischen Doktrin (Festschriftt
für Herbert Schneider), ed. Michelle Biget-Mainfroy und Rainer Schmusch
(Hildesheim: Olms, 2007), 191-207. |
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“Music and Molière’s Le Bourgeois Gentilhomme,” Cambridge
Molière Companion (2006). |
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“L’Air de cour et le théâtre de collège au XVIIe siècle,” Actes du
Colloque « L’Air de cour au temps de Henri IV et de Louis XIII », 2003 (Paris : Éditions Mardagna, 2006). |
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"L'aspect protéiforme du Premier Intermède du Malade Imaginaire" and
“Charpentier’s Music for Circé (1675),”
in Catherine Cessac, ed., Marc-Antoine Charpentier: Un musicien
retrouvé (Éditions
Mardaga, 2005). |
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“The
Opera Parodies of Florent Carton Dancourt,”
Cambridge Opera
Journal,
13:1 (2001) |
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"’Pourquoi
toujours des bergers?’: Lully, Molière and the Pastoral Divertissement," in Lully Essays, ed. John Heyer
(Cambridge University Press, 2000), 166-98. |
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"’A Mess of Russians left us but of late’: Diplomatic Blunder, Literary
Satire, and the Muscovite Ambassador's Visit to Paris Theatres in 1668" (written in collaboration with Claudia Jensen); Theatre Research
International 24:2 (1999), 131-44. |
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“Charpentier’s Music for Circé (1675)” in Bulletin de la Société Marc-Antoine Charpentier 15 (1998), 1-11. |
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"A
New Source for Lully’s Music to Molière’s La Princesse d’Élide,” in
Jérôme de La Gorce and Herbert Schneider, eds., Quellenstudien zu
Jean-Baptiste Lully: Etudes des sources (Hildesheim: George Olms, 1999),
200-22. |
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"Appropriation, Parody, and the Birth of French Opera: Lully's Les Festes
de l'Amour et de Bacchus and Molière's Le Malade imaginaire;" Recherches sur la musique française classique 29 (1998), 3-26. |
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"Musical Practices in the Theater of Molière," Revue de musicologie
82:1 (1996), 5-37. |
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"Pierre Beauchamps, Choreographer to Molière's Troupe du Roy," Music & Letters 76:2 (May 1995), 168-86. |
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"La
métamorphose d'un intermède du Malade imaginaire," Revue
d'Histoire du Théâtre (1994-2), 155-78. |
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"Le Mariage forcé and the
Self-Fulfilled Prophesy," Early Music (May 1993) 213-230. |
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"Music, Fantasy
and Illusion in Molière's Le Malade imaginaire,"
Music and Letters 73:2 (1992), 222-43. |
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New Grove
Dictionary of Opera
(1992); articles on Marc-Antoine Charpentier; articles on the operas
Actéon,
Médée,
Les Arts Florissants. |
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"L'aspect protéiforme du Premier Intermède du Malade Imaginaire," Bulletin de la Société Marc-Antoine Charpentier Vol. 5 (July 1991) 2-14. |
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"Charpentier, La Sérénade pour le Sicilien, et le crépuscule de la
comédie-ballet," Revue de musicologie 77:1 (1991), 88-96. |
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"Charpentier's
Music for Molière's Le Malade imaginaire and Its Revisions,"
Journal of the American Musicological Society 39 (1986) 87-142. |
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"Musical Sources of the Bibliothèque-Musée de la Comédie-Française," Current Musicology 41 (1986) 7-45. |
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"A New Source for the Premier Intermède of Le Malade imaginaire,"
Papers in Romance 5:1 (1983), 23-36. |
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"Music and Sense in Handel's Setting of Milton's L'Allegro and Il
Penseroso," Eighteenth-Century Studies 12:1 (1978) 16-46. |
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Forthcoming Editions,
Articles, and Book Chapters:
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Editions:
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Alessandro
Stradella, "Arie, Duetti, Terzetto," Opera Omnia di Alessandro Stradella,
Serie IV, vol. 1: Arie, NN. 1-12 (Pisa: Edizioni ETS, 2008). |
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Alessandro
Stradella, "Arie, Duetti, Terzetto," Opera Omnia di Alessandro Stradella,
Serie IV, vol. 2: Arie, NN. 13-24 (Pisa: Edizioni ETS, 2009). |
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Psyché (1671), text by Molière, Pierre Corneille, and Phillippe
Quinault; music by Jean-Baptiste Lully; Oeuvres complètes de Jean-Baptiste Lully , ed. Herbert Schneider and Jérôme
de La Gorce (Hildesheim:
Georg Olms, 2008). |
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A New Treatise on
Accompaniment by Monsieur de Saint Lambert, an Annotated Translation with
Introduction
(Indiana University Press, 1991). |
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Le
Malade imaginaire: comédie de Molière, musique de M.-A. Charpentier.
Préface de
H. Wiley Hitchcock, avec Introduction de John S. Powell (Geneva: Editions
Minkoff, 1990). |
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Marc-Antoine Charpentier: Music for Molière's Comedies (A-R Editions,
Inc., 1990). |
| Marc-Antoine
Charpentier: Vocal Chamber Music (A-R
Editions, Inc., 1986) |
Web Projects: click
HERE
Recent Professional
Activities
| 2003 |
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Edited the performance score and parts of Charpentier’s La
Descente d’Orphée aux enfers, for performance by the
Catacoustic Consort in Cincinnati in September 2003. My web
edition of the musical score and a video of the performance is found on my
website:
http://www.personal.utulsa.edu/~john-powell/LaDescenteDorpheeAuxEnfers/ |
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Presented a paper, “L’Air
de cour et le théâtre de collège au XVIIe siècle” at an international conference (L’Air de cour au temps de Henri IV et de
Louis XIII) given at the
Centre de Musique Baroque de Versailles in October 2003. |
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Presented a paper, “The
Metamorphosis of Psyché” at an international conference (Les
Genres de Psyché) given at the Université de Valenciennes in December
2003. |
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2004 |
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Wrote program notes for a
Charpentier and Purcell Festival, given during 12-15 February 2004 at
New College, Oxford (U.K.); I also provided the performing score and parts
for the Charpentier numbers. |
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Wrote program notes for a
Charpentier 300th Anniversary Concert given at London’s Wigmore Hall, 19 March 2004, by the ensemble Florilegium. |
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Provided the performance score and parts of Charpentier’s La
Descente d’Orphée aux enfers, for performance by the Toronto Masque
Theatre, May 13-14, in a program entitled
The Masques of Orpheus. |
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Presented a paper,
Performance Practices at the Théatre de Guénégaud and the Comédie-Française,
after Indications in the Autograph Manuscripts of Marc-Antoine Charpentier at an international conference ("Charpentier
and His World") given at the University of Birmingham, U.K., April 2004. |
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Edited the performance score and parts,
and provided program notes of
Charpentier’s
Grand Office des Morts for William Christie and Les Arts
Florissants, for performances in Normandy (Caen
and Coutances) in commemoration of the 60th Anniversary of D-Day,
June 2004. The performance at Caen was recorded for broadcast on Radio
France. |
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Provided performance scores and parts of Charpentier’s incidental
music to
Hugo Reyne and La Simphonie du Marais, for performance in a program
entitled “Charpentier,
Molière et la Comédie Française”, given at various venues in France during the
summer and fall of 2004. |
| Presented a
paper,
The Metamorphosis of Psyché , at the
Eleventh Biennial Conference on Baroque Music, given at the University
of Manchester (U.K.) in July 2004. |
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Edited the performance score and parts of Charpentier’s Il faut
rire et chanter: Dispute de bergers, for performance at
Aestas Musica, International Summer School of Baroque Music and Dance,
given in Varaždin, Croatia, 20–30 August 2004. My online web edition
of this work can be viewed at:
http://www.personal.utulsa.edu/~john-powell/LeMisantrope. |
| 2005 |
| Presented a paper "Les
partitions théâtrales au XVIIe siècle: des débuts jusqu'au
Malade Imaginaire" at
an international conference (Le Parnasse des auteurs dramatiques)
given at the Université de Paris IV-Sorbonne, 31 January - 2 February 2005. |
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Provided the score and parts of
Charpentier’s
Grand Office des Morts for performance by
David Fallis and the Toronto Chamber Choir, 25 March 2005. |
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Provided the score and parts of Charpentier’s
Grand Office des Morts for performance by
Peter Leech and the Bristol Bach Choir, Gloucester Cathedral, 18 June
2005. |
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Participated in a concert with commentary, "The Passions of the Soul," at The Awakening Museum in Santa Fe, New Mexico, July 2005; the musical selections
were drawn from my website,
Airs de differents
compositeurs, where video excerpts of this concert may be viewed. |
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Opera preview on Gounod’s Faust for Tulsa
Opera, Philbrook Museum of Art, October 2005. |
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Pre-concert lecture and provided the performance score and
parts of Charpentier’s La Descente d’Orphée aux enfers, for
performance by
Matthew Dirst and Ars Lyrica of Houston at the University of Houston,
Moores School of Music, 29 November 2005. |
| 2006 |
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Presented a paper “Le Bourgeois Gentilhomme:
Molière and Music” at the Twelfth Biennial Conference on Baroque Music at
the University of Warsaw, July 2006. |
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