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:

Ph.D. 1982 University of Washington (historical musicology)
Dissertation: 
Music in the Theater of Molière (University of Washington, 1982)
M.Mus. 1986 University of Washington (choral conducting)
M.A. 1977 University of California Santa Barbara (musicology)
B.A. 1974 University of California Santa Barbara (music history and theory)

 

Professional Positions:

Fall 2006 Université de Nancy Visiting Professor of Musicology
2005-present University of Tulsa Professor of Music History
1996-2005 University of Tulsa Associate Professor of Music History
1989-96 University of Tulsa Assistant Professor of Music History
1988-89 University of Minnesota Visiting Assistant Professor of Musicology
1986-88 University of Washington Acting Assistant Professor of Musicology
1985-86 Seattle University Lecturer in Music Theory and History
1983-84 Chinese University of Hong Kong Lecturer in Western Music
1982-87 University of Washington University Extension Lecturer
1979-82 University of Washington Teaching Assistant

 

National Honors and Awards: 

2006 Fulbright Teaching/Research Grant to Strasbourg, France
2000 National Endowment for the Humanities Fellowship
1999 Oklahoma Council for the Humanities Grant
1996 American Council of Learned Societies Travel Grant
1996 American Philosophical Society Research Grant
1993 National Endowment for the Humanities Summer Stipend
1989 National Endowment for the Humanities, Travel to Collections Grant
1989 American Council for Learned Societies, Grant-in-Aid
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 Theatre in France, 1600-1680 (Oxford University Press, 2000).
 

Articles and Book Chapters

"Music and French Baroque Gesture," published in Early Music Performer, Journal of the National Early Music Association, issue 30.
Review of the Boston Early Music Festival, June 2011; published in the Fall 2011 issue of Early Music America.
Review of Histoires sacrées: vol. 6, ed. C. Jane Gosine, & Xavier Bisaro (Versailles: Éditions du Centre de Musique Baroque de Versailles, 2009).
"Performance practices at the Théâtre de Guénégaud and the Comédie-Française: evidence from Charpentier's Melanges autographes," in New Perspectives on Marc-Antoine Charpentier, ed. by Shirley Thompson (Ashgate, 2010), pp. 161-183.
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.
"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.  
"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.
"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.
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.
Music and Molière’s Le Bourgeois Gentilhomme,” Cambridge Molière Companion (2006).
“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).
"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).

The Opera Parodies of Florent Carton Dancourt,” Cambridge Opera Journal, 13:1 (2001)

"’Pourquoi toujours des bergers?’: Lully, Molière and the Pastoral Divertissement," in Lully Essays, ed. John Heyer (Cambridge University Press, 2000), 166-98.
"’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.

Charpentier’s Music for Circé (1675)” in Bulletin de la Société Marc-Antoine Charpentier 15 (1998), 1-11.

"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.
"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.
"Musical Practices in the Theater of Molière," Revue de musicologie 82:1 (1996), 5-37.
"Pierre Beauchamps, Choreographer to Molière's Troupe du Roy," Music & Letters 76:2 (May 1995), 168-86.
"La métamorphose d'un intermède du Malade imaginaire," Revue d'Histoire du Théâtre (1994-2), 155-78.
"Le Mariage forcé and the Self-Fulfilled Prophesy," Early Music (May 1993) 213-230.
"Music, Fantasy and Illusion in Molière's Le Malade imaginaire," Music and Letters 73:2 (1992), 222-43.
New Grove Dictionary of Opera (1992); articles on Marc-Antoine Charpentier; articles on the operas Actéon, Médée, Les Arts Florissants.
"L'aspect protéiforme du Premier Intermède du Malade Imaginaire," Bulletin de la Société Marc-Antoine Charpentier Vol. 5 (July 1991) 2-14.
"Charpentier, La Sérénade pour le Sicilien, et le crépuscule de la comédie-ballet," Revue de musicologie 77:1 (1991), 88-96.
"Charpentier's Music for Molière's Le Malade imaginaire and Its Revisions," Journal of the American Musicological Society 39 (1986) 87-142.
"Musical Sources of the Bibliothèque-Musée de la Comédie-Française," Current Musicology 41 (1986) 7-45.
"A New Source for the Premier Intermède of Le Malade imaginaire," Papers in Romance 5:1 (1983), 23-36.
"Music and Sense in Handel's Setting of Milton's L'Allegro and Il Penseroso," Eighteenth-Century Studies 12:1 (1978) 16-46.

 

Forthcoming Editions, Articles, and Book Chapters:

Alessandro Stradella, "Arie, Duetti, Terzetto," Opera Omnia di Alessandro Stradella, Serie IV (Pisa: Edizioni ETS, 2008). vol. 4 forthcoming.

 
Editions:

Alessandro Stradella, "Arie, Duetti, Terzetto," Opera Omnia di Alessandro Stradella, Serie IV, vol. 1: Arie, NN. 1-12 (Pisa: Edizioni ETS, 2008).
Alessandro Stradella, "Arie, Duetti, Terzetto," Opera Omnia di Alessandro Stradella, Serie IV, vol. 2: Arie, NN. 13-24 (Pisa: Edizioni ETS, 2009).
Alessandro Stradella, "Arie, Duetti, Terzetto," Opera Omnia di Alessandro Stradella, Serie IV, vol. 3: Arie, NN. 25-36 (Pisa: Edizioni ETS, 2011).

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).
A New Treatise on Accompaniment by Monsieur de Saint Lambert, an Annotated Translation with Introduction (Indiana University Press, 1991).
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).
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

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.

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.

Presented a paper, “The Metamorphosis of Psyché” at an international conference (Les Genres de Psyché) given at the Université de Valenciennes in December 2003.

2004

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.

Wrote program notes for a Charpentier 300th Anniversary Concert given at London’s Wigmore Hall, 19 March 2004, by the ensemble Florilegium.

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.

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.

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.

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.

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. 

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.

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.

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.

Opera preview on Gounod’s Faust for Tulsa Opera, Philbrook Museum of Art, October 2005.

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

Presented a paper Le Bourgeois Gentilhomme: Molière and Music” at the Twelfth Biennial Conference on Baroque Music at the University of Warsaw, July 2006.

Taught a graduate seminar, “La Musique en Amérique et Nouvelle France ” at the Université de Nancy 2 under the auspices of the Franco-American Commission for Educational Exchange (Fall semester 2006).

2007

Provided the score and parts of Charpentier’s La Descente d'Orphée aux enfers for performance by Martin Gester and Le Parlement de Musique, 31 May 2007.

Musicological advisor and editor of the score for the North American première of Lully’s Psyché at the Boston Early Music Festival in June of 2007.  Website

Presented a paper “Music, Magic, and Madness in 17th-Century French Drama”, given for the Society for Interdisciplinary French Seventeenth-Century Studies at Yale University on 8 November 2007.
2008

Provided the score and parts of Charpentier’s Pour la Feste de l'Epiphanie, In Circumcisione Domini, In Festo Purificationis, and Pour le Jour de Ste Geneviefve for performance by Warren Stewart and Magnificat, February 2008.

Provided the score and parts of Charpentier’s La Couronne de Fleurs and Les Plaisirs de Versailles for performance by Warren Stewart and Magnificat, October 2008.

2009

Presented a pre-concert lecture on the composer Lucien Durosoir at Yale University before the concert Tour de France, by Ole Akahoshi (cello) and Elizabeth Parisot (piano), 30 January 2009.

Presented a paper "The Metamorphosis of Psyché" at a conference on Opera and Politics in the Ancien Régime, given at the William Andrews Clark Memorial Library on 27 February 2009.

Provided the score and parts of Charpentier’s Le Malade imaginaire for performance by the De Utrechtse Spielen theatre company in Utrecht, Holland, August-September 2009.

2010

Provided the score and parts of Charpentier’s Prose des Morts for performance by the Miami Bach Society in Miami, Florida, April 2010.

Provided the score, parts, translation, and program notes of Charpentier’s Les Plaisirs de Versailles for performance by Matthew Dirst and Ars Lyrica of Houston , given for the Society for Seventeenth-Century Music at Rice University, 5 March 2010.

Provided the score and parts of Charpentier’s Le Malade imaginaire for performance by the Aachen Theater company in Aachen, Germany, June-July 2010.

Presented a paper Music, Gesture, and Tragic Declamation in the Scene of the Dancing Demons from Thomas Corneille's Machine Play Circé (1675), given for the symposium Gesture on the French Stage, 1675-1800 at the Festival Oudemuziek Utrecht on 27 July 2010.
Presented a lecture-recital, "Debussy, Watteau, et la Fete Galante" together with Roger Price for the conference Watteau et la Danse at the Universite de Valenciennes, France, on 8-9 December 2010.
2011
Provided the score and parts of Charpentier’s Les Arts Florissants for performance at Eastman School of Music, January 2011. 
Provided the score and parts of Charpentier’s Les Arts Florissants for performance at Northwestern University, February 2011.
Provided the score, parts, translation, program notes, and pre-concert lecture of Charpentier’s Les Plaisirs de Versailles and Suite from Circé, for performance by Leslie Kwan and L'Académie, Oberton Theater, Cambridge MA, 11-12 November 2011.
Provided the score and parts of Charpentier’s Grand Office des Morts for performance by Peter Neumann and the Kölner Kammerchor, Collegium Cartusianum, Cologne GERMANY, 13 November 2011.
Provided the performance score and gave a pre-concert lecture of Charpentier’s La Descente d’Orphée aux enfers and La Couronne de Fleurs, for performance by the Boston Early Music Festival, 26-27 November 2011.
2012
Provided the performance score and parts of Charpentier’s Motet pour les Trépasses for performance by Tafelmusik in Toronto, Canada, March 2012.
Provided the score and parts of Charpentier’s Le Malade imaginaire for performance by the Jerusalem Baroque Orchestra in March, 2012.

Presented a paper "Henry Gissey’s Costumes for Psyché (1671)" at an international conference (“Fashioning Opera and Musical Theatre”), Venice, 29 March to 1 April 2012.

Provided the performance score and parts of Charpentier’s Grand Office des Morts for performance at Saint Peter's Lutheran Church on Lexington Avenue in New York City, April 2012.
Presented a paper "Italian Elements in the Comédies-Ballets of Molière and Lully" at the 19th International Congress of the International Musicological Society, Auditorium Parco della Musica in Rome 1-7 July 2012.
Provided the performance score and parts of Charpentier’s Motet pour les Trépasses for performance by William Christie and Les Arts Florissants at Aix-en-Provence, 12 July 2012.
Presented a paper  "Music and French Baroque Gesture" at the 15th Biennial International Conference on Baroque Music, University of Southampton, 11-15 July 2012.