Invitation to the Twentieth Annual John F. Sonnett Memorial Lecture Series: The Advocate: Should He Speak or Write?

Invitation to The Advocate: Should He Speak or Write? by Lord Chancellor James Mackay of Great Britain (1987-1997).https://ir.lawnet.fordham.edu/events_programs_sonnett_miscellaneous/1006/thumbnail.jp

John F. Sonnett Memorial Lecture Series: The Advocate: Should He Speak or Write?

Lecture by Lord Chancellor James Mackay of Great Britain (1987-1997) regarding advocacy skills. Document includes a speaker introduction and handwritten notes.https://ir.lawnet.fordham.edu/events_programs_sonnet_lectures/1006/thumbnail.jp

Joseph Haydn and the New Formenlehre: Teaching Sonata Form with His Solo Keyboard Works

Haydn’s keyboard works are endlessly fascinating, but they have seldom been the focus of any pedagogical approach to sonata form. This paper will demonstrate how these compositions, often neglected in the undergraduate curriculum, can serve as a springboard into a varied and nuanced understanding of sonata form. Using recent theories of form representative of the “New Formenlehre,” such as William Caplin’s theory of formal functions, Janet Schmalfeldt’s process of “becoming,” and James Hepokoski/Warren Darcy’s Sonata Theory, I will show how Haydn’s sonatas, if carefully selected, can provide students with a more flexible picture of how sonata form worked in the second half of the 18th century. Finally, through a close reading of a particularly challenging work (the slow movement of Haydn’s Sonata in A-flat major, Hob. XVI: 46), I will show how these new theories of form can help students formulate criteria for making sense of the composer’s often contradictory and complex musical decisions in sonata-form movements

“#morelove. always”

In this article I explore the ways that Sumac creates a two spirit transmasculine role for the 21st century within such an environment. I begin by looking at the cultural implications of Sumac’s choice of cover images as a way to situate Sumac among his trans* poetry peers, and use this as the springboard to a discussion of Sumac’s use of social media tropes, particularly hashtags, that situate his poetry as the product of a specifically digital environment. This, I argue is simultaneously a welcoming space for trans* and Indigenous people to find community and develop communal identities unaffected by physical distance, and also a space that carries particular dangers not only for both groups, but also for creative artists, in its flattening of affect. Finally, I look at the poet’s use of natural environments and images, and the ways that these function to balance and indigenize a shifting and uncertain digital no-space

Davis Schneiderman, Blank. Davis Schneiderman, [Sic]. Davis Schneiderman, Ink.

The DEAD/BOOKS trilogy from Davis Schneiderman consists of three full-length novels, together making up just under 600 pages. Between the three of them, and excluding introductions, author biographies and other paratextual matter, the books contain maybe 100 original words in total.  Blank (2011), the first in the set, is made up of almost entirely blank pages. Its successor, [Sic] (2013), is made up entirely of texts copied from other copyright-free sources and inaccurately ascribed in every..

Digital and Environmental Erotics: Reflections on the 42nd American Indian Workshop

The 2021 American Indian Workshop, conducted online due to the pandemic, highlighted the challenges and opportunities of virtual academic conferences. Centered on the theme of the erotic, as conceptualized by Audre Lorde, the conference grappled with maintaining meaningful engagement in a digital format. Key concerns included the environmental impact of traditional conferences, with a focus on reducing academia's carbon footprint. This shift to online events was driven by the urgent need for sustainability, especially relevant to Indigenous Studies given the disproportionate effects of global heating on Indigenous communities. The conference also addressed inclusivity issues, challenging the traditional conference model's accessibility for various groups, including those facing financial, physical, and social barriers. The conference employed innovative formats to enhance online interaction, such as shorter presentations and randomized discussion groups, fostering deeper engagement and collaboration among participants. Keynote speeches by Indigenous academics on themes like two-spirit connections and sexual liberation were especially impactful. This experience underscored the potential for virtual conferences to offer a more inclusive, environmentally sustainable alternative to traditional academic gatherings. The success of this online event serves as a model for reimagining academic conferences in ways that prioritize environmental responsibility and inclusivity

Motivation for treatment in younger veterans

Thesis (M.S.)--Boston Universit

A Musical Debt Repaid with Interest: Haydn’s “Farewell” Symphony, Clementi’s Piano Sonata, Opus 25/5, and Haydn’s Piano Trio, Hob. XV: 26

In 1772, Joseph Haydn composed his Farewell Symphony, so named because of the elaborate ruse of its closing movement, in which the performers depart one by one, leaving two violinists to complete the movement on their own. This eccentric finale, though justly famous, has overshadowed the equally bold and tonally unusual opening movement, in which Haydn bypasses the relative major in the exposition, instead concluding this section in the minor dominant. This tonal decision, though common in C. P. E. Bach (whose music Haydn knew and admired), was exceedingly rare in Haydn’s output, and represents a unique tonal experiment among his sonata-form works. This movement must have come to Muzio Clementi’s attention by the time that he wrote his Opus 25 piano sonatas in 1790. Opus 25, no. 5, in the unusual key of F-sharp minor like the Farewell Symphony, proceeds from the home key to the minor dominant with a brief stopover in the relative major, in a clear homage to the earlier movement’s tonal plan. This paper will provide a close reading of both the Clementi and Haydn movements, suggesting that Clementi was not strictly modeling on the earlier work: rather, he was using its tonal plan as a jumping-off point, filling the large-scale structure with material that was solely his own. Finally, H. C. Robbins Landon has asserted that Haydn’s London-era keyboard works demonstrate the influence of the London Pianoforte School of Clementi and his followers. This paper will conclude by exploring briefly the similarities of thematic content, figuration, and tonal plan between the opening movements of Haydn’s Piano Trio in F-sharp minor, Hob. XV: 26, and Clementi’s Opus 25, no. 5. These (perhaps subconscious) similarities illustrate how Haydn’s indebtedness to Clementi’s sonata brought the musical material full circle, recalling (if second hand) the Farewell Symphony as the ultimate source of both later works