Music Department Faculty
Annegret Fauser
Professor and Adjunct Professor of Women's Studies
Office: 222 Hill Hall
Email: fauser@email.unc.edu
Phone: 919-962-5676
Annegret Fauser's research focuses on music of the nineteenth and twentieth centuries, and in particularly that of France and America. Her publications include books on orchestral songs in France (1994), Wagner reception (1999), and Jules Massenet's opera Esclarmonde (2001). In 2005, she published the monograph, Musical Encounters at the 1889 Paris World’s Fair. She co-edited with Tamara Levitz a special issue of Musical Quarterly on “Music and Identity” (published in 2008) and, with Mark Everist, Stage Music and Cultural Transfer: Paris, 1830-1914 (forthcoming from the University of Chicago Press).Currently she is editing the correspondence between Nadia Boulanger and Aaron Copland, and writing a monograph on music in the United States during World War II. In September 2008, she presented aspects of this new research project in the joint new lecture series of the Library of Congress and the American Musicological Society. Click here to see the webcast!
Publications
Recent Courses
Personal Webpage
Books and Editions
Articles and Book Chapters
Reviews and Dictionary Articles
“Music & Identity.” The Musical Quarterly 89/4 (2006). Special Issue edited by Annegret Fauser and Tamara Levitz.
Musical Encounters at the 1889 Paris World's Fair. Rochester, NY: University of Rochester Press, 2005.
Dossier de Presse parisienne: Jules Massenet, "Esclarmonde" (1889). Edited by Annegret Fauser. Heilbronn: Edition Lucie Galland, 2001.
Von Wagner zum Wagnérisme: Musik, Literatur, Kunst, Politik.
Edited by Annegret Fauser and Manuela Schwartz. Vol. 12: Transfer: Die deutsch-französische
Kulturbibliothek. Leipzig: Leipziger Universitäts-Verlag, 1999.
Der Orchestergesang in Frankreich zwischen 1870 und 1920. Vol. 2: Freiburger Beiträge zur Musikwissenschaft. Laaber: Laaber-Verlag, 1994.
“‘Hymns of the Future’: Reading Félicien David’s Christophe Colomb as a Saint-Simonian Symphony.” Journal of Musicological Research 28 (2009): 1–29.
“‘Wagnerism’: Responses to Wagner in Music and the Arts.” In The Cambridge Companion to Wagner. Edited by Thomas Grey, 221-34. Cambridge: Cambridge University Press, 2008.
“New Media, Source-Bonding and Alienation: Listening at the 1889 Exposition Universelle.” In French Music, Culture, and National Identity, 1870-1939. Edited by Barbara Kelly, 40–57. Rochester, NY: University of Rochester Press, 2008.
“Aaron Copland, Nadia Boulanger, and the Making of an ‘American’ Composer.” The Musical Quarterly 89 (2006), 524-55. Special Issue on “Music & Identity.” Edited by Annegret Fauser and Tamara Levitz.
“Encuentros con lo desconocido: música exótica en las Exposiciones Universales.” Translated by Luis Gago. In Mirada a Oriente. Edited by Luis Gago, 43-63. Madrid: OCNE, 2008.
"Comment devenir compositeur: Les stratégies de Lili Boulanger et ses contemporaines.” In Nadia Boulanger et Lili Boulanger. Témoignages et études. Edited by Alexandra Laederich, 273–88. Lyon: Editions Symétrie, 2007.
“Oscarine und Reginette: ein komisches Zwischenspiel in der französischen Wagnerrezeption.” In "L'Esprit français" und die Musik Europas: Entstehung, Einfluß und Grenzen einer ästhetischen Doktrin. Festschrift für Herbert Schneider zum 65. Geburtstag. Edited by Michelle Biget-Mainfroy and Rainer Schmusch, 575–90. Vol. 40: Studien und Materialien zur Musikwissenschaft. Hildesheim, Zürich, New York: Georg Olms Verlag, 2007.
“Creating Madame Landowska,” Women & Music: A Journal of Gender and Culture 10 (2006): 1–23.
“Composer en tant que catholique : Une relecture de la musique vocale de Lili Boulanger.” Translated by Marie-Hélène Benoit-Otis. Intersections: Canadian Journal of Music 26/1 (2006): 114–23.
“Histoires interrompues: raconter l’histoire de la musique en France.” Translated by Hélène Panneton. In Musique et modernité en France 1900-1950. Edited by Sylvain Caron, Michel Duchesneau, and François de Médicis, 19–50. Montréal: Presses de l’Université de Montréal, 2006.
“Lorelei and Other Rhine Maidens.” In Music of the Sirens. Edited by Linda Austern and Inna Naroditskaya, 250–72. Bloomington: Indiana University Press, 2006.
"Archéologue malgré lui: Vincent d'Indy et les usages de l'histoire." In Vincent d'Indy et son temps. Edited by Manuela Schwartz, 122-33. Liège: Mardaga, 2006.
"Visual Pleasures-Musical Signs: Dance at the Paris Opéra." South Atlantic Quarterly 104 (2005): 99-121.
"De arqueología musical. La música barroca y la Exposición Universal de 1889." Translated by Luis Gago. In Concierto barroco. Estudios sobre música, dramaturgia e historia cultural. Edited by Juan José Carreras and Miguel Ángel Marín, 289-307. Logroño: Universidad de La Rioja, 2004.
"Fighting in Frills: Women and the Prix de Rome in French Cultural Politics." In Women's Voices Across Musical Worlds. Edited by Jane Bernstein, 60-86. Boston: Northeastern University Press, 2003.
"World Fair-World Music: Musical Politics in 1889 Paris." In Nineteenth-Century Music Studies. Edited by Jim Samson and Bennett Zon, 179-225. London & Aldershot: Ashgate, 2002.
"Die Welt als Stadt: Weltausstellungen in Paris als Spiegel urbanen Musiklebens." In Musik und Urbanität. Edited by Christian Kaden and Volker Kalisch, 139-48. Essen: Blaue Eule, 2002.
"Alterity, Nation and Identity: Some Musicological Paradoxes." Context: A Journal of Music Research 21 (Spring 2001): 1-18.
"Phantasmagorie im deutschen Wald? Zur Freischütz-Rezeption in London und Paris 1824." In Deutsche Meister – Böse Geister? Nationale Selbstfindung in der Musik. Edited by Hermann Danuser and Herfried Münkler, 245-73. Schliengen: Edition Argus, 2001.
"Gendering the Nations: The Ideologies of French Discourse on Music (1870-1914)." In Musical Constructions of Nationalism: Essays on the History and Ideology of European Musical Culture, 1800-1945. Edited by Michael Murphy and Harry White, 72-103. Cork: Cork University Press, 2001.
"Response: Directions in Musicology." In Musicology and its Sister Disciplines. Edited by David Greer, 205-9. Oxford: Oxford University Press, 2000.
"The Songs." In The Cambridge Companion to Berlioz. Edited by Peter Bloom, 109-24. Cambridge: Cambridge University Press, 2000.
"'…den muss aus Liebe Schönheit töten': Klang-Körper-Frau." In Die Worte vergrößern: Bericht über das zweite Internationale Symposium Othmar Schoeck, Luzern, 13. und 14. August 1999. Edited by Beat A. Föllmi, 51-73. Vol. 3: Schriftenreihe der Othmar-Schoeck-Gesellschaft. Zürich: Othmar-Schoeck-Gesellschaft, 2000.
" 'L'orchestre dans les sons brave l'honnêteté...': Le rôle de l'élément érotique dans l'œuvre de Massenet." In Massenet en son temps. Edited by Patrick Gillis and Gérard Condé, 156-79. St. Etienne: Association du Festival Massenet, 1999.
"Musik als 'Lesehilfe': Zur Rolle der Allusion in den Opern von Jules Massenet." In Musik als Text: Bericht über den Internationalen Kongreß der Gesellschaft für Musikforschung Freiburg im Breisgau 1993. Edited by Hermann Danuser and Tobias Plebuch, 462-4. Kassel: Bärenreiter-Verlag, 1999.
"La Guerre en dentelles: Women and the Prix de Rome in French Cultural Politics." Journal of the American Musicological Society 51 (1998): 83-129.
"Zwischen Professionalismus und Salon: Französische Musikerinnen des Fin de siècle." In Professionalismus in der Musik. Edited by Christian Kaden und Volker Kalisch, 261-74. Essen: Blaue Eule, 1998.
With Tobias Plebuch. "Gender Studies: Ein Streitgespräch." In Gender Studies & Musik. Edited by Stefan Fragner, Jan Hemming and Beate Kutschke, 19-40. Regensburg: ConBrio Verlagsgesellschaft, 1998.
"Lili Boulanger's La Princesse Maleine: A Composer and Her Heroine as Literary Icons." Journal of the Royal Musical Association 122 (1997): 68-108.
"Andromède: 'non pas une cantate de concours, mais une œuvre d'art'?" In Guillaume Lekeu & son temps: Actes du colloque de l'Université de Liège. Edited by Philippe Vendrix, 85-102. Liège: Société Liégeoise de Musicologie, 1995.
"L'art de l'allusion musicale." L'Avant-Scène Opéra 161 (September-October 1994): 126-29.
"Femme fragile: Zu Lili Boulangers Opernfragment La Princesse Maleine." In Vom Schweigen befreit (3. Internationales Komponistinnen-Festival Kassel): Lili Boulanger, 1893-1918. Edited by Roswitha Aulenkamp-Moeller and Christel Nies, 72-76. Kassel: Internationales Forum "Vom Schweigen befreit", 1993.
"Esclarmonde. Un opéra wagnérien?" L'Avant-Scène Opéra 148 (September-October 1992): 68-73.
"Frankreich, Paris und die Provinz." Neue Zeitschrift für Musik 152/1 (1991): 32-36.
"Die Sehnsucht nach dem Mittelalter. Ernest Chausson und Richard Wagner." In Les Symbolistes et Richard Wagner-Die Symbolisten und Richard Wagner. Edited by Wolfgang Storch, 115-20. Berlin: Edition Hentrich, 1991.
"La mélodie avec accompagnement d'orchestre en France." In 150 Ans de Musique Française 1789-1939. Edited by François Lesure and Benoît Duteurtre, 161-71. Lyon: Actes Sud, 1991.
"Die Musik hinter der Legende. Lili Boulangers Liederzyklus Clairières dans le Ciel." Neue Zeitschrift für Musik 151/11 (1990): 9-14
"Comment devenir compositeur: Les stratégies de Lili Boulanger et ses contemporaines.” In Nadia Boulanger et Lili Boulanger: Témoignages et études. Edited by Alexandra Laederich, 273–88. Lyon: Editions Symétrie, 2007.
Reviews and Dictionary Articles
"Lili Boulanger." In New Historical Anthology of Music by Women. Edited by James Briscoe, 275-78. Bloomington and Indianapolis: Indiana University Press, 2004.
Review of Hervé Lacombe: The Keys to French Opera (Berkeley, Los Angeles & London: University of California Press, 2001) and Steven Huebner: French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style (Oxford, New York: Oxford University Press, 1999). In Nineteenth Century Music 26 (2003): 278-85.
"Allemagne," "Wagnérisme," "Mélodie avec orchestre," "Ambroise Thomas," "Le Caïd," "Françoise de Rimini," "Hamlet," "Mignon," "Psyché (Thomas)," "Raymond," and "Songe d'une nuit d'été." In Dictionnaire de la musique en France au XIXe siècle. Edited by Joël-Marie Fauquet, passim. Paris: Fayard, 2003.
"Augusta Holmès." In Die Musik in Geschichte und Gegenwart. Second, revised edition. 25 vols. Edited by Ludwig Finscher. Personenteil. Vol 9: col. 244-46. Kassel and Stuttgart: Metzler and Bärenreiter, 2003.
"Lili Boulanger," and work-list for "Jules Massenet." In The New Grove Dictionary of Music and Musicians. Second, revised edition. Edited by Stanley Sadie and John Tyrrell. On-line version edited by Laura Macy. Oxford: Oxford University Press, 2000.
"Henri-Louis Blanchard." In Die Musik in Geschichte und Gegenwart. Second, revised edition. 25 vols. Edited by Ludwig Finscher. Personenteil. Vol 3: col. 37. Kassel and Stuttgart: Metzler and Bärenreiter, 2000.
"Songe d'une nuit d'été," "Mignon," "Hamlet," and "Françoise de Rimini." In Piper Enzyklopädie des Musiktheaters. Edited by Sieghart Döhring. Vol. 6: 282-91. Munich and Zurich: Piper Verlag, 1997.
"Augusta Holmès." In Das neue Lexikon der Musik. Vol. 2: 470. Stuttgart: Metzler Verlag, 1996.
"Saint-Saëns: Phryné." In Piper Enzyklopädie des Musiktheaters. Edited by Sieghart Döhring. Vol. 5: 521-22. Munich and Zurich: Piper Verlag, 1994.
"Max Reger in Frankreich." Neue Zeitschrift für Musik 149:3 (1988): 45-6 (Review).
Undergraduate: Sounds of War and Revolution, 1750–1850; Art Song in the Nineteenth Century; Music History Since 1850; Introduction to Women and Music; Musical Modernism; Femmes fatales and Their Victims (Honors Seminar); Elisabeth Jacquet de la Guerre (1665-1729) and her Music.
Graduate: Classical Music during World War II; Music, Gender, and Sexuality; Wagner and Wagnerism: Critical and Compositional Reception; Dancing at the Paris Opéra; Music at the Exposition Universelle in Paris in 1889; Resources and Methods in Musicology.
Updated 4/22/2008