Scott L. Edwards, PhD

Lehrbeauftragter am Institut für Musikwissenschaft und Interpretationsforschung

2018–2021: Projektmitarbeiter im Projekt Ludwig Senfl: New Edition of the Collected Works (New Senfl Edition) II (FWF P 31504)


edwards@mdw.ac.at
 

Research Fields

  • Music of the 16th and 17th Centuries
  • Early Modern Cultural History
  • History of the Book
  • Literacy and Orality
  • Migration and Diaspora Studies
  • Material Culture

Biography

  • May 1996: Bacherlor’s degree (BA) in Music, Bard College, Annandale-on-Hudson, NY
  • 1998–2000: Software Engineer, Tree Media Group, Santa Monica, CA
  • 2001–2002: Programmer/Analyst II, Advanced Research Computing, UCLA School of Medicine, Los Angeles, CA
  • 2003–2008: Graduate Student Instructor, University of California, Berkeley, CA
  • May 2004: Master’s degree (MA) in the History and Literature of Music, University of California, Berkeley
  • 2009–2019: Online Adjunct Instructor in the School of Liberal Arts, Excelsior College, Albany, NY
  • Winter 2011: Adjunct Instructor, College of Arts and Sciences, New York University, New York, NY
  • August 2012: Doctoral degree (PhD) in the History and Literature of Music, University of California, Berkeley: Repertory Migration in the Czech Crown Lands, 1570–1630
  • 2012–2014: College Fellow in the Department of Music, Harvard University, Cambridge, MA
  • 2015: Visiting faculty in the Department of Music, Harvard University, Cambridge, MA
  • 2015–2018: Research Fellow (postdoc) in the FWF research project 'Ludwig Senfl: Neue Ausgabe Sämtlicher Werke (New Senfl Edition) I: Die Motetten für 4 und 5 Stimmen' (P 27469)
  • Since 2018: Research Fellow (postdoc) in the FWF research project 'Ludwig Senfl: Neue Ausgabe Sämtlicher Werke (New Senfl Edition) II: Die Motetten für 6 und 8 Stimmen, Kanons, Magnificat-Vertonungen, Messen' (P 31504)

Recent Publications

Books

'Repertory Migration in the Czech Crown Lands, 1570–1630', PhD Dissertation, University of California, Berkeley, 2012 (ProQuest ID: Edwards_berkeley_0028E_12751; Merritt ID: ark:/13030/m5k64pgg).

Editions

  • Ludwig Senfl: New Senfl Edition 1: Motets for Four Voices (A–I) (Denkmäler der Tonkunst in Österreich 163.1) (Vienna: Hollitzer, in press), with S. Gasch and S. Tröster.
  • Ludwig Senfl: New Senfl Edition 2: Motets for Four Voices (N–V) (Denkmäler der Tonkunst in Österreich 163.2) (Vienna: Hollitzer, in press), with S. Gasch and S. Tröster.
  • Ludwig Senfl: New Senfl Edition 3: Motets for Five Voices (Denkmäler der Tonkunst in Österreich 163.3) (Vienna: Hollitzer, in press), with S. Gasch and S. Tröster.
  • Ludwig Senfl: New Senfl Edition 4: Motets for Six-Eight Voices, Canons (Denkmäler der Tonkunst in Österreich 163.4) (in preparation), with S. Gasch and S. Tröster.
  • Ludwig Senfl: New Senfl Edition 5: Magnificat Settings, Masses (Denkmäler der Tonkunst in Österreich 163.5) (in preparation), with S. Gasch and J. Moser.

Articles

  • “Voi che venist’armati: Plurilingual Singing in Seventeenth-Century Bohemia”, Seachanges: Music in the Mediterranean and Colonial Worlds, 1550–1800, ed. Kate van Orden, I Tatti Studies, 2021 (in press).
  • “Francesco Terzio and Tomáš Jaroš, Singing Fountain, 1564–8. Garden of Anne of Bohemia, Prague”, The Museum of Renaissance Music, ed. Vincenzo Borghetti and Tim Shephard, 2021 (in press).
  • “From Convivial Dispute to Social Ferment in Carl Luython’s Vinum bonum and Aqua pura”, Clavibus unitis, 2021 (accepted).
  • “Dripping with Honey: Extravagance and Uncertainty in a Set of Seventeenth-Century Moravian Partbooks”, Musicologica Brunensia (in preparation).
  • “Karl Kügle (ed.): Sounding the Past. Music as History and Memory”, Hudební věda 58 (2020), 567–76.
  • “Beyond ‘Hopeless Fortune’: Ludwig Senfl’s Consolation for Maria Jacobäa of Baden”, Senfl-Studien 3, ed. S. Gasch, B. Lodes, and S. Tröster (Vienna, 2018), 127–76.
  • “Translating Sorrow: Giovanni Battista Pinello, Gentil’huomo Genevose at the Dresden Court”, Journal of Musicology 33 (2016), 121–163.
  • “Is there no one here who speaks to me?: Performing Ethnic Encounter in Bohemia and Moravia at the Turn of the 17thCentury”, Diasporas 26 (2015), 17–34.
  • “Muzak’s Aesthetic Potential”, Art Issues 65 (November/December 2000), 30–3.
  • “White Christmas”, Art Issues 61 (January/February 2000), 20–3.

Additional Publications, Reviews, and Program Notes

  • Liner notes for the CD recording Samuel Capricornus: Geistliche Konzerte für Sänger und Violen da gamba, 2015
  • Review of Davitt Moroney, San Francisco Classical Voice, 2008
  • Review of AVE and The Whole Noyse, San Francisco Classical Voice, 2008
  • Review of Fortune’s Wheel, San Francisco Classical Voice, 2007
  • Review of Sacred & Profane, San Francisco Classical Voice, 2007
  • Review of Magnificat, San Francisco Classical Voice, 2007
  • Two reviews of San Francisco Renaissance Voices concerts, San Francisco Classical Voice, 2007
  • Program notes for La Poème Harmonique: Michel Richard de Lalande’s Tenebrae (Cal Performances), 2006
  • “Early Music as Popular Music” (position paper for symposium of the same title), 2006 Berkeley Festival & Exhibition (Cal Performances), 2006
  • Program notes for Bach Collegium Japan (Cal Performances), 2006
  • Program notes for Les Violons du Roy (Cal Performances), 2006
  • Review of 11th annual Other Minds Music Festival, Musicworks, 2005

Conference Presentations

  • “From Convivial Dispute to Social Ferment: Luython’s Vinum bonum et suave,” The “Luython Year” Conference, Prague, Czech Republic, 2020.
  • “The Sonic Mapping of Jerusalem in Kryštof Harant’s Putování (1608),” 54th International Musicological Colloquium Brno, Masaryk University, Brno, Czech Republic, 2019.
  • “Singing the Empire: Music, Language, and Social Mobility in Rudolfine Prague,” Échanges linguistiques et circulation des savoirs dans l’empire des Habsbourg à l’Époque moderne, Institut historique allemand, Paris, France, 2019.
  • “Material Encounter and the Imaginary: A Case Study of the Singing Fountain of Prague,” The Medieval and Renaissance Music Conference, Basel, Switzerland, 2019.
  • “Luther, Senfl und die Musik der Reformationen in Österreich,” Ringvorlesung anlässlich des Reformationsjubiläums 2017, Kulturgeschichtliche Wirkungen der Reformation Wintersemester 2017/18, University of Vienna, Vienna, Austria, 20 November 2017.
  • “Im Spannungsfeld von Konfession, Nation und Tradition: Ludwig Senfl in den böhmischen Sammeldrucken,” Institut für die Erforschung der Frühen Neuzeit, University of Vienna, Vienna, Austria, 15 November 2017.
  • “Confronting Confession, Nation, and Tradition: Ludwig Senfl in the Bohemian Print Anthologies,” Lutheran Music Culture Conference, Uppsala University, Uppsala, Sweden, 2017.
  • “The Dream of the Quill: Music, Books, and Reform in 16th-Century Hradec Králové,” The Medieval and Renaissance Music Conference, Prague, Czech Republic, 2017.
  • “Senfl and the Languages of Reform: Reexamining the Bohemian Print Anthologies,” Das musikalische Erbe Martin Luthers, Augsburg, Germany, 2017.
  • “Voi che venist’ armati: Music, Language, and Mobilities in 17th-Century Bohemia,” Music in the Mediterranean Diaspora, Villa i Tatti, Florence, Italy, 2017.
  • “Dripping with Honey: Extravagance and Uncertainty in a Set of Early 17th-Century Moravian Partbooks,” 51stInternational Musicological Colloquium Brno, Masaryk University, Brno, Czech Republic, 2015.
  • “Cycles within Cycles: The Multiplied Gestures of Ludwig Senfl’s Fortuna Settings,” The Medieval and Renaissance Music Conference, Birmingham, England, 2014.
  • “Con voce da i sospiri: Bohemian Repercussions on Italian Music South of the Alps,” The 60th Annual Meeting of the Renaissance Society of America, New York, NY, 2014.
  • “Linguistic Plurality and Italian Song in Sixteenth-Century Central Europe,” The American Musicological Society 79thAnnual Conference, Pittsburgh, PA, 2013.
  • “La Defenestrazione di Calisto: Negotiating Italianità in Central European Music,” Negotiating Music, Festival Oude Muziek, Utrecht, The Netherlands, 2013.
  • “Quodlibets and the Performance of Identity in Late Sixteenth-Century Central Europe,” The Medieval and Renaissance Music Conference, Certaldo, Italy, 2013.
  • “Italian Music and the Challenges of Acculturation in Late Sixteenth-Century Central Europe,” Music and Boundaries: Columbia Music Scholarship Conference 2013, Columbia University, New York, NY, 2013.
  • “Printing Penitential Psalms and Litanies in Sixteenth-Century Bohemia and Moravia,” colloquium presentation, Masaryk University, Brno, Czech Republic, 2011.
  • “Mushrooms in the Forest: Challenging Nationalist and Cold War-Era Models for Czech Musical Research,” panel organizer and presenter, The American Musicological Society 77th Annual Conference, San Francisco, CA, 2011.
  • “Sacred Prints and Musical Life in Sixteenth-Century Bohemia,” a paper presented at the workshop, Music of the Czech Lands and Central Europe Before 1620, Charles University, Prague, Czech Republic, 2010.
  • “Latinizing the Laity: Printing Metrical Psalms in Sixteenth-Century Bohemia,” The Musical Heritage of the Jagiellonian Era in Central and Eastern European Countries, Warsaw, Poland, 2009.
  • “Sacred Music and Print Culture in the Czech Lands at the End of the Sixteenth Century,” talk given at the Philosophical Faculty of Palacký University, Olomouc, Czech Republic, 2008.
  • “Rhythm, Harmony, and Virtue in Kapsberger’s Apotheosis or Consecration of Saint Ignatius and Francis Xavier,” 12thBiennial International Baroque Music Conference, Warsaw, Poland, 2006.
  • “Early Music as Popular Music,” organizer and moderator of panel discussion for the 2006 Berkeley Festival & Exhibition, 2006.
  • “Muzak’s Aesthetic Potential: The Case of Sam’s Town,” Music and Mechanicity Conference, University of California, Santa Cruz, 2003.

Recent Courses

  • Music in the Early Colonial World
  • Music and Book Culture in 16th-Century Europe
  • Introduction to Humanities
  • Musicologies Around the World
  • Early Music Editions
  • History and Methods of Early Music Publishing
  • Exploring Renaissance Music
  • Art, Rock, and Pop from the 1960s to the Present
  • Comedy in Early Modern Music