Columbia University , Ph.D. in Music (1996). Editor-In-Chief of Current Musicology (1993-95)

Karen Painter

EDUCATION

Columbia University, Ph.D. in music (1996). Editor-in-chief of Current Musicology (1993-95).

University of California at Berkeley, graduate courses in musicology (1987-88).

Yale University, B.A. (1987). Double major in music and philosophy.

EMPLOYMENT

University of Minnesota, Twin Cities, Associate Professor, School of Music (from 2007), with joint teaching appointments in the German, Scandinavian, and Dutch Department and History Department. Affiliate of the Center for Austrian Studies, Center for German and European Studies, and the Center for Jewish Studies.

Harvard University, Associate Professor of Music (2001-2007); Assistant Professor of Music (1997-2001); Faculty Affiliate, Center for European Studies (2001-2007).

National Endowment for the Arts, Director of Research and Analysis (GS-15; senior staff) (2005-06).

Oversaw research and production of two reports (“Classical Music and Public Radio” and “Arts Participation and Civic Engagement”) and the preparation of geography reports for Congress on NEA funding for each district as well as analyses of NEA funding. Meetings with senior staff from the Corporation for Public Broadcasting and occasionally with members of Congress. Supervised 4-5 analysts, an assistant, a librarian, and two interns.

Dartmouth College, Assistant Professor of Music (1995-1997).

University of Oregon, Visiting Assistant Professor, School of Music, during a leave from Dartmouth (spring quarter 1997).

Columbia University, Preceptor (1992-93); instructor (1991-92); teaching assistant (1990-91).

AWARDS AND FELLOWSHIPS

Maître de conférences invitée, Centre de recherches sur les arts et le langage, École des Hautes Etudes en Sciences Sociales, Paris, short-term visitorship in 2010.

The Berlin Prize, American Academy in Berlin, one-semester residential fellowship (spring 2000).

Alexander von Humboldt Stiftung, research fellowship, Berlin (fall 1999, summer 2000, and summer 2001).

Mellon Foundation, summer research fellowship (1992).

BOOKS AND EDITED VOLUMES

Symphonic Aspirations: German Music and Politics, 1900-1945. Harvard University Press, 2008. 368 pages.

Reviews:

Nicholas Attfield, Music and Letters (May 2009): 296-298

Joy H. Calico, Journal of Interdisciplinary History 39, no. 4 (spring 2009): 584-585.

Marina Frolova-Walker, in Times Literary Supplement, June 19, 2009

Stephen Luttmann, Notes [quarterly journal of the Music Library Association] 65, no. 1 (2008): 70-75.

Derek Katz, Austrian Studies Newsletter (spring 2009): 14, 23.

Henry A. Lea, Seminar: A Journal of Germanic Studies 45, no. 1 (2009): 89-90.

David Monod, Central European History 42 (2009): 157-158.

Anthony J. Steinhoff, Journal of Mondern History (2009): 727-728.

Terry Teachout, “Hitler’s Accompanists,” Commentary, January 2008

Stephen Thursby, (January, 2010)

Jonathan O. Wipplinger, H-NET (February, 2009).

Late Thoughts: Reflections on Artists and Composers at Work, co-edited with Thomas Crow. Getty Research Institute, 2006. Contributions by Stanley Cavell, Thomas Crow, John Deathridge, Frank Gehry, Bryan Gilliam, Karen Painter, John Rockwell, Richard Shiff, and Nancy Troy. ISBN 0892368136. Reviewed by Frank Kermode in the London Review of Books, 5 Oct. 2006; Nicholas Baragwanath, Music and Letters 89, no. 3 (2008): 415-419; Jeri W. Bonnin, Music Educators Journal 94 no. 3 (2008): 51-52.

Mahler and His World. Princeton: Princeton University Press, 2002, 393 pages. Essays by Leon Botstein, Charles S. Maier, Talia Pecker Berio, Peter Franklin, Camilla Bork, Peter Revers, Thomas Peattie, and Stephen E. Hefling. Available on Google books. Reviewed in Music & Letters 85 (2004): 116-20 (Stephen McClatchie); Notes. Music Library Association 60, no. 1 (2003): 171-173 (Eftychia Papanikolaou); The Musical Times 144, no. 1885 (2003): 61-62 (Chris Walton), Le mouvement social 208, no. 3 (2004) (Esteban Buch). ISBN 0691092435.

The Aesthetics of the Listener: New Conceptions of Musical Meaning, Form, and Timbre in the Early Reception of Mahler's Symphonies 5-7 (doctoral dissertation; Ann Arbor: University of Michigan Microfilms, 1996), 343 pages.

Current Musicology, editor-in-chief, vols. 54-57 (1993-95). Contributors: David Charlton, Naomi Cumming, John Daverio, Mark DeBellis, Mark DeVoto, Michael Eckert, Bryan Gilliam, Sander Gilman, Floyd Grave, Christopher Hailey, John Halle, Lawrence Kramer, Fred Lerdahl, Joel Lester, David Lewin, Claudia Macdonald, Robert P. Morgan, David Neumeyer, Leon Plantinga, Harold S. Powers, John Rahn, Ned Rorem, Carl Schachter, Douglas Seaton, Alexander Silbiger, Nadine Sine, George Stauffer, John Williamson, Steven Zohn.

Conference Proceedings

“Mahler’s Zionist Legacy: from Idealism to Solace,” ed. Jörg Deventer. Simon Dubnow Institute, forthcoming.

“From Zionism to Assimilation: Theodor Herzl, Gustav Mahler, and the Aesthetics of Redemption,” The Total Work of Art: Mahler's Eighth Symphony in Context, ed. Elisabeth Kappel. Vienna: Universal Edition, 2011, pp. 81-95.

“Ethical listening: Music and Culture in Central Europe circa 1800,” in Musik-Bürger-Stadt. Konzertleben und musikalisches Hören im historischen Wandel. 200 Jahre Frankfurter Museums-Gesellschaft, ed. Christian Thorau, Andreas Odenkirchen, and Peter Ackermann. Regensburg: ConBrio, 2011, pp. 195-210.

“Ritual time in Wagner and Wagnerian Opera,” Die Oper im Wandel der Gesellschaft: Kulturtransfers und Netzwerke des Musiktheaters in Europa, ed. Sven Oliver Müller, Philipp Ther, Jutta Toelle, Gesa zur Nieden. Vienna and Oldenbourg: Böhlau, 2010, pp. 179-196.

“Beyond the Bourgeoisie: Social Democracy and Musical Modernism in Interwar Austria and Germany,” Music and the Aesthetics of Modernity, ed. Karol Berger and Anthony Newcomb. Cambridge: Harvard Music Department, distributed by Harvard University Press, 2005, pp. 165-200.

“Henze, Treichel, and the Aesthetics of Antifascism” (co-authored with Charles S. Maier), Colloquia Germanica. Internationale Zeitschrift für Germanistik 38, no. 1 (2005): 23-33.

“Genre and Aesthetics in the Lied around 1900: The Reception of Mahler’s Kindertotenlieder,” Gustav Mahler und das Lied, ed. Bernd Sponheuer and Wolfram Steinbeck. Bonn: Peter Lang, 2003, pp. 89-102.

“Form, Innovation, Modernism: Early responses to Schoenberg’s First String Quartet,” Music of My Future: The Schoenberg Quartets and Trio, ed. Reinhold Brinkmann and Christoph Wolff. Cambridge: Harvard Music Department, 2000, distributed by Harvard University Press, pp. 25-38.

“The ‘Mozart Effect’ and the Culture of Classical Music,” A Global View of Mozart: Mozart und Nordamerika, ed. Jürg Stenzl. Salzburg: State of Salzburg, 2004, pp. 30-37.

“Fascism and Music,” Musicology and Sister Disciplines: Past, Present, Future. Proceedings of the 16th International Congress of the International Musicological Society, London, 1997, ed. David Greer with Ian Rumbold and Jonathan King. Oxford: Oxford University Press, 2000, pp. 578-80.

ESSAYS

“Depoliticizing America’s Wagner in the Nazi Era,” in The Legacy of Richard Wagner: Convergences and Dissonances in Aesthetics and Reception, ed. Luca Sala. Turnhout: Brepols, 2012, pp. 217-237. ISBN 978-2-503-54613-1.

“Mahler’s ‘Paris Friends’: Political Myths and Biographical Fictions,” Kunst/Kontext/Kultur: Manfred Wagner. 38 Jahre Kultur- und Geistesgeschichte an der Angewandten ed. Gloria Withalm, Anna Spohn, and Gerald Bast. Berlin and New York: Springer, 2012.

“Mahler und das Publikum—zur frühen Rezeption der Symphonien 5-7,” trans. Oliver Steinert-Lieschied and Peter Revers, in Gustav Mahler: Interpretationen seiner Werke. ed. Revers and Oliver Korte Laaber: Laaber Verlag, 2011, pp. 119-137.

“Musical Aesthetics and National Socialism,” in Music and Dictatorship in Europe and Latin America, ed. Roberto Illiano and Massimiliano Sala, Speculum Musicae, general ed. Roberto Illiano. Turnhout: Brepols, 2009, pp. 121-140.

“W. A. Mozart’s Beethovenian Afterlife: Biography and Musical Interpretation in the Twilight of Idealism,” in Late Thoughts: Reflections on Artists and Composers at Work, ed. Thomas Crow and Karen Painter, Issues & Debates. Getty Research Institute, 2006, distributed by Oxford University Press, pp. 117-143.

“Jewish Identity and Anti-Semitic Critique in the Austro-German Reception of Mahler, 1900-1945,” Perspectives on Gustav Mahler, ed. Jeremy Barham. Hants: Ashgate Press, 2005, pp. 175-194.

“‘Songs of a Prisoner’: Luigi Dallapiccola and the Politics of Voice under Fascism” (co-authored with Charles S. Maier), Italian Music during the Fascist Period, ed. Roberto Illiano. Turnhout: Brepols. 2004, pp. 567-88. Reviewed by Franco Sciannameo as “The Duke’s Children,” Musical Times 147, no. 1895 (2006): 91-102; Simone Ciolfi, "Italian Music during the Fascist Period, ed. by Roberto Illiano, Turnhout, Brepols, 2004", in Rivista Italiana di Musicologia, 39, no. 1 (2004): 208-210. rancesco Paolo Russo, "Italian Music during the Fascist Period", Nuova Rivista Musicale Italiana, 39, no. 3 (2005), p. 427.

“The Aesthetics of Mass Culture: Mahler’s Eighth Symphony and its Legacy,” Mahler and His World, ed. Karen Painter. Princeton University Press, 2002, pp. 127-56.

REFEREED JOURNAL ARTICLES

“Polyphony and Racial Identity: Schoenberg, Heinrich Berl, and Richard Eichenauer,” Music & Politics 5, no. 2 (summer 2011).

“Mozart at Work: Biography and a Musical Aesthetic for the Emerging German Bourgeoisie,” Musical Quarterly 86, no. 1 (2002): 186-235.

“Contested Counterpoint: ‘Jewish’ Appropriation and Polyphonic Liberation,” Archiv für Musikwissenschaft 58, no. 3 (2001): 201-30. Available on JSTOR. French translation in Transposition. Musique et sciences sociales, no. 2. Séductions musicales (May 2012). http://transposition-revue.org/seduction-musicale?lang=fr

“Symphonic Ambitions, Operatic Redemption: Mathis der Maler and Palestrina in the Third Reich,” Musical Quarterly 85, no. 1 (2001): 117-66.

“The Sensuality of Timbre: Responses to Mahler and Modernity at the Fin de siècle,” 19th Century Music 18, no. 3 (1995): 236-56.

BOOK CONTRIBUTIONS

“On Creativity and Lateness,” Late Thoughts: Reflections on Artists and Composers at Work, ed. Thomas Crow and Karen Painter. Getty Research Institute, 2006, pp. 1-11.

“Mahler’s German-Language Critics,” with Bettina Varwig, Mahler and His World, pp. 268-379.

Brahms’s Third Symphony” and “Brahms’s Fourth Symphony,” The Compleat Brahms, ed. Leon Botstein. New York: Norton, 1999, pp. 69-72, 72-75.

BOOK REVIEWS

Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna. K. N. Knittel. Surrey: Ashgate, 2010. Musica Judaica Online Reviews, June 27, 2011

Mary H. Wagner, Gustav Mahler and the New York Philharmonic Orchestra Tour America. Scarecrow, 2006. American Music 26, no. 4 (2008): 539-542.

Esteban Buch, Le cas Schönberg: Naissance de l’avant-garde musicale. Paris: Éditions Gallimard, 2006. Le mouvement social: Revue trimestrielle d’histoire sociale 219/220 (2007): 201-207.

Christopher Alan Reynolds, Motives for Allusion: Context and Content in Nineteenth-Century Music. Harvard University Press, 2003. Beethoven Forum 13, no. 2 (2007): 205-22.

Walter Frisch, German Modernism: Music and the Arts. Berkeley: University of California Press, 2005. Current Musicology 79/80 (2006): 7-16.

Anselm Gerhard, The Urbanization of Opera: Music Theater in Paris in the Nineteenth Century, trans. Mary Whitall. Chicago: University of Chicago Press, 1998), The Journal of Interdisciplinary History 30, no. 4 (2000): 685-87. Available on MUSE and JSTOR.

OTHER PUBLICATIONS

Interview, conducted by Elsa Rieu and Igor Contreras, in Transposition. Musiques et sciences sociale (Jan. 2011).

Fragments of a Musical Hermeneutics,” Current Musicology 50 (1992): 5-20 [translation of an essay by Carl Dahlhaus].

Program notes and essays: Lincoln Center: Schoenberg’s piano music and Haydn’s F-minor variations, (2001). Carnegie Hall: Mahler’s Sixth Symphony and Schubert’s Sixth Symphony (2003), “Music of Pleasure and Pain: The Evolution of Viennese Lyricism,” program book for the New World Symphony, under Michael Tilson Thomas (April 2008).

German newspapers: “Betsy Jolas: The composer in an imagined homeland,” Der Tagesspiegel, Berlin, Sept. 2000. “Birtwistles Beat. Zeit und Ritual in The Last Supper,” Frankfurter Allgemeine Zeitung, 18 April 2000. “Der angefochtene Kontrapunkt: Österreichisch-deutsche Traditionen, jüdische Identitäten,” Der Tagesspiegel, 26 September 1999.

American newspapers: articles in The Yale Daily News, The Boston Phoenix and San Francisco Bay Guardian, 1985-88.

ARTS AND PUBLIC POLICY

National Endowment for the Arts representative at the Association of Music Personnel in Public Radio annual conference in Houston, 2005.

Invited participant, Music & Media Forum, sponsored by the Corporation for Public Broadcasting and American Public Media/Public Radio International, New York City (2006).

Coordination of university events with the classical division of Minnesota Public Radio | American Public Media, Fall 2007 to the present.

Invited participant, the Sound of the Atlantic: Transatlantic Strategies for the Future, co-sponsored by the Austrian Chancellor (as President of the European Union) and the Bertelsmann Foundation, Washington DC (2005).

Grantmakers in the Arts, Santa Monica (2005), pre-conference presenter on a panel with Bill Ivey (former NEA Chairman); Steven Teppler (Vanderbilt University); and Ed Pauly (Wallace Foundation).

SCHOLARLY LECTURES

Conferences abroad

“A Musical Biography: The Jewish Reception of Gustav Mahler,” in the opening panel of the conference Spaces of Multiple Belonging. Jewish Topographies in Modernity – The Case of Gustav Mahler, at the Simon Dubnow Institute for Jewish History and Culture at Leipzig University, as part of the International Gustav Mahler Festival, 23-24 May 2011.

Mahler’s Symphonic World, Music Department, Conrad Grebel University College (part of the University of Waterloo, Canada, June 2010.

A Work of Art of the Higher Artistic Order. Text and Context of Gustav Mahler’s Eighth Symphony International Mahler Conference, hosted by the National Arts Centre, Canada. Co-organized by Carleton-University Ottawa and Universität für Musik und darstellende Kunst, Graz, in cooperation with the Austrian Embassy, June 2010.

7th International Bach Symposium: Kontrapunkt in der Philosophie von J. S. Bach, TU Dortmund in Witten-Bommerholz, sponsored by the University of Bremen and the University of Dortmund, May 2010.

Mapping European Culture, European University Institute, Florence (2009).

Music and Dictatorship, École des Hautes Etudes en Sciences Sociales, Paris (2009).

Oper im Wandel der Gesellschaft: Musikkulturen europäischer Metropolen im “langen” 19. Jahrhundert, closing conference, at the Staatsoper, Komische Oper Berlin, and Humboldt University (2008).

Musik – Bürger – Stadt: 200 Jahre Frankfurter Museums-Gesellschaft, Hochschüle für Musik, Frankfurt (2008).

Mozart in North America, symposium co-sponsored by the Mozart 2006 Festival and the City of Salzburg (2004).

“Radical Politics, Music, and Art in the 20th Century,” Responsibility of Intellectuals: Art, Ideology, Memory in the 20th Century, St. Petersburg State University, Russia (2001). Sponsored by the U.S. State Department, French Ministry of Foreign Affairs, and Bard College.

“American Voices, European Contexts: Settings of American Poetry in the Twentieth Century,” Amerikanische Lyrik in Vertonungen amerikanischer und europäischer Komponisten, Mozarteum Universität, Salzburg (2001).

Gustav Mahler und das Lied, University of Bonn (2001).

Die Oper als Gegenstand der Kulturwissenschaft: Symposion zu Hans Pfitzners Palestrina, co-sponsored by the Herbert von Karajan Center and the Internationales Forschungszentrum Kulturwissenschaften, Vienna (1999).

International Musicological Society (2007, 1997).

University lectures: École des Hautes Etudes en Sciences Sociales (2008); Universität Giessen, Germany (2008); Freie Universität, Berlin (2000, 2008); Humboldt Universität zu Berlin (2000).

United States

“Diverging Voices: Anti-semitism and Jewish identity in the discourse on Counterpoint,” Mendelssohn, Brahms, and German Choral Tradition, Lyrica Dialogues at Harvard, Harvard Divinity School, April 30, 2010. Sponsored by the Jewish Studies Committee, Harvard University. By invitation, with partial expenses paid.

Music departments and schools of music: Cornell University (1998); Dartmouth College (1999); Harvard University (2004, 1999, 1997); Juilliard School (2003); Princeton University (1995); University of California at Santa Barbara (2011). University of Connecticut (2007), University of Wisconsin at Madison (2009); University of Illinois at Champaign-Urbana (1996); University of Oregon (1997, 1994).