“The Mozarteum Foundation Salzburg offers in its Mozart Libretti – Online Edition a digital edition of the textual sources of the vocal works by Wolfgang Amadé Mozart according to academic criteria. The edition appears within the Digital Mozart Edition, which is currently being developed by the Mozarteum Foundation Salzburg in cooperation with the Packard Humanities Institute in Los Altos, California.”
View the works at the Mozart Libretti Online Edition.
There are still plenty of spots available in the upcoming Info Sessions for the Summer Institute in the Arts & Humanities. The first info session is this Thursday, February 13. All students interested in applying to the Summer Institute are encouraged to attend. Bring your Summer Institute questions and learn more about the application process, what you can expect if you are selected, and what our expectations are for students.
Summer Institute Information Sessions will be held on the following dates:
Thursday, February 13 — 4:30–5:30 pm
Thursday, February 27 — 4:30–5:30 pm
Monday, March 3 — 12:30–1:30 pm
All sessions will be held in Mary Gates Hall 171.
Register here: https://expo.uw.edu/expo/rsvp/event/429
The Summer Institute in the Arts & Humanities selects and supports twenty UW undergraduates (Seattle, Bothell, & Tacoma) to engage in intensive research projects under the guidance of four interdisciplinary instructors on the UW Seattle campus.
Students selected to participate in the Summer Institute in the Arts & Humanities:
- engage in intensive scholarly work under the guidance of four instructors
- are named Mary Gates Scholars and receive a $4,000 scholarship to help defray costs of participation
- earn 12 academic credits over terms A & B of Summer Quarter (are eligible to receive financial aid if applicable)
- present their final projects in the Summer Institute Symposium
This year’s Institute invites students to explore rich histories of Native struggles, contemporary (trans)national Indigenous social movements, and repertoires of decolonizing artistic, cultural, and intellectual production. Students will also explore the long-standing double-bind that Indigenous peoples face: their practices are seen as out-of-place (or dangerous) by the rules of settler-societies and “inauthentic” when they employ the logics and languages of dominant markets and states. We welcome student projects that explore topics that include (but are not limited to) Indigenous social movements, encounters between European and Native epistemologies (in debates over archaeology, genetics, nature, and religion), contrasting colonial and Native temporalities, and Native artistic production (including literature and the visual, plastic, and performing arts).
“We’re All Amateurs Now”
Brian M. Reed (Professor of English and Comparative Literature) will discuss how digital tools and access to social media outlets have gradually transformed his sense of what constitutes research and scholarship in the humanities. Why continue to write books that sell (if you’re lucky) five hundred copies when a blog post or online open access article can reach many more people? If we abandon print for born-digital projects, though, what are we losing and gaining? Do humanists have to retrain and master computer programming, statistics, and interface design? Do they have to blog, tweet, and otherwise try to draw attention to themselves in an entrepreneurial fashion if they want to have an impact inside and outside of the academy? Will they learn to collaborate more frequently with people in other fields than in the past? What challenges and opportunities face humanists as they try to preserve and curate hundreds of years of cultural artifacts that are analog-based and, in many cases, swiftly deteriorating (celluloid film, videotape, pre-digital photography)? What standards should we use to evaluate new forms of scholarship and research?
“Some people seem to have a problem with the fact that there’s an opera singer singing the National Anthem at the Super Bowl. People like this guy, (who’s he?) and this guy, who calls himself a reporter and should know better. So here are several pieces of information you should know about opera before you see Renee Fleming belt out the national anthem Sunday.”
Find out more at Huffington Post.
“Pete Seeger, the singer, folk-song collector and songwriter who spearheaded an American folk revival and spent a long career championing folk music as both a vital heritage and a catalyst for social change, died on Monday in Manhattan. He was 94.”
Read about Seeger’s life in The New York Times.
The University of Washington Music Library is pleased to share the new finding aid for the Eric Offenbacher collection of Mozart vocal recordings. Recordings in the Offenbacher Mozart Collection include Mozart operatic arias and ensembles, concert arias, lieder, and sacred music of Mozart. This extensive collection includes over 1500 recordings on 78 and LP. Offenbacher, a collector of Mozart recordings and manuscripts, donated his recording collection to the UW Music Library in 1978. His manuscripts and book materials became Harvard University’s “Biblioteca Mozartiana Eric Offenbacher.” Special thanks to music librarian John Gibbs for his work organizing and preserving this important collection and to Mark Carlson for his assistance setting up the finding aid.
For a full list of Music Library special collections, please see the Music Subject Guide.
“Fifty years ago, the governor of Indiana banned the Kingsmen’s Louie Louie for being obscene. The FBI then spent two years investigating its lyrics, cementing the song’s reputation as rock’s ultimate rebel anthem, recorded by everyone from the Stooges to the Clash”
Read the full story at The Guardian.
Do you use the Music Library or Music Library materials? Help us shape Music Library spaces and services by joining the Music Library Student Advisory Group (MLSAG). The MLSAG meets quarterly for an hour so the time commitment is low. We’re looking for new undergraduate and graduate student members. Interested in joining? Email Music Outreach Services Librarian, Verletta Kern at email@example.com
“Claudio Abbado, a conductor whose refined interpretations of a large symphonic and operatic repertory won him the directorships of several of the world’s most revered musical institutions — including La Scala, the London Symphony Orchestra, the Vienna State Opera and the Berlin Philharmonic — died on Monday at his home in Bologna, Italy. He was 80.”
Read about Abbado’s life at the New York Times.