TILDEN A. RUSSELLMusic
BOOKS
CHAPTERS/SECTIONS PUBLISHED IN BOOKS:
"Endpin," "Scherzo" (with Hugh MacDonald), and"Tempo di Minuetto." In The New Grove Dictionary of Music andMusicians, 2nd ed., edited by Stanley Sadie. London: Macmillan, 2001: vol.8,198-9; vol.22, 486-9; vol.25, 279.
"Iconographic Paths to the Minuet." In Musikalische Ikonographie,editedby Harald
Heckmann, Monika Holl, and Hans Joachim Marx, Hamburger Jahrbuch für
Musikwissenschaft 12, Laaber: Laaber-Verlag, 1994: 221-234.
Edited with Bathia Churgin. The Symphony 1720-1840, Series A, Vol. III.NYand
London: Garland Publishing, Inc., 1985.
JOURNAL ARTICLES PUBLISHED:
“On Translating Taubert: A Preliminary Report,” Society of Dance HistoryScholars Proceedings: Twenty-Sixth Annual Conference, University of Limerick,Limerick, Ireland, 26-29 June 2003 (2003), pp.106-11.
“Unification in the Sixth Symphony: The Pastoral Mode” Beethoven Forum 10/1(Spring 2003), pp.1-17.
“An Interpretation of Paolo Zacchia’s ‘Portrait of a Musician’.” Imagomusicae 16-17 (1999-2000): 193-205.
“Minuet Form and Phraseology in Recueils and Manuscript Tunebooks.” TheJournal of Musicology 17:3 (Summer 1999): 386-419.
Review of: Valerie Walden, One Hundred Years of Violoncello; A HistoryofTechnique and Performance Practice, 1740-1840 (Cambridge: CambridgeUniversityPress, 1997), in: MLA Notes 55:4 (June 1999): 907-9.
"New Light on the Historical Manner of Playing the Cello."HistoricalPerformance 6:2
(Fall 1993): 73-78.
"The Huntington Music Book." Journal of the New Haven ColonyHistoricalSociety
40:1 (Fall 1993): 2-13, and "Errata," published as disbound sheetwithvol. 40:2 (Spring
1994).
"The Unconventional Dance Minuet: Choreographies of the Menuetd'Exaudet."Acta
Musicologica 64:2 (July-December 1992): 118-138.
"Brahms and 'Wer nur den lieben Gott lässt walten': A NewContribution."The American
Brahms Society Newsletter 6:2 (Autumn 1988).
"The Development of the Cello Endpin." Imago Musicae 4 (1987):335-356.
"'Über das Komische in der Musik': The Schütze-SteinControversy."Journal of
Musicology 4:1 (1985-86): 70-90.
"On 'Looking Over a Ha-Ha'." Musical Quarterly 71:1 (1985): 27-37.
"A Carolingian Riddle Poem." Mittellateinisches Jahrbuch 17 (1982):39-45.
"A Poetic Key to a Pre-Guidonian Palm and the Echemata." Journalof the American
Musicological Society 34:1 (1981): 109-118.
CONFERENCE PAPERS ORALLY DELIVERED:
“Theory and Practice in Taubert: Four Readings,” Repenser pratique et théorie/Re-thinkingpractice and theory: International symposium on Dance Research, Centre nationalde la danse, Paris-Pantin (2007)
“From the Ridiculous to the Sublime:The Reductio ad absurdum in Mozart andBeethoven,” Connecticut State University 9th Faculty ResearchConference, Central Connecticut State University (2005)
“On Translating Taubert: A Preliminary Report”
Society of Dance History Scholars, Annual Conference, Limerick University,Limerick, Ireland (2003)
“150 Years of the ‘Menuet de la Cour’” (with the Ken Pierce Baroque DanceCompany). American Musicological Society, Annual Meeting in Toronto, (2000).
"Minuet Form and Phraseology in Recueils and ManuscriptTunebooks."Institut für Musikwissenschaft der Universität Salzburg/Abteilung"Tanz und Musiktheater" and Abteilung XI der UniversitätMozarteum, Salzburg, 1999.
"An Interpretation of Paolo Zacchia's 'Portrait of a Musician'."MusikwissenschaftlichesInstitut, Universität Innsbruck, Innsbruck, 1999.
"Reconstructing the 'Menuet de la Cour'" (with Ken Pierce andDominiqueBourassa, dancers). Northeast American Society for Eighteenth CenturyStudies, College of the Holy Cross, Worcester, Mass. (1996).
"Ten Misconceptions About the Minuet (with Special Reference totheViennese Classic
Style)." International Conference, Austria 996-1996: Music in aChangingSociety,
Ottawa, 1996.
"Reconstructing the 'Menuet de la Cour.'" American MusicologicalSociety,New England
Chapter, University of New Hampshire, 1994.
"Hogarth and the Minuet." Symposium, Baroque Spectacles:ConnectionsBetween
Music, Dance, and Theater, Claremont Graduate School and Pomona College,1993.
"Minuets in Dance-Tunebook Manuscripts, and What They Reveal AbouttheDance
Music Relationship." International Early Dance Institute, GoucherCollege,1991.
"Iconographic Paths to the Minuet." Internationale Tagung zurMusikikonographie,
Hamburg, 1991.
"Musical Iconography: A Case Study." Connecticut State UniversityResearchFoundation,
Central Connecticut State University, 1990.
"The Unconventional Dance Minuet: Malpied's Choreography of theMenuetd'Exaudet."
American Musicological Society, Annual Meeting in Oakland, 1990.
"When is a Scherzo not a Scherzo?" Hartt Music History Forum,HarttSchool of Music,
University of Hartford, 1988.
"The Sources of the 'Chorale' Theme in the Second Movement ofBrahms'sGerman
Requiem." American Musicological Society, New England Chapter,Boston,1987.
"The Development of the Cello Endpin." DixièmeConférenceInternationale du RIdIM
(Répertoire International d'Iconographie Musicale), Paris, 1985.
"Gardens into Music: An Eighteenth-Century Progress." AmericanMusicologicalSociety,
Greater New York Chapter and Annual Meeting in Ann Arbor, 1982.
WORKSHOP LEADERSHIP:
Organized and chaired session, "Dance and Dance Music."InternationalConference,
Austria 996-1996: Music in a Changing Society, Ottawa, 1996.
"New Views of Mozart and His World." American MusicologicalSociety,New England
Chapter Session Chair and Respondent, University of Vermont, 1995.
RESEARCH INTERESTS IN GENERAL:
Minuet; Gottfried Taubert; Scherzo; Musical Iconography; Cello (Violoncello)
CURRENT/FUTURE SPECIFIC RESEARCH PROJECTS:
A translation of Gottfried Taubert, Rechtschaffener Tantzmeister, Book II(Leipzig, 1717).
DISSERTATION TITLE:
Minuet, Scherzando, and Scherzo: The Dance Movement in Transition, 1781-1825
INSTITUTION GRANTING PH.D.:
University of North Carolina at Chapel Hill (1983).