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X-WR-CALNAME:Music and Sound Studies Colloquium: Mark Ferraguto\, "Mozart a
 nd/as A.I."\, Lenore Coral Memorial Lecture
X-WR-TIMEZONE:Eastern Time (US & Canada)
BEGIN:VEVENT
DTSTAMP:20260906T210331Z
UID:tag:localist.com\,2008:EventInstance_45393324230498
DTSTART:20240411T203000Z
DTEND:20240411T213000Z
DESCRIPTION:Mark Ferraguto\, Associate Professor of Musicology at the Penns
 ylvania State University\, specializes in the music\, culture\, and politi
 cs of 18th- and early 19th-century Europe. He is the author of Beethoven 1
 806 (Oxford University Press\, 2019)\, a musical microhistory that has bee
 n described as “one of the boldest contextual studies [of Beethoven] to 
 date” (Oxford Bibliographies Online). Other recent publications include 
 the first modern edition of Franz Weiss’s “Razumovsky” Quartets (A-R
  Editions\, 2023)\, an article on experimentalism in Sweelinck’s echo fa
 ntasias (Early Music\, 2022)\, and chapters in edited collections on Beeth
 oven’s Eroica Symphony and Mozart’s The Magic Flute (Cambridge Univers
 ity Press\; 2020\, 2023). With violinist Nicole Cherry\, he is currently c
 ompleting the first modern edition of George Bridgetower’s chamber music
  for A-R Editions. An organist and harpsichordist\, he studied musicology 
 and early keyboards at Cornell University\, the College of the Holy Cross\
 , and the Conservatoire de Strasbourg.\n\nAbstract:\n\nThe rise of ChatGPT
  and other generative pre-trained language models has rekindled a Mozartia
 n discourse about the boundary between authentic human creativity and the 
 machine-like amalgamation of ideas. This discourse has long influenced the
  reception of The Magic Flute\, a piece that has been viewed as both “a 
 work of genius” and a “synthesis of material drawn from a variety of s
 ources” (King 1955). But the dizzying number of Flute’s alleged refere
 nces to other works not only conjures up the idea of Mozart as machine\, i
 t also points to ongoing tensions in the study of 18th-century music. On t
 he one hand\, despite countless examinations of influence\, we still argua
 bly lack a general conception of how 18th-century composers understood imi
 tation\, modeling\, and allusion. On the other hand\, as the fields of sch
 ema and partimento studies have made ever clearer\, seemingly individual q
 uirks often collapse into generalized aspects of 18th-century style. Given
  that the galant style was predicated on “a particular repertory of stoc
 k musical phrases employed in conventional sequences” (Gjerdingen 2007\,
  6)\, how do we successfully disentangle the bespoke utterance from the cl
 iché\, the intentional reference from the family resemblance\, the genuin
 e from the artificial?
GEO:42.450138;-76.483635
LOCATION:Lincoln Hall\, 124
SUMMARY:Music and Sound Studies Colloquium: Mark Ferraguto\, "Mozart and/as
  A.I."\, Lenore Coral Memorial Lecture
URL;VALUE=URI:https://events.cornell.edu/event/music_and_sound_studies_coll
 oquium_mark_ferraguto_mozart_andas_ai_lenore_coral_memorial_lecture
CATEGORIES:Lecture
CATEGORIES:Music
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