Mark Clague, musicologist of American music
Burton Memorial Tower #606 Email: email@example.com Ph: (734) 369-1238
Ann Arbor, MI 48109-1270 Fax: (734) 647–1897
University of Chicago
Ph.D. in Historical Musicology, August 2002
M.A., August 1998
Master's Papers: "The Funerary Motets of Josquin" and "Adorno on Jazz"
Dissertation Title: "Chicago Counterpoint: The Auditorium Theater Building and the Civic Imagination"
Committee: Philip Bohlman (chair), Richard Crawford, Samuel Floyd, Christian Kaden, Lawrence Zbikowski
Dissertation Abstract: Answering Oscar Sonneck’s 1909 call for a topography of American music, this study examines musical performance in Chicago's Auditorium Theater (opened 1889). Drawing from extensive archival records, newspapers, and current scholarship, the dissertation suggests that music played an active role in shaping the nineteenth-century industrial city. Characterized by fantastic growth and disorienting change, Gilded Age Chicago faced a modernist crisis. Fear of the "hoi polloi” or “mob” — anonymous crowds with disruptive power — characterized the tension between order and disorder. Galvanized by the 1886 bombing at Haymarket Square, philanthropist Ferdinand Peck promoted music, especially opera, as a vehicle of idealistic, yet pragmatic pluralism. In structure, ceremony, publicity, and performance, the Auditorium became a sounding board for civic discourse—an experience of community purpose that could be lived and reimagined. The Auditorium celebrated the post-fire triumph of Chicago, but speeches, novels, editorials, concerts, and even labor protest brought day-to-day conflicts to the theater. As a living icon of the city, the Auditorium was both symbol and process. Issues of class, gender, and ethnicity found expression on its stage. The building was a community center, a temple of idealism, a totem upon which to inscribe, debate, and revise the practice of the city.
Combining an opera house with an income-producing hotel and office block, as
well as a music conservatory, recital hall, retail space, restaurants, and tower observatory, the Auditorium functioned as an ecosystem for the arts that placed finance, artistry, and society into balance. An attempt to perfect the city through civic engineering, the Auditorium served as the city's “institutional muse,” nurturing a particular democratic vision of society. This muse inspired social counterpoint—a symbolic economy of the city—that could be expressed in sound. Musical performances analyzed include occasional works commissioned for the building (Auditorium Festival Ode), popular tunes associated with it through performance (Adelina Patti's renditions of “Home, Sweet Home”), and patriotic spectacles. Intersections of the building's mission with Chicago's Apollo Chorus, opera companies, and Chicago Symphony Orchestra are also examined. While closing a gap in music history, this study pursues questions of music's role in American Society.
University of Michigan (Ann Arbor)
CIC Visiting Student Program, fall semester 1996
University of Southern California (Los Angeles)
1 year Master's work in bassoon performance, 1990–91
University of Michigan (Ann Arbor & Florence, Italy)
B.M.: Bassoon Performance 1990
Artist and Scholar Honors Program–Summa Cum Laude
A.B.: Art History 1990, Honors College
Music Academy of the West 1989, 1991 sessions
• Culture at the Crossroads: The Collected Writings of Alton Augustus Adams, in African Diaspora Series, ed. by Samuel Floyd, University of California Press, forthcoming.
• "Playing in 'Toon: Imagineering and the Social Harmonics of Walt Disney's Fantasia," American Music 24:1, forthcoming.
• "Edition-ing: The Cultural Rhetoric of MUSA's Critical Editions," American Music 23:4, forthcoming.
• "Book Review: A Question of Balance: Charles Seeger's Philosophy of Music by Taylor Aitken Greer," JAMS, forthcoming.
• "Book Review: The Soundscape of Modernity by Emily Thompson" Notes, forthcoming.
• "Book Review: Music in Everyday Life by Tia DeNora," Notes, forthcoming.
• "Classical Music Tradition," "Chicago Symphony Orchestra," "Choral Music," "Impresarios," "Recording Companies," and "Theodore Thomas," entries in Encyclopedia of Chicago History (Chicago: Newberry Library, forthcoming).
• "Alton A. Adams," "Ornette Coleman," "Arthur Cunningham," "Akin Euba," "Wynton Marsalis," "Herbert Mells," and "George Walker," entries in International Dictionary of Black Composers (Chicago: Fitzroy & Dearborn, 1999).
• "Instruments of Identity: Alton Augustus Adams, Sr., the Navy Band of the Virgin Islands, and the Sounds of Social Change," Black Music Research Journal 18:1/2 (Spring-Fall 1998).
• "From Commodity to Creator: The Search for Social Equality through Cultural Virtuosity," liner notes for Rachel Barton, violinist, Violin Concertos by Black Composers of the 18th and 19th Centuries, Cedille #90000035, 1997.
• "Overcoming the Baton: The Role of Chamber Music in the Youth Symphony," Flying Together. (Chamber Music America Education Newsletter) 7:3 (May 1996):1-3.
• "Borodin String Quartets: Contradictions and Conversations," liner notes for Lark Quartet CD, Arabesque #Z6658, 1995.
• "What So Proudly We Hailed: Performing Identity via the Star-Spangled Banner,” Society for American Music, February 2003
• "The Importance of Being PHinisheD: Surviving and Thriving in the Dissertation Process," invited talk, Musicology/Ethnomusicology League of Students, University of Michigan, January, 2003.
• "What So Proudly We Hailed: Performing Identity via the Star-Spangled Banner," invited talk Michigan State University, January 2002.
• “Online Discussions: Dividends and Dilemmas for the Traditional Classroom,” invited panelist, University of Michigan, Center for Research on Learning and Teaching Fair, November 2002
• “The Institutional Muse: Music, Commerce, and Community in Chicago’s Auditorium Theater, 1889–1894 ,” Great Lakes History Conference, Grand Valley State University, Chicago, October 2002
• “The Institutional Muse: Music, Commerce, and Community in Chicago’s Auditorium Theater, 1889–1894 ,” AMS Midwest Chapter, Chicago, September 2002
• “Teaching in the Multi-Cultural Humanities Classroom,” invited speaker, University of Michigan, Center for Research on Learning and Teaching Symposium, May 2002
• “Getting Started with Alignment through Assessment,” invited speaker, “From Expectations to Results: Aligning Goals, Methods and Assessment,” Provost’s Seminar on Teaching, University of Michigan, October 2001
• “Editing and Identity: MUSA’s Portrait of American Music” for the panel Critical Music Editing: New Directions in a Musicological Tradition. American Musicological Society program of Musical Intersections conference, Toronto, November 2000
• “Imagining Ethnicity in America’s Music: Chicago’s Musical Institutions and the Americanization Process, 1885–1929,” American Studies Association, Detroit, October 2000
• “Trials, Tribulations, and Triumphs: A Faculty Discussion of the Real-Life Rewards and Obstacles in Using Technology for Teaching,” Enriching Scholarship: Integrating Teaching, Scholarship, and Technology, University of Michigan, May 2000
• “Piccolo Power: The Music of Alton Augustus Adams, First Black Bandmaster of the U.S. Navy,” lecture recital with Ann Arbor Pioneer High School Band, Robert Albritton, director, 55th Midwestern Conference on School Vocal and Instrumental Music, University of Michigan, January 2000
• “Web-based Enhancements for the Collaborative Classroom” Technology in Actions: A Gallery of Faculty Projects, Enriching Scholarship: Integrating Teaching, Information, and Technology, University of Michigan, May 1999
• “Gendering Musical Space: Women in Chicago’s Opera House, 1889” Sonneck Society national conference, Fort Worth, Texas, March 1999
• “Edition-ing: Scholarly Editing as an Act of Identity Construction” Sonneck Society national conference, Fort Worth, Texas, 1999
• “Willa Cather’s The Song of the Lark: Reading American Music” MELOS, Ann Arbor, Mich., 1999
• “Imagining Ethnicity in America’s Music: Chicago’s Musical Institutions and the Americanization Process, 1885–1929,” Society for Ethnomusicology national conference, Pittsburgh, Pa., October 1997
• “Culture at the Crossroads: Alton Adams and the Construction of Black Identity during the Harlem Renaissance,” Inter–American Conference on Black Music Research, CBMR, Chicago, July 17, 1997
• “Invading the Public Sphere: Women in Chicago’s Opera House, 1889,” Feminist Theory and Music 4 conference, June 5–8, 1997
• “Marketing Music for Chicago, 1885–1929: the Patron as Customer,” national meeting of the Sonneck Society for American Music, March 8, 1997. Also presented at the University of Chicago, May 1997
• “Alton Adams and the Virgin Islands March: Reconsidering Culture as Industry,” paper presented at the 1996 national meeting of the American Musicological Society, November 4, 1996. Also presented at the Universities of Chicago and Michigan, October 1996
• “Euphony and Utopia: Listening as an Agent of Social Control,” presented to the University of Chicago’s Performing Culture in Public Spaces Workshop’s special “Building Culture” sessions, May 6, 1996
• “A House for Democracy: The Construction of Opera and Society Witnessed by Chicago’s Auditorium Theater,” paper presented at Cultures, Communities & the Arts, Dec. 3, 1994 at Columbia College, Chicago. Also presented for University of Chicago Public Spaces Workshop
• “By Any Means Necessary: Anthony Davis’s Opera Malcolm X and the Struggle for Cultural Legitimacy,” Society for Ethnomusicology national conference, 1993. Also presented in the Music Department colloquium at the University of Chicago, October 1993
• “Siegfried and Mrs. Strauss: An Investigation of Gender Roles in the Chicago Symphony Orchestra,” Society for Ethnomusicology Midwest Chapter annual meeting, 1992. Also presented for the Ethnomusicology Workshop at the University of Chicago, 1992
Editorial Experience Executive Editor, Music of the United States of America (MUSA) 1997–
Co-editor, “Criss Cross: American Music between the Disciplines,” forthcoming
Research Coordinator and List Editor, Center for Black Music Research
International Dictionary of Black Composers Project 1996
Editorial Assistant, Center for Black Music Research
International Dictionary of Black Composers Project 1994–96
Music Editor, USC student newspaper 1990–91
Teaching Experience Adjunct Assistant Professor, University of Michigan, 1997–
taught MHM 306,408,508: “Music, Politics, and Popular Culture in the U. S.”;
“Classical Music in the U.S.; and “Film Music”
Pre-Concert Lecturer, Detroit Symphony Orchestra, 1999
Pre-Concert Lecturer, Detroit Chamber Music Society, 1999
Pre-Concert Lecturer, Ann Arbor Chamber Music Festival, 1998
Bassoon Instructor, Concordia College, 1997
Course Assistant, Music History 121–122, University of Chicago 1996
American Music Historian, WBEZ radio 1995–96
Pre–Concert Lecturer, Chicago Symphony Orchestra 1995–1997
Adult Education Instructor, Chicago Youth Symphony 1995–96
Program Annotator, Professional Concert Series, Univ. of Chicago 1994–97
Bassoon Instructor, Music Center of the North Shore 1994–96
Coordinator of Educational Projects, Chicago Civic Orchestra 1994–95
Bassoon Instructor, Elgin Community College 1993–95
Director of Chamber Music, Chicago Youth Symphony 1992–96
Service Nominating Committee, Society for American Music, 2001–
Co-Chair, SEM National Conference, Local Arrangements, Detroit 2001
Organizer & presenter, Web of Learning: Teaching
and Technology at the University of Michigan School of Music Symposium, May
Program Committee, Society for American Music, 2001 Conference in Trinidad
Website Manager, AMS Midwest Chapter, 2000-
Local Arrangements Committee, AMS Midwest Chapter, 2000
Judge, Mu Phi Symphonia, musicology competition, 2000
Coordinator and Founder, Music of the Americas Study Group, U of M 1999–
Moderator, William Albright Memorial Symposium, Univ. of Michigan 1998
Archivist Search Committee, U of M 1998
Workshop Coordinator, University of Chicago 1994–96
Advisory Member, Civic Orchestra Task Force 1992–95
Languages German, Italian, and Spanish (reading proficiencies only)
Awards Wayne C. Booth Prize for Excellence in Graduate Student Teaching 1996
Heifetz Award, University of Chicago Music Department 1996
Special Citation of Excellence for Chamber Music Instruction
Chamber Music America 1996
Lake Michigan Scholars Search Prize 1994–95
Sudler Award, Civic Orchestra of Chicago 1992–93
U.S.C. Graduate Student Award 1991
Mellon Fellowship in the Humanities 1990–95
Stanley Medal, University of Michigan 1990
Music Academy Award 1989 & 1991
Nicolas Falcone Award, University of Michigan 1989
MTNA Chamber Music State Champion 1989
Otto Graf Scholarship, University of Michigan 1988
Earl V. Moore Award, University of Michigan 1988 & 1989
Phi Beta Kappa 1987
Golden Key National Honor Society 1986
U of M Angell Scholar 1985–87 & 1990
Performance Campus Symphony Orchestra, principal bassoon, 2002–
Experience Chrysalis Chamber Players, bassoonist 1996–97
Extra bassoonist, Chicago Symphony Orchestra 1996
Performed World Premiere of Music for Bassoon and Orchestra
by Joseph Spaniola with the Rockford Symphony 1995
Dame Myra Hess Solo Recital, July 1993 broadcast by WFMT radio
Rockford Symphony Orchestra, 1st bassoon 1992–95
Civic Orchestra of Chicago, 1st bassoon 1991–94
Lake Forest Symphony Orchestra, 3rd Bassoon 1993–96
Ravinia Festival Orchestra, Substitute 1994–95
Grant Park Symphony Orchestra, Substitute 1994
Chicago Recording Studio, Bassoonist, 1994
Adrian Symphony Orchestra, 2nd Bassoon 1989–90 season
Ann Arbor Symphony Orchestra, Substitute 1988–90
Prevailing Winds Woodwind Quintet 1987–1990
University of Michigan Gilbert and Sullivan Society
Principal Marianne Ploger (piano) 1997–98
Instrumental Willard Elliot, Chicago Symphony Orchestra 1991–94
Teachers Professor Norman Herzberg 1990–91
Professor Lewis Hugh Cooper 1985–90
Dennis Michel, Principal of San Diego Symphony 1989 & 1991
Robert Williams, Principal of Detroit Symphony 1986
Victoria King, Second of Detroit Symphony 1989
Elizabeth Wilkinson, Milwaukee Symphony 1978–81