Jamuna Samuel is a Mellon Postdoctoral Fellow in the Music Department. She completed her Ph.D. in Music at the CUNY Graduate Center, specializing in Italian art music of the twentieth century. She has held positions as visiting assistant professor at Wellesley College and Stony Brook University, teaching graduate and undergraduate courses on tonal and post-tonal theory and analysis, the history of twentieth-century music, opera, Italian popular and folk traditions, and on performance-analysis issues. Her publications have appeared in Rivista di analisi e teoria musicale and Indiana Theory Review, and are forthcoming in Forum Italicum and in the volume Singing Signs: New Semiotic Explorations of Opera (eds. Shaftel and Decker). Paper presentations include those given at the national meetings of the American Musicological Society and the Society for Music Theory. Her research has been funded by grants from Stony Brook and by The Gladys Krieble Delmas Foundation for research in Venice. She previously studied piano with Walter Ponce (SUNY-Binghamton) and Sara Laimon (Yale).
2015—2016 Forum on Sex
Andrew W. Mellon Postdoctoral Teaching Fellow in the Humanities and Humanistic Sciences, 2014-2016
Influence and Intertextuality in Twentieth-Century Italian Music: The Case of Luigi Dallapiccola
My research project revisits under a new light the issues of influence and intertextuality discussed in recent musicology following Bloom, Barthes, Genette, and other critical theorists. My case study involves the central composer of twentieth-century Italy, Luigi Dallapiccola (1904-75), examining in a comprehensive way his influence on subsequent generations of the Italian and American avant-garde until today, in particular Luciano Berio, Luigi Nono, Bruno Maderna, Donald Martino, and Bernard Rands. I illustrate how the arguable nexus between technique and ethics in Dallapiccola's music is internalized by his students and followers, especially as embodied by compositional techniques of serialism. I focus on the relatively neglected area of text-music analysis, interweaving it with historical-political considerations and ultimately with a Gramscian interpretation of issues of ethics and aesthetics.