College Music Society

In March, I had the privilege of presenting music from the Skinner Anthology during the annual conference of the Mid-Atlantic Chapter of the College Music Society, which took place at George Mason University. I enjoy my involvement with CMS as the organization includes people from all branches of the college music scene - theory, musicology, performance, ethnomusicology, music industry, etc.


My presentation quickly painted the parlor music landscape by highlighting three of its personalities -

Henri Herz: the successful Parisian musical elite

George Knauff: the struggling musical pioneer in Farmville, VA

Franticek Koczwara: the roaming rogue whose Battle of Prague stayed near the top of the parlor hit parade


I also shared a list of uses I've found for my research, which I will copy below.

1. The technical demands of most parlor music are such that intermediate piano students can enjoy playing it. Knowledge of intermediate repertoire is an acknowledged weak point for many piano teachers, thus an introduction to the range of parlor music could be very helpful for piano pedagogy students.

2. As much parlor music is literal in form and formulaic in development, it is an excellent source of straightforward scores for theory students to analyze.

3. As much parlor music was designed for collaboration, it provides lots of options for creative work with students and colleagues in music, drama, dance, literature, history, etc.

4. Parlor music can provide contrast in our own recitals full of Brahms, Busoni, and Boulez. Listeners enjoy a respite from aesthetic challenge, and hearing about music-making in the parlor setting seems to spark their imaginations.

5. In the context of college-level piano study or music history classes, parlor music can provide perspective on the quality of the works that have survived in the canon. It can also introduce discussion of the 19th century struggle between commercial music for home use and the rise of the symphony as the hallmark of high art in the concert hall.

6. Working in an area with few traditional concert venues, I need to find other settings in which to connect with the public and to recruit students. Historical associations, museums, and history teachers are often interested in presentations that involve live music. Such opportunities allow me to meet a broader range of people than I would if I were limiting myself to the recital hall.

7. Facing the limited nature of the materials of the music, and contemplating the parlor setting, I have been refreshed in my appreciation of the sometimes simple joys of making music. This attitude is exemplified by a song text attributed to Johann Usteri and found in the anthology. In it we are exhorted to enjoy the simple gifts of life while there is still time to do so.


Several colleagues shared interesting remarks after my presentation. One probably shares ancestors with me. Another commented on the need for a lighter charming sort of repertoire today. A third provided some wise counsel regarding what sort of place ought to eventually be entrusted with the anthology.