CURRICULUM VITAE (DECEMBER 2009) MARGARET R. BUTLER

CURRICULUM VITAE (DECEMBER 2009)
MARGARET R. BUTLER
University of Florida, School of Music, P.O. Box 117900, Gainesville, FL 32611-7900
[email protected]; (352) 273-3187
EDUCATION
The Ohio State University, Columbus, OH
Ph.D. in Music; Music History, 2000. Dissertation: “Operatic Reform at Turin’s Teatro
Regio: Aspects of Production and Stylistic Change in the 1760s.” Advisor: Lois Rosow
M.A., Music; Music History, 1994. Thesis: “Toward an Understanding of the Dialogue
Air in the Style of Jean-Philippe Rameau: The Evidence from Hippolyte et Aricie.”
The State University of New York at Binghamton, Binghamton, NY
Coursework toward M.A. in Voice, 1990–91
B.A. in Music with High Honors, specialization in Voice, 1990
The Mannes College of Music, New York, NY: Coursework toward B.M. in Voice, 1987–88
PROFESSIONAL POSITIONS
The University of Florida, School of Music, Assistant Professor, Musicology, August 2007 to
present
Courses taught
Undergraduate
Graduate
Music History II (2009)
Classical Seminar: Mozart and His Milieu (2009)
Introduction to Music Literature (2007–08) Proseminar in Baroque Music (2007–08)
Classical Literature (2007–08)
Seminar: 18th-Century Opera: Texts and Contexts (2008–09)
Music History I (2008–09)
Introduction to Historical Musicology (2008–09)
The American Musical: Broadway and
History of Opera (2010)
Beyond (2008–09)
Seminar: Operatic Reform and Enlightenment Aesthetics (2010)
The University of Alabama, School of Music, Assistant Professor, Musicology, August 2003–
May 2007
Courses taught
Undergraduate
Graduate
Music History I
Proseminar in the History of Opera
Music History II
Proseminar in Chamber Music Literature & History
Music History III
Proseminar in Symphonic Literature & History
Music in World Cultures
Proseminar in Baroque Music; Proseminar in Classical Music
Special Topics: The Broadway Musical Readings in Music History (Graduate Review)
Special Topics: Women in Music; Mozart’s Operas;
Music in 18th-Century Italy; Bel Canto Opera
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Center for West European Studies/European Union Center, University of Pittsburgh,
Associate Director, January 2002–August 2003. Administrative position.
University of Virginia, Instructor and Post-Doctoral Research Scholar, 2000–01
The Ohio State University, Graduate Teaching Associate, 1991–96
PUBLICATIONS
BOOK
Operatic Reform at Turin’s Teatro Regio: Aspects of Production and Stylistic Change in the
1760s (Lucca: Libreria Musicale Italiana, 2001).
REVIEWS OF BOOK: Marita P. McClymonds, Eighteenth-Century Music 2/1 (May
2005), 133–36; Anthony DelDonna, MLA Notes 60/2 (December 2003), 437-39; Marco
Emanuele, L’indice xix (vol. 7/8, July/August 2002), 47; Franco Bruni, Hortus Musicus
11 (July–September 2002), 100-02.
BOOK CHAPTER (INVITED)
“Italian Opera in the Eighteenth Century.” 203–271. The Cambridge History of EighteenthCentury Music. Cambridge: Cambridge University Press, 2009.
ARTICLES IN REFEREED/PEER-REVIEWED JOURNALS
“‘Olivero’s’ Painting of Turin’s Teatro Regio: Reevaluating an Operatic Emblem,” Music in Art:
International Journal of Musical Iconography 34/1–2 (2009): 137–151.
“Producing the Operatic Chorus at Parma’s Teatro Ducale, 1759–1769,” Eighteenth-Century
Music 3/2 (September 2006): 231–251.
“Administration and Innovation at Turin’s Teatro Regio: Producing Sofonisba (1764) and Oreste
(1766),” Cambridge Opera Journal 14/3 (November 2002): 243–262.
ARTICLES IN COLLECTIONS (INVITED)
“Toward a Context for Opera Seria at Eszterháza: The Evidence from Turin,” Musica se estendit
ad omnia. Scritti in onore di Alberto Basso per il suo 75o compleanno. 2 vols. Rosy Moffa and
Sabrina Saccomani, eds. (Lucca: LIM, 2007). Vol. 1, 497–511.
“Opera Fit for Kings: Royal Theaters in Turin and Naples in the Eighteenth Century,”
Miscellanea di Studi 6, Il Gridelino 23, ed. Alberto Basso (Turin: Centro Studi Piemontesi &
Istituto per i Beni Muscali in Piemonte, 2006): 197–212.
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“Innovation in the Librettos of Vittorio Amedeo Cigna-Santi,” Miscellanea di Studi 5, Il
Gridelino 22, ed. Alberto Basso (Turin: Centro Studi Piemontesi & Istituto per i Beni Muscali in
Piemonte, 2003): 141–175.
ARTICLES IN CONFERENCE REPORTS
“Las óperas de Vicente Martín y Soler para el Teatro Regio de Turín: Elementos de Producción y
de escritura para conjuntos en la Andromaca (1780) y en el Vologeso (1783),” Los siete mundos
de Vicente Martín y Soler: actas del congreso internacional, Valencia, 14–18 noviembre 2006.
Valencia: Institut Valencià de la Música & Generalitat Valenciana, 2009. In press.
“Exoticism in Eighteenth-Century Turinese Opera: Motezuma in Context,” in Music in 18thCentury Life: Cities, Courts, and Churches. Selected Papers from the Inaugural Conference of
the Society for Eighteenth-Century Music, Washington D.C., 30 April – 2 May 2004 (Ann Arbor,
MI: Steglein Publishing, 2006), 105–124.
“Annäherungen an eine Kontextualisierung der opera seria in Eszterháza: Rückschlüsse aus
Turin,” in Bericht über die Internationale wissenschaftliche Tagung “Bearbeitungspraxis in der
Oper des späten 18. Jahrhunderts,” vom 18. bis 20. Februrar 2005, Würzburg, Germany, Armin
Raab and Christine Siegert, eds. (Tutzing: Hans Schneider, 2007), 103–125.
“L’esotismo nell’opera torinese del settecento: Motezuma e il suo contesto,” Atti del Convegno
Internazionale “Le arti della scena e l’esotismo nell’età moderna,” Centro di Musica Antica
Pietà de’ Turchini, Naples, 6–9 May 2004. Elena Sala di Felice, Francesco Coticelli, and
Paologiovanni Maione, eds. (Naples: Turchini Edizioni, 2007), 297–310.
REVIEW
Woodfield, Ian. Opera and Drama in Eighteenth-Century London: The King’s Theater, Garrick
and the Business of Performance. Cambridge Studies in Opera (Cambridge: Cambridge
University Press, 2001). In Eighteenth-Century Music 1/1 (March 2004): 98–100.
PAPERS AND PRESENTATIONS
“Mozart’s Theater and Its Italian Contemporaries: La clemenza di Tito in Prague and Turin.”
American Musicological Society, annual meeting, Philadelphia, PA, 12–15 November 2009;
international conference, “Mozart in Prague,” Mozart Society of America and Society for
Eighteenth-Century Music, Prague, Czech Republic, 9–13 June 2009.
“‘Olivero’s’ Painting of Turin’s Teatro Regio: Reevaluating an Operatic Emblem,” international
conference, “Music, Body, and Stage: The Iconography of Music Theater and Opera,” Répertoire
International d’Iconographie Musicale, CUNY Graduate Center, 11–14 March 2008.
“Performing Gluck’s Alceste in Bologna, 1778,” American Musicological Society, annual
meeting, Quebec City, Canada, 1–4 November 2007.
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“Gluck’s Alceste in Bologna: Audiences and Reception,” Southeastern American Society for
Eighteenth-Century Studies (SEASECS), Atlanta, GA, 22–25 March 2007.
“Staging Gluck’s Alceste in Bologna, 1778,” national conference, “Performance Practice: Issues
and Approaches,” Rhodes College, Memphis, TN, 4–6 March 2007.
“Martín y Soler’s Operas for Turin’s Teatro Regio: Aspects of Production and Ensemble Writing
in Andromaca (1780) and Vologeso (1783),” invited paper, “The Worlds of Vicente Martín y
Soler,” International Conference, University of Valencia, Valencia, Spain, 14–18 November
2006; Southern Chapter, American Musicological Society, Louisiana State University, Baton
Rouge, LA, 9–10 February 2007.
“Il coro nell’opera al Teatro Regio di Torino nel Settecento,” invited paper, Archivio Storico
della Città di Torino, Turin, Italy, 25 May 2006.
“Fonti e problemi nello studio dell’opera a Torino,” invited seminar, University of Turin,
doctoral program in musicology, Turin, Italy, 25 May 2006.
“Opera Fit for Kings: Royal Theaters in Turin and Naples in the Eighteenth Century,”
Southeastern American Society for Eighteenth-Century Studies (SEASECS), University of
Georgia, Athens, GA, 2–4 March 2006.
“Traetta, Gluck and the Operatic Chorus in Parma, 1759-1769,” Southern Chapter, American
Musicological Society, University of Central Florida, Orlando, FL, 3–4 February 2006.
“Toward a Context for Opera Seria at Eszterháza: The Evidence from Turin,” invited paper,
“Bearbeitungspraxis in der Oper des späten 18. Jahrhunderts” (international conference), Joseph
Haydn-Institut (Cologne) and the University of Würzburg, Würzburg, Germany, 18–20 February
2005.
“L’esotismo nell’opera torinese del settecento: Motezuma e il suo contesto,” invited paper, “Le
arti della scena e l’esotismo in età moderna” (international conference), Centro di Musica Antica
Pietà de’ Turchini, Naples, Italy, 6–9 May 2004. Also given in English at Society for EighteenthCentury Music, first inaugural conference, Washington, D.C., 30 April–2 May 2004.
“The Turinese Origins of Mozart’s Mitridate, re di Ponto Revisited,” Mozart Society of
America, annual study session, Houston, TX (at AMS annual meeting), 14 November 2003.
“Producing Royal Opera in Italy: Imports and Exports from Naples’s Teatro di San Carlo and
Turin’s Teatro Regio in the Mid-Eighteenth Century,” invited paper, The Ohio State University
School of Music, Lectures in Musicology, Columbus, OH, 28 April 2003.
“Minimalism and 20th-Century Opera: Nixon in China,” invited panel presentation, The Mattress
Factory (museum of modern art), Pittsburgh, PA, 20 July 2001.
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“‘Due opere . . . di buona musica, e di buona poesia’: Operatic Reform in Turin,” The American
Musicological Society Capital Chapter, Petersburg, VA, 10 February 2001; The University of
Pittsburgh Music Department Colloquium, Pittsburgh, PA, 20 March 2001; University of
Virginia Music Department Colloquium, Charlottesville, VA, 25 March 2001.
“The Savoy Vision: Politics and Opera at Turin in the 1760s,” The American Society for
Eighteenth-Century Studies, Annual Meeting, Philadelphia, PA, 14 April 2000; University of
Kentucky Department of Music Colloquium, Lexington, KY, 7 April 2000.
“Per la riforma dell’opera a Torino negli anni Sessanta del Settecento: osservazioni su alcune
fonti torinesi,” invited paper, Archivio Storico della Città di Torino, Turin, Italy, 16 February
2000.
“Reforming the Opera Seria Libretto: Cigna-Santi’s Ifigenia in Aulide,” The Kentucky Foreign
Language Conference, Special Session on Italian Music and Poetry, Lexington, KY, 24 April
1999.
“Sofonisba’s Missing Choruses: Administration and Stylistic Innovation at Turin’s Teatro
Regio, 1764,” The American Musicological Society, South-Central Chapter Meeting, Lexington,
KY, 26 March, 1999; University of Kentucky Department of Music Colloquium, 20 November
1998.
“Understanding Rameau’s Airs: The Evidence from Hippolyte et Aricie,” The American
Musicological Society, Midwest Chapter Meeting, Lawrence, KS, 1 April 1995; The Ohio State
University School of Music, Lectures in Musicology, 15 April 1995.
WORK IN PROGRESS
Book: The Eighteenth-Century Operatic Circuit at Work: Theatrical Management and
Production in Parma, Bologna, Milan, and Turin”
HONORS AND AWARDS
University of Florida College of Fine Arts Scholarship Enhancement Grant, 2007–08; 2008–09
Nomination, Gustave O. Arlt Book Award in the Humanities in the Field of the Arts, Council on
Graduate Studies, The Ohio State University, 2006
The University of Alabama, Research Advisory Committee Grant, April 2005
The University of Alabama, Arts and Sciences, Office of the Dean, Faculty Development Award,
December 2004
International Travel Awards, The University of Alabama, Capstone International Center,
October 2004, December 2003, April 2005
The Ohio State University School of Music Distinguished Dissertation Award, 2001
University of Virginia Post-doctoral Research and Teaching Appointment, 2000–01
The Ohio State University School of Music Graduate Outstanding Achievement Award, 2000
The Ohio State University Graduate Student Alumni Research Award (travel award for
dissertation research in Turin, Italy), February, 2000
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The Ohio State University Presidential Fellowship, 1999–2000
Fulbright Graduate Student Fellowship (dissertation research in Turin, Italy), Fulbright
Foundation, 1997–98
Partners for the Arts Award (travel associated with dissertation research), College of the Arts,
The Ohio State University, 1997
Foreign Language Area Studies Fellowship, The Graduate School, The Ohio State University,
1997 (declined; could not hold concurrently with Fulbright grant)
Summer Dissertation Fellowship, School of Music, The Ohio State University, 1996
TEACHING RELATED ACTIVITIES
Session Chair (Invited), University of Florida Graduate Student Council Interdisciplinary
Conference, February 2009
Participant in campus-wide workshop on Learner-Centered Teaching/Assessment Strategies, The
University of Alabama, October/November 2005
Attendee at national conference, “Integrating Research into Undergraduate Education: The
Value Added,” Washington, D.C., 18–19 November 2004
Teaching Associate Mentor, Center for Teaching Excellence, Ohio State University, 1995–96
PROFESSIONAL SERVICE
Service in Professional Societies:
American Musicological Society, National Council, Member-at-Large, 2009–2011
American Musicological Society, Southern Chapter: Secretary/Treasurer, 2009–2011; Abstracts
Editor, 2006–2008
Society for Eighteenth-Century Music: Program Committee Chair, Biennial Meeting 2010 and
SECM session at ASECS annual meeting, 2009; Strategic Planning Committee Chair, 2008;
Member of the Board, 2004–2006; 2007–2009; Newsletter Editor, 2002–2006; Founding
Member, 2000
Graduate Student Prize Selection Committee, Southeastern American Society for Eighteenth
Century Studies (SEASECS), 2006–2008
Institutional Service:
Invited presentations for Institute for Learning in Retirement, Gainesville, FL: Saint-Saens’s
Samson et Dalila (October 2009); Mozart’s Mitridate, rè di Ponto and opera seria (January
2009); Rodgers and Hammerstein’s Oklahoma and the Book Musical of the 1950s (April 2009).
Dramaturg for Puccini’s Tosca, University of Florida Opera Theater, spring 2009
Pre-concert lecture, Denyce Graves, University of Florida Performing Arts Center, February
2009
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Coordinator, Musicology Colloquium, University of Florida, 2009 to present.
Coordinator, Teaching Associates for MUL 2010, University of Florida, 2007–2009.
Faculty Advisor, Student Society for Musicology, University of Florida, 2007 to present
Masters and Doctoral Examination Committees; Administrative Committees, University of
Florida, 2007 – present.
Undergraduate Recital Committees, outside member, University of Florida, 2007–present
Masters and Doctoral Examination Committees; Administrative Committees, The University of
Alabama, 2004–2007
University of Pittsburgh, CWES/EUC, Regional Advisory Board; Faculty Advisory Board; UCIS
International Studies Fund Selection Committee, 2002–2003
University of Virginia Fulbright Award Local Screening Committee, 2000–2001
University of Kentucky Fulbright Award Local Screening Committee, 1998–1999
PROFESSIONAL AFFILIATIONS
American Musicological Society
American Musicological Society, Southern Chapter
Society for Eighteenth-Century Music
Mozart Society of America
Istituto per i Beni Musicali in Piemonte
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