Jamuna Samuel

Lecturer A
Room 303, Music Building

My research deals with music of the twentieth and twenty-first centuries, especially in Italy. Revisiting issues of influence and intertextuality from an interdisciplinary perspective, my current project involves a central composer of Novecento, Luigi Dallapiccola, investigating his impact on subsequent generations of the Italian and American avant-garde. I focus on text-music analysis, interweaving it with historical-political considerations and ultimately with a Gramscian interpretation of issues of ethics and aesthetics. Other research and teaching interests include film music and sound, performance/analysis issues, and listening in literature (particularly in Calvino/Berio). My work has been funded by grants from the Mellon Foundation, Stony Brook University, and The Gladys Krieble Delmas Foundation for research in Venice.

Publications include those appearing in Rivista di analisi e teoria musicale, Indiana Theory Review, Intersections, and forthcoming in Singing Signs: New Semiotic Explorations of Opera (eds. Shafter and Decker) and Utopian Listening: The Late Electroacoustic Music of Luigi Nono: Technologies, Aesthetics, Histories, Futures among others. Paper presentations include those given at the national meetings of the American Musicological Society and the Society for Music Theory.

Previous positions include visiting assistant professor at Stony Brook University and Wellesley College, leading undergraduate and graduate (PhD and DMA) courses on tonal and post-tonal theory and analysis, film music, the history of twentieth-century music, opera, Italian popular and folk traditions, the role of performers and institutions in the history of music, and performance/analysis issues. I have also been visiting faculty at Rutgers University, teaching in the graduate program in Theory and Composition.

I serve as Secretary of the Music Theory Society of the Mid-Atlantic (MTSMA) and on the board of Philadelphia’s Network for New Music (dedicated to performing works of living composers). In 2016, I organized a six-day interdisciplinary and inter-institutional exploration of the music of Berio, entitled Circles Around Sinfonia, including lectures, classes, panel discussion, and performances and in collaboration with The Curtis Institute of Music, Temple University, and Bowerbird. I collaborate with Penn’s Music Library and Kislak Collection around the Marian Anderson archive, planning for a 2018 study day in conjunction with performances and community outreach.

I am resident faculty of Rodin College House. Related to my joint roles in the Department and the College House, I am involved with Penn’s nascent Music Fellows programs (undergraduate and professional); I served on the founding committees and continue on the selection committee.

Courses Taught: 

Music 032, Composers:  Post 1945: Berio

Music 070, Introduction to Music Theory

Music 081, Film Music and Sound, to be offered in S18, cross-listed with Cinema Studies and Italian Studies

 Music 170, Theory and Musicianship I

Music 171, Theory and Musicianship II

Music 236, String Quartet, Performance and Analysis  (in collaboration with the Daedalus Quartet)