Mark ClagueInterim Associate Dean for Academic & Student Affairs
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Mark Clague researches all forms of music-making in the United States, with recent projects focusing on the United States national anthem (“The Star-Spangled Banner”), American orchestras as institutions (especially in early Chicago and San Francisco), the Atlanta School of composers, Sacred Harp music and performance, critical editing, and the music of George and Ira Gershwin. His interests center on questions of how music forges and shapes social relationships-the art of sound as simultaneously a transcendent emotional expression and an everyday tool for living.
Professor Clague is an associate professor of musicology with tenure at the School of Music, Theatre & Dance at the University of Michigan who also enjoys affiliate appointments in American Culture, African and Afro-American Studies, Non-Profit Management, and Entrepreneurship. He serves as director of research for the School of Music, Theatre & Dance and as co-director of its American Music Institute. He further serves as faculty advisor to student organizations including Arts Enterprise@U.Michigan, the Ypsilanti Youth Symphony Mentors, Mu Phi Epsilon, and the Interdisciplinary Music Forum.
Before joining Michigan’s faculty, Professor Clague served as executive editor for Music of the United States of America, a series of scholarly editions of American music published by A-R Editions for the American Musicological Society. He also held editorial positions for the Center for Black Music Research in Chicago, where he helped complete the International Dictionary of Black Composers under the direction of Dr. Samuel Floyd. His dissertation for the University of Chicago – “Chicago Counterpoint: The Auditorium Theater Building and the Civic Imagination” – was completed under the direction of Professors Philip Bohlman and Richard Crawford and won the 2003 H. Wiley Housewright Dissertation Prize of the Society for American Music.
His first book is an annotated edition of The Memoirs of Alton Augustus Adams, Sr.: First Black Bandmaster of the United States Navy (University of California Press, 2008). He is currently completing a book for the University of Illinois Press titled “Music for the People”: Chicago’s Auditorium Building and the Institutional Revolution of Gilded Age Culture, along with a manuscript entitled “O Say Can You Hear: A Cultural Biography of ‘The Star-Spangled Banner.'” His writings on teaching music history and arts entrepreneurship appear in the journals College Music Symposium and Music History Pedagogy as well as the books Teaching Music in Higher Education and Disciplining the Arts: Teaching Entrepreneurship in Context.
Professor Clague’s research appears in the journals American Music (on the film Fantasia and critical editing), Black Music Research (on bandmaster Alton Adams), Michigan Quarterly Review (on Motown), Opera Quarterly (on Chicago’s Auditorium Building), and the book American Orchestras in the Nineteenth Century (on early orchestra organization models) as well as in the International Dictionary of Black Composers, The Encyclopedia of Chicago, and African American National Biography. In addition to being a contributor, Professor Clague also served as project editor and cities and institutions editor for the New Grove Dictionary of American Music, Second Edition (Oxford).
Professor Clague has lectured throughout the United States and China and has presented papers at national meetings of the American Musicological Society, American Studies Association, Brevard Conference on Music Entrepreneurship, Center for Black Music Research, Centro de Estudos de Sociologia e Estética Musical (Lisbon, Portugal), College Band Directors National Association, College Music Society, Experience Music, Feminism and Music Theory, Institute of Musical Research (London, U.K.), Michigan Music Educators Conference, Music and the Moving Image, National Association of Schools of Music, Society for Ethnomusicology, and the Society for American Music. He has spoken as a guest at universities, including Bowling Green, Columbia College Chicago, CUNY Graduate Center, Grand Valley State University, Michigan State University, Northwestern, Peabody Conservatory, University of Chicago, and the University of Southern California.
His awards include the University of Michigan’s Albert A. Stanley Medal, a Mellon Fellowship in the Humanities, the University of Chicago’s Wayne C. Booth Teaching Prize, the 2003 Wiley Housewright Dissertation Prize of the Society for American Music, a 2004 and 2006 Teaching with Technology Fellowship, an 2007 UROP Advisor Award, 2009 Advisor of the Year from the University of Michigan Leadership Awards, a 2013-14 Humanities Institute Faculty Fellowship, a 2013 Sight and Sound subvention for his recorded history of “The Star-Spangled Banner,” and a 2013 NEH grant for $200,000 to host a month-long K-12 teacher institute titled “Banner Moments: The National Anthem in American Life.”
Professor Clague was board president of the Great Lakes Performing Artists Associates and continues to serve on the board of directors of the Star Spangled Music Foundation and the University Musical Society, where he chairs the education committee, and a member-at-large of the board of the Society of American Music, where he chairs the outreach council. He is on the advisory board of the Sphinx Organization.
Before joining the Michigan faculty, Professor Clague was principal bassoonist with the Chicago Civic and Rockford Symphonies and played periodically with the Grant Park and Chicago Symphony Orchestras. In March 2003, he performed André Jolivet’s Concerto pour basson, orchestra a cordes et piano (1954) as the Concerto Competition Winner of the University of Michigan Campus Symphony Orchestra. He has given pre-concert talks for the Ann Arbor, Berlin, Detroit, New York, San Francisco, and Chicago Symphonies as well as the Great Lakes Chamber Music Festival, the Detroit Chamber Winds, and the University Musical Society. He has written and edited program notes for the Detroit Symphony as well as the Sphinx Virtuosi and served as centennial historian and American Orchestra Forum host for the San Francisco Symphony.
Professor Clague is most proud of the many talented students with whom he has worked. His doctoral advisees have earned jobs at schools including DePaul and Roosevelt Universities, the University of Iowa, Oberlin, Bowling Green State University, and at the Rock ‘n’ Roll Hall of Fame. Students he mentored through Arts Enterprise @ UM have worked at Google, the Colburn School, the Ann Arbor Symphony, Seattle Symphony, the Los Angeles Philharmonic, and the University Musical Society.
BM., AB, University of Michigan
MA, PhD, University of Chicago
19th-century American Musical Institutions, City Culture (especially Chicago), Occasional Music, Film Music (especially Copland), Sociology of Music, Alton Adams, African-American Music, Critical Editions and Identity, Web-based Enhancements to Classroom Teaching.
University of Chicago
PhD in Historical Musicology
Dissertation Title: “Making Music, Building Culture, Thinking City: Chicago’s Auditorium Theater and the social engineering of American culture”
Committee: Philip Bohlman (chair), Richard Crawford, Samuel Floyd, Christian Kaden, Lawrence Zbikowski
Dissertation Abstract: My dissertation investigates the social functions of music in Chicago through a detailed study of cultural performance in the Auditorium Theater (1889–present). Designed by Louis Sullivan and Dankmar Adler, the building has served a variety of cultural identities since its beginnings as the city’s most prestigious opera house: Adelina Patti, Theodore Roosevelt, Pastor Frank Gunsaulus, John Philip Sousa, Florence Price, Van Cliburn, and Jimi Hendrix have graced its stage. Using evidence from musical scores, musical repertory, architectural design, journalistic accounts, personal diaries, and literary representations, my analysis focuses on the manner in which music and the Auditorium have served as sites of negotiation regarding issues of race, gender, and class in Chicago society.
MA, August 1995, (with honors)
Master’s Papers: “The Funerary Motets of Josquin” and “Adorno on Jazz”
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 and Florence, Italy)
BM: Bassoon Performance 1990
Artist and Scholar Honors Program–Summa Cum Laude
AB: Art History 1990, Honors College
Music Academy of the West 1989, 1991 sessions
Executive Editor of Music of the United States of America (MUSA) 1997–
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
American Musicological Society
Society for American Music
Society for Ethnomusicology
College Music Society
Local Arrangements Committee, Co-Chair, Society for Ethnomusicology 46th Annual Meeting, 2001
Nominating Committee, Society for American Music, 2001–3
Symposium Organizer, The Web of Learning: Instructional Technology @ the U of M School of Music, Theatre & Dance, 8 May 2001
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
Faculty Coordinator and Founder, American Music 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
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
Culture at the Crossroads: the Collected Writings of Alton Augustus Adams, in African Diaspora Series, University of California Press, forthcoming.
“Edition-ing: The Cultural Rhetoric of MUSA’s Critical Editions,” American Music, forthcoming.
“Chicago Symphony Orchestra,” “Choral Music,” “Impresarios,” “Recording Companies,” and “Theodore Thomas,” entries for the 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
“Assessing Alignment,” From Expectations to Results: Aligning Goals, Methods, and Assessment, Provost’s Seminar on Teaching, University of Michigan, 2001.
“Collaborative Learning using UM.CourseTools,” Using Technology to Promote Active Learning workshop, Center for Research on Learning and Teaching, University of Michigan, 2001.
“UM. CourseTools: Examples and Case Studies of Useful Practice” and “Online Critique and Peer Review: Special Uses of UM.CourseTools,” Enriching Scholarship: Teaching and Technology, University of Michigan, 2001.
“Studies in the Hybrid Classroom: An Interactive Listening Environment” The Web of Learning: Instructional Technology at the UM School of Music, Theatre & Dance, 2001.
“Edition-ing: The Cultural Rhetoric of MUSA’s Critical Editions” American Musicological Society, Toronto, 2000.
“Imagining Ethnicity in America’s Music: Chicago’s musical institutions and the Americanization process, 1885–1929” American Studies Association, Detroit, 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, 2000.
“Piccolo Power: The Music of Alton Augustus Adams, First Black Bandmaster of the U.S. Navy”55th Midwestern Conference on School Vocal and Instrumental Music, University of Michigan, 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, 1999.
“Gendering Musical Space: Women in Chicago’s Opera House, 1889” Sonneck Society national conference, Fort Worth, Texas, 1999.
“Edition-ing: Scholarly Editing as an Act of Identity Construction” Sonneck Society national conference, Fort Worth, Texas, 1999.
“Imagining Ethnicity in America’s Music: Chicago’s musical institutions and the Americanization process, 1885–1929,” SEM National Conference, Pittsburgh, Pa., October 23, 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.
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 (Chicago)
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
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