Holly Watkins
Biographic Data
| ID | 3664866 |
|---|---|
| NAME | Holly Watkins |
| GIVEN NAMES | Holly |
| FAMILY NAME | Watkins |
| SIGNATURE | WATKINS H |
| AFFILIATIONS | Eastman Chemical Company (United States) |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
Music, Subjectivity, and Schumann , by Benedict Taylor
Who am I when I listen to music? In one sense, the “I” who listens is just I myself—a single human being who takes up space, breathes, consumes resources, and hosts a teeming biome of cohabiting organisms. In another sense, the “I” who listens is a shifting construct, someone who adapts and adjusts her sense of self to an environment populated by humans, human artifacts, sentient nonhumans, air and weather conditions, and many other factors of va…
Romantic Musical Aesthetics and the Transmigration of Soul
The survival of musical works as participants in cultural life depends upon the reenactment of patterned sounds through performance or playback. But what precisely is reproduced for listeners in such transhistorical resoundings? Music has at least since the Romantic era been conceived of as, among other things, a stimulus to feeling, whether in the form of a generalized “aesthetic experience” or as the transmission of emotions. Are the feelings a…
On Not Letting Sounds Be Themselves
Research Article| July 01 2018 On Not Letting Sounds Be Themselves Holly Watkins Holly Watkins University of Rochester's Eastman School of Music, New York Holly Watkins is Chair and Associate Professor of Musicology at the University of Rochester's Eastman School of Music. She is the author of Musical Vitalities: Ventures in a Biotic Esthetics of Music (forthcoming in 2018 from the University of Chicago Press) and Metaphors of Depth in German Mus…
Toward a Post-Humanist Organicism
Recent critiques of organicism in music studies have assumed that such features as part-whole integration and end-oriented development are essential to comparisons between music and the organic realm. Yet if what is thought to constitute organicism varies with perspectives on organisms in general, then perhaps it is time to take a different view of organicism's historical legacy. What if the problem is not with the impression that music presents …
Slavoj Žižek: Responding from the Void
Slavoj Žižek's unclassifiable brand of criticism, an alloy compounded of dialectical philosophy, psychoanalysis, political theory, and cultural studies, has repeatedly invoked music as a privileged exemplar of the conundrums of modern subjectivity. In writings spanning the past two decades, Žižek has mined the history of music for insights concerning encounters between subjects and others—encounters that, while heavily idealized, offer Žižek a un…
Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg
Musical Ecologies of Place and Placelessness
Research Article| August 01 2011 Musical Ecologies of Place and Placelessness Holly Watkins Holly Watkins HOLLY WATKINS is Associate Professor of Music at the Eastman School of Music, University of Rochester, where she teaches courses on nineteenth- and twentieth-century music, aesthetics, and philosophy. In 2010–11, she held a Donald D. Harrington Faculty Fellowship at the University of Texas at Austin, where she completed her book Metaphors of …
Musical Ecologies of Place and Placelessness
Research Article| August 01 2011 Musical Ecologies of Place and Placelessness Holly Watkins Holly Watkins HOLLY WATKINS is Associate Professor of Music at the Eastman School of Music, University of Rochester, where she teaches courses on nineteenth- and twentieth-century music, aesthetics, and philosophy. In 2010–11, she held a Donald D. Harrington Faculty Fellowship at the University of Texas at Austin, where she completed her book Metaphors of …
Toward a Post-Humanist Organicism
Recent critiques of organicism in music studies have assumed that such features as part-whole integration and end-oriented development are essential to comparisons between music and the organic realm. Yet if what is thought to constitute organicism varies with perspectives on organisms in general, then perhaps it is time to take a different view of organicism's historical legacy. What if the problem is not with the impression that music presents …
Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg
Musical Ecologies of Place and Placelessness
Research Article| August 01 2011 Musical Ecologies of Place and Placelessness Holly Watkins Holly Watkins HOLLY WATKINS is Associate Professor of Music at the Eastman School of Music, University of Rochester, where she teaches courses on nineteenth- and twentieth-century music, aesthetics, and philosophy. In 2010–11, she held a Donald D. Harrington Faculty Fellowship at the University of Texas at Austin, where she completed her book Metaphors of …
Slavoj Žižek: Responding from the Void
Slavoj Žižek's unclassifiable brand of criticism, an alloy compounded of dialectical philosophy, psychoanalysis, political theory, and cultural studies, has repeatedly invoked music as a privileged exemplar of the conundrums of modern subjectivity. In writings spanning the past two decades, Žižek has mined the history of music for insights concerning encounters between subjects and others—encounters that, while heavily idealized, offer Žižek a un…
Toward a Post-Humanist Organicism
Recent critiques of organicism in music studies have assumed that such features as part-whole integration and end-oriented development are essential to comparisons between music and the organic realm. Yet if what is thought to constitute organicism varies with perspectives on organisms in general, then perhaps it is time to take a different view of organicism's historical legacy. What if the problem is not with the impression that music presents …
Romantic Musical Aesthetics and the Transmigration of Soul
The survival of musical works as participants in cultural life depends upon the reenactment of patterned sounds through performance or playback. But what precisely is reproduced for listeners in such transhistorical resoundings? Music has at least since the Romantic era been conceived of as, among other things, a stimulus to feeling, whether in the form of a generalized “aesthetic experience” or as the transmission of emotions. Are the feelings a…
On Not Letting Sounds Be Themselves
Research Article| July 01 2018 On Not Letting Sounds Be Themselves Holly Watkins Holly Watkins University of Rochester's Eastman School of Music, New York Holly Watkins is Chair and Associate Professor of Musicology at the University of Rochester's Eastman School of Music. She is the author of Musical Vitalities: Ventures in a Biotic Esthetics of Music (forthcoming in 2018 from the University of Chicago Press) and Metaphors of Depth in German Mus…
Music, Subjectivity, and Schumann , by Benedict Taylor
Who am I when I listen to music? In one sense, the “I” who listens is just I myself—a single human being who takes up space, breathes, consumes resources, and hosts a teeming biome of cohabiting organisms. In another sense, the “I” who listens is a shifting construct, someone who adapts and adjusts her sense of self to an environment populated by humans, human artifacts, sentient nonhumans, air and weather conditions, and many other factors of va…
Art (6 works) · Musical (6 works) · Musicology and Musical Analysis (6 works) · Philosophy (4 works) · Visual arts (4 works) · Art history (3 works) · Citation (3 works) · Computer Science (3 works) · Epistemology (3 works) · German (3 works)