@article{paige_2022, title={Echo}, volume={12}, ISSN={["2055-1959"]}, DOI={10.1080/20551940.2022.2159646}, abstractNote={Clendinnen, Inga. 2005. Dancing with Strangers: Europeans and Australians at First Contact. Cambridge: Cambridge University Press. Cullen, Richard Rath. 2003. How Early America Sounded. Ithaca: Cornell University Press. Hoffer, Peter Charles. 2003. Sensory Worlds in Early America. Baltimore: Johns Hopkins University Press. Pardoen, Mylene. 2014. “Visite de Paris au XVIII siècle (quartier du Grand Châtelet).” https://www.youtube.com/ watch?v=YP__1eHeyo4 Richter, Daniel. 2001. Facing East from Indian Country: A Native History of Early America. Cambridge: Harvard University Press. White, Richard. 1991. The Middle Ground: Indians, Empires and Republics in the Great Lakes Region: 1650-1815. Cambridge: Cambridge University Press.}, journal={SOUND STUDIES}, author={Paige, Kirsten}, year={2022}, month={Dec} }
 @misc{paige_2022, title={Listening to Climate Change}, url={http://dx.doi.org/10.52750/958594}, DOI={10.52750/958594}, abstractNote={This podcast discusses three approaches to recording, studying, and presenting narratives about the sounds of environmental change from 1850 to today. It questions how and why music and sound offer distinct opportunities for studying environmental change, and what these media can provide to us that other forms of intervention cannot.Â}, publisher={North Carolina State University}, author={Paige, Kirsten}, year={2022}, month={Jan} }
 @article{paige_2022, title={Listening to Daily Life in the Bosavi Rainforest}, url={https://doi.org/10.52750/736788}, DOI={10.52750/736788}, abstractNote={In this podcast Kirsten Paige, Ph.D., tells the story of the Kaluli people of Papua New Guinea, who sing “up, over and with the forest as they harvest crops.” Together, we will learn about the Kaluli harvesting practices that rely upon a particular method of singing and listening to the rainforest, and will consider how these practices are impacted by climate change.}, author={Paige, Kirsten}, year={2022}, month={Aug} }
 @article{paige_2021, title={Introduction}, volume={45}, ISSN={["0148-2076"]}, DOI={10.1525/ncm.2021.45.1.3}, number={1}, journal={NINETEENTH CENTURY MUSIC}, author={Paige, Kirsten}, year={2021}, pages={3–6} }
 @article{paige_2021, title={On the Politics of Performing Wagner Outdoors: Open-Air Opera, Gesamtkunstwerk and the Third Reich’s ‘Forest Opera’, 1933–45}, volume={146}, ISSN={0269-0403 1471-6933}, url={http://dx.doi.org/10.1017/rma.2020.26}, DOI={10.1017/rma.2020.26}, abstractNote={Abstract This article explores the politics of performing Wagner outdoors, focusing on the Waldoper in Sopot, Poland, and its operations under the Third Reich. Festival literature suggests that the Reich combined climatic deterministic logic with established open-air theatrical practice to implicate experiencing Wagnerian sounds outdoors as inculcating völkisch character in Poles, positioning the festival within the Reich’s imperial mission. However, this vision from ‘on high’ was undermined by bureaucratic disorganization and inefficiency, much like other Nazi artistic projects. The article concludes with a discussion of the post-war afterlives of the Waldoper and its attendant mythologies.}, number={1}, journal={Journal of the Royal Musical Association}, publisher={Cambridge University Press (CUP)}, author={Paige, Kirsten}, year={2021}, month={Feb}, pages={147–180} }
 @misc{paige_2021, title={Sonic ecosystems of loss: Voices of the Rainforest at twenty-five}, ISSN={2055-1940 2055-1959}, url={http://dx.doi.org/10.1080/20551940.2021.1945343}, DOI={10.1080/20551940.2021.1945343}, abstractNote={The twenty-fifth-anniversary edition of Voices of the Rainforest: A Day in the Life of Bosavi invites listeners to traverse Bosavi’s acoustemological “then” and “now”. Some of the material included...}, journal={Sound Studies}, publisher={Informa UK Limited}, author={Paige, Kirsten}, year={2021}, month={Jun}, pages={1–3} }
 @article{paige_2021, title={Tectonic Microphonics}, volume={45}, ISSN={["0148-2076"]}, DOI={10.1525/ncm.2021.45.1.65}, number={1}, journal={NINETEENTH CENTURY MUSIC}, author={Paige, Kirsten}, year={2021}, pages={65–78} }
 @misc{paige_2020, title={Musical Vitalities: Ventures in a Biotic Aesthetics of Music, by Holly Watkins}, volume={73}, ISSN={0003-0139 1547-3848}, url={http://dx.doi.org/10.1525/jams.2020.73.2.405}, DOI={10.1525/jams.2020.73.2.405}, number={2}, journal={Journal of the American Musicological Society}, publisher={University of California Press}, author={Paige, Kirsten}, year={2020}, pages={405–410} }
 @article{paige_2020, title={Opera’s Inconvenient Truths in the Anthropocene Age: CO2 and Anthropocene}, volume={36}, ISSN={0736-0053 1476-2870}, url={http://dx.doi.org/10.1093/oq/kbaa011}, DOI={10.1093/oq/kbaa011}, abstractNote={For three weeks in July 2015, the stage of Milan’s Teatro alla Scala was a pulpit of climate science. Giorgio Battistelli, Ian Burton, and Robert Carsen’s CO2—based on Al Gore’s An Inconvenient Truth (2006)—places fictional climatologist David Adamson at center stage, where Adamson warns that greenhouse gas emissions are making the planet uninhabitable. In interviews about CO2, Battistelli explained that the theme of climate change was “not ideological, not religious, and not the usual [opera] plot. I was interested in finding a subject away from our cultures and that would address a global issue.”1 Climate activist Lucy Wood has suggested that projects like Battistelli’s are important because “if [climate change] remains mere data people are literally blinded by it. So, people are able to file it away as something we don’t have to deal with because it’s not an immediate concern, because they don’t feel...}, number={1-2}, journal={The Opera Quarterly}, publisher={Oxford University Press (OUP)}, author={Paige, Kirsten}, year={2020}, month={Nov}, pages={99–112} }
 @article{paige_2019, title={“Art and Climate” and the Atmospheric Politics of Wagnerian Theater}, volume={35}, ISSN={0736-0053 1476-2870}, url={http://dx.doi.org/10.1093/oq/kbz019}, DOI={10.1093/oq/kbz019}, abstractNote={“An atmospheric ring of Nature and Art”; “atmospheric units” (Atmosphäre); “acridities” of aloe, sandal, honeysuckle, vervain, opopanax, and frangipane; “the aroma of pitch, Sulphur, and asafetida.”1 Each of these vaporous, even odiferous descriptors were assigned to some aspect of Richard Wagner’s music dramas between 1850 and 1905 by the composer, engineers at his Bayreuth Festspiele, or his impassioned followers. This language seems to have encircled Wagner’s music dramas during his lifetime and beyond: he employed atmospheric rhetoric in describing his “artwork of the future” in his prose writings and demanded extensive aerial effects for the stage as he pursued his vision of theatricality at his Festspielhaus in Bayreuth. As Gundula Kreuzer has shown, for many years following the premiere of Der Ring des Nibelungen at Bayreuth in 1876, steam became so inseparable from that work that audiences came to expect its presence.2 But responses to early performances of Wagner’s Ring and other works at Bayreuth suggest that some spectators were convinced that steam and other stimulating effects were not confined to the stage and its worlds. They report smelling, tasting, and feeling the music and theatrical effects, sensing them along with other elements of the environmental and climatic spaces that characters traversed on stage before them. The “world” of Parsifal was “in the air all around,” one critic remarked, another claiming its sonic and dramaturgical effects made the “air [in the theater] heavy with so much sweetness” that the spectator had no choice but to “submit, a slave to his enchanted senses.”3 Other spectators suggested they were experiencing not just physical reactions to Wagnerian spectacle, but affective responses, too. Eduard Hanslick attested to the composer’s scenic inventions and ethereal, atmospheric music “cooperating in the strengthening of certain emotions” during performances at Bayreuth.4}, number={3}, journal={The Opera Quarterly}, publisher={Oxford University Press (OUP)}, author={Paige, Kirsten}, year={2019}, pages={147–178} }
 @article{paige_2017, title={Wagnerian Climatic Fantasies: Sound, Space, Breath}, volume={28}, ISSN={1050-9585 1740-4657}, url={http://dx.doi.org/10.1080/10509585.2017.1314672}, DOI={10.1080/10509585.2017.1314672}, abstractNote={ABSTRACT In Richard Wagner’s 1850 essay “Art and Climate,” the composer implicates climatic engagement as crucial to cultural and artistic progress. He critiques the relationship mankind had built with the natural world, arguing that civilization had developed counter to the deterministic influence of climate; instead of respecting nature, the vices of humanity had led it to live in opposition to beneficial climatic influences. Wagner casts his “artwork of the future” as “taking account of … the natural characteristics of [Germanic] native skies”; it would channel the Teutonic climate lost to civilization and, through exposure to it in the theater, engender a new social order. This essay explores the foundations of Wagner’s climatic determinism, their manifestations in his dramatic works and relationship to his atmospheric technologies for his theater in Bayreuth, Germany, and the didactic motivations behind these theories and practices.}, number={3}, journal={European Romantic Review}, publisher={Informa UK Limited}, author={Paige, Kirsten}, year={2017}, month={May}, pages={343–348} }
 @article{grey_paige_2016, title={The Owl, the Nightingale and the Jew in the Thorn-bush: Relocating Anti-Semitism in Die Meistersinger}, volume={28}, ISSN={0954-5867 1474-0621}, url={http://dx.doi.org/10.1017/s095458671600001x}, DOI={10.1017/s095458671600001x}, abstractNote={Abstract For the past twenty-five years a key piece of evidence for an anti-Semitic subtext in Wagner’s Die Meistersinger has been identified in the Grimm Brothers’ anti-Semitic tale ‘The Jew in the Thorn-bush’ and a possible allusion to this in the text of Walther’s Act I ‘trial song’. This article argues that the passages in question are better explained with reference to a medieval poetic tradition still prevalent in nineteenth-century German culture involving the vocal contest between birds, paradigmatically the owl and the nightingale. Since the twelfth century, the owl and the nightingale have debated the merits of high and low art, religious themes, social forms, poetic diction and more. The associations of pedantry and harsh, coarse vocal character with the figure of the owl maps readily onto the negative traits of Beckmesser, just as the contrasting associations of the melodious nightingale with springtime, courtship and ‘natural’ musicality align with traits of Wagner’s artist-hero, Walther von Stolzing. Rather than displacing the possible anti-Semitic reading of Beckmesser, however, this alternative reading of the Beckmesser–Walther antagonism through the lens of avian conflict or debate poetry relocates that reading within a broader discursive and figurative context, one that is more commensurate with the possible role of anti-Semitic subtexts within Wagner’s music dramas in general.}, number={1}, journal={Cambridge Opera Journal}, publisher={Cambridge University Press (CUP)}, author={Grey, Thomas and Paige, Kirsten}, year={2016}, month={Mar}, pages={1–35} }
 @misc{paige_2014, title={Wagner’s Melodies: Aesthetics and Materialism in German Musical Identity by David Trippett}, volume={70}, ISSN={1534-150X}, url={http://dx.doi.org/10.1353/not.2014.0060}, DOI={10.1353/not.2014.0060}, abstractNote={Wagner's Melodies: Aesthetics and Materialism in German Musical Identity. By David Trippett. New York: Cambridge University Press, 2013. [xiv, 448 p. ISBN 9781107014305. $110.] Appendices, bibliographic ref- erences, index.David Trippett's Wagner's Melodies: Aesthetics and Materialism in German Musical Identity (Cambridge University Press, 2013) explores "what cultural circumstances al- lowed Wagner to arrive at his theory of melody as a means of communication" and "what makes [Wagner's] melodies possible in the form they take" (p. 11). The project of Wagner's Melodies is to investigate the role of melody within far-reaching realms of nineteenth-century scholarship-from mu- sic theory, philosophy, politics, linguistics, and legal studies to natural and physical sciences-and demonstrate the relation- ships between these strands of discourse and Richard Wagner's aesthetic universe.This is likely one of the first published attempts to draw connections between Wagner's aesthetics of expression and the nineteenth-century world of scientific in- quiry, and the results are fascinating. Quoting Hector Berlioz, Trippett writes in the second chapter of his book, "[Melody] is a gift of nature" (p. 70). Exploring the natural "autogenesis" of melodic inspira- tion, Trippett reveals a range of scientific measures undertaken in nineteenth-century Germany to pinpoint the physiological ori- gins of melodic cognition. Many of the sci- entific ventures that Trippett describes in this chapter and elsewhere suggest a trend toward understanding "melodic invention as a cognitive process rather than occult in- spiration," a real divergence away from the coexistent conception of melody as a result of "God's grace" (p. 78). Demonstrative of this fascination with the psychology of melodic writing was the invention of the psychograph, a machine that measured "creative inventiveness as nervous electric- ity, i.e. as literalized material thought" (p. 101). This device, among others Trippett also describes, was used mid-century as a means of probing into the question "where do melodies come from?" (p. 93).Though Wagner sometimes seems to re- cede in Trippett's discussions of this and other broad-based issues treated through- out the book, in this section, Trippett even- tually posits that Wagner's seemingly "un- conscious creative process" was just what practitioners of the psychograph sought to understand (p. 84). Trippett also describes a special fascination among psychologists with the free, unconscious creativity es- poused by Wagner's characters in Die Meistersinger and Lohengrin; interestingly, both operas seem to thematize the funda- mental questions of melodic origins that period psychologists sought to understand (p. 93). These operas, then, according to Trippett, are somewhat "self-reflexive" in that they seem to be constructed according to this process of Wagnerian "unconscious creativity," while also narrating the method- ological elusiveness of melodic craftsman- ship (p. 93).Trippett addresses Wagner's understand- ing of the origins of his own melodies throughout the book, but provides espe- cially novel insights on this issue in his chapter on the legal challenges the com- poser faced during his lifetime. One of the most interesting aspects of this chapter is Trippett's description of the nineteenth- century impression of musical plagiarism as an "un-German" act (p. 131). As Trippett demonstrates, Wagner was "subject to accu- sations of plagiarism as late as 1870" in the form of both "general imitation" and "spe- cific hackwork" (p. 131). Much of this chapter reveals the legal repercussions of such accusations, Wagner's responses to his challengers, the veracity of allegations lev- eled against the composer, and the general understanding of musical originality during Wagner's lifetime. Though the chapter is, in many respects, very thorough, the issue of the "un-Germanness" of musical plagia- rism probably deserves more attention than it receives. …}, number={4}, journal={Notes}, publisher={Project Muse}, author={Paige, Kirsten S.}, year={2014}, month={Jun}, pages={708–710} }