Conference presentations

Christopher Moore, “Poulenc’s Pastoral Neoclassicism.Paper accepted as part of a session entitled “Deconstructing French Neoclassicism” for the “Eighth Biennial International Conference on Music since 1900,” Liverpool Hope University, September 12-15, 2013.

Christopher Moore, “Studying the ‘Tonal’ Avant-Garde: Methodologies of Twentieth-Century Music – Gender and Camp Theory. Workshop presentor and moderator for the Royal Music Association Postgraduate Study Day, Keele University, June 22, 2013.

Christopher Moore, “Poulenc’s Versions of Pastoral.Paper delivered at the international conference, “Rethinking Poulenc: 50 Years On,” Keele University, June 21-23, 2013.

Christopher Moore, “Mickey-Mousing Debussy: Émile Vuillermoz’s Children’s Corner.Paper delivered at the annual conference of the New York-St. Lawrence Chapter of the American Musicological Society.  University of Ottawa, April 27-28, 2013.

Christopher Moore, “‘Je t’ai appelé sans te connaître’: confluences homosexuelles dans le Concert champêtre.” Paper accepted for the international conference, “Colloque international Poulenc 2013,” Conservatoire National Supérieur de Musique et de Danse de Paris, Jan. 23-24, 2013.

Christopher Moore, Nostalgia and Violence in the Music Criticism of L’Action française (1929-1939).” Paper delivered at the 2012 annual meeting of the American Musicological Society. New Orleans, November 1-4, 2012.

Christopher Moore, “Lucien Rebatet, Dominique Sordet and Music Criticism in the Action française.” Paper presentation for the international workshop, “Music Criticism in France in the Interwar Period (1918-1939),” University of Ottawa, Nov. 4-6, 2011.

Christopher Moore, “Poulenc’s Surrealist Growing Pains.” Paper presentation for the international colloquium, “Regards sur l’oeuvre de Richard Taruskin,” Université de Montréal, October 13, 2011.

Christopher Moore, “Ancient Greek Culture and French Regional Identity: Opera at Béziers at the fin de siècle.” Paper delivered at the international conference, “Revisiting the Past, Recasting the Present: The Reception of Greek Antiquity in Music, 19th Century to the Present,” Michael Cacoyannis Foundation, Athens, July 1-3, 2011.

Christopher Moore, Camp Aesthetics in Francis Poulenc’s Early Ballets.” Paper delivered at the international conference, “Dialogues en Mouvement,” McGill University, February 16-19, 2011.

Christopher Moore, “Poulenc and the Aesthetics of Camp.” Paper delivered at the annual meeting of the American Musicological Society. Indianapolis, November 12-15, 2010.

Christopher Moore, “Poulenc’s Conversion Revisited.” Paper delivered at the New York-St. Lawrence AMS Chapter Meeting, Montréal, McGill University, April 17-18, 2009.

Christopher Moore,Charles Koechlin’s America.” Paper delivered at the international conference, “Crosscurrents: American and European Music in Interaction, 1900-2000,” Harvard University, Oct. 30-Nov. 1, 2008.

Christopher Moore, “Shostakovich’s Preludes, op. 34: Allusion and Multivalence.” Paper presented at the international conference “Shostakovich and Weinberg: An Artistic Dialogue.” Eastman School of Music, University of Rochester, September 15-17, 2006.

Christopher Moore, “From “Lifestyle Modernism” to “Populist Modernism”: The Musical Evolution of the Everyday in Interwar France.” Paper delivered at the annual meeting of the American Musicological Society, Los Angeles, November 2-5, 2006; the National Meeting of the Canadian University Music Society, York University, May 28-31, 2006; and the New York State-St. Lawrence Chapter Meeting of the American Musicological Society, Syracuse University, April 8-9, 2006.

Christopher Moore, “La musique soviétique en France (1934-1936).” Paper delivered at the New-York State-St. Lawrence Chapter Meeting of the American Musicological Society, University of Toronto. April 2-3, 2005 and the Journée d’études – musique et politique at the Observatoire international de la création musicale (OICM), Université de Montréal, February 10, 2005.

Christopher Moore, “14 Juillet: Art Populaire During the Popular Front.” Paper delivered at the International Colloquium on French Music and Modernity 1900-1945, Université de Montréal, March 18-20, 2004.