Andrew Greenwood

Southern Illinois University Edwardsville, Music, Faculty Member

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Andrew Greenwood is Associate Professor of Musicology and Graduate Program Director in the Department of Music at SIUE. He received his Ph.D. in History and Theory of Music from the University of Chicago in 2012. From 2012-14 he served as Visiting Assistant Professor of Music History in the Meadows School of the Arts at Southern Methodist University in Dallas.

In 2019, Greenwood was awarded both the SIUE Teaching Excellence Award and the Vaughnie Lindsay New Investigator Award from the Graduate School for his research on the relationship of music to the Scottish Enlightenment. Greenwood teaches music history core courses for undergraduate and graduate music majors, a graduate course on research and writing about music, world music, and advanced history and theory courses. He designed two interdisciplinary courses: Cultural History of Popular Music (with Cory Willmott, Anthropology) and Vikings, Myth, and Music (with Douglas Simms, Germanic Studies). Greenwood has also recently introduced a new three-semester music history core curriculum. He serves on the University Honors Advisory Council, and designed a freshman honors seminar on Sound, Community, and Citizenship. He is also advisory faculty in the CAS International Studies Program.

 Greenwood has articles and book chapters in the Journal of Musicological Research (2020), Cambridge Haydn Encyclopedia (ed. Caryl Clark and Sarah Day-O’Connell, 2019), and Cheap Print and Popular Song in the Nineteenth-Century: A Cultural History of the Songster (ed. Derek B. Scott, Patrick Spedding, and Paul Watt) (Cambridge University Press, 2017). He has presented his research at the 2017 Society for Ethnomusicology Annual Meeting in Denver (also chairing a panel on Music that Makes Communities), American Musicological Society Midwest (2017), Periods and Waves: An Interdisciplinary Conference on Sound and History (Stony Brook University, 2016), and the American Society for Eighteenth-Century Studies (2015 and 2016, and organizing a panel of international speakers on Performance and Scottish Musical Culture). Passionate about relationships between teaching, performance, and history, Greenwood served as Artistic Advisor to the Newberry Consort for their annual series concert of Scottish music “My Heart’s in the Highlands.”

In 2014, he was an invited colloquium series speaker and seminar teacher at the University of South Carolina School of Music, with an archival research residency jointly sponsored by the Ernest F. Hollings Special Collections Library. Greenwood currently serves on the Graduate Education Committee of the American Musicological Society (2017-20) and previously served as Member-at-Large of the Eighteenth-Century Scottish Studies Society (2012-14). He has given invited talks at Harvard University, the Center for Teaching Excellence at the University of Chicago, and delivered papers at the Annual Meeting of the American Musicological Society (Milwaukee 2014 and New Orleans 2012). He is an active baritone with the Bach Society of St. Louis chorus, and was an invited speaker for the Opera Theatre of St. Louis’s production of Verdi’s Rigoletto (2019).

PhD in History and Theory of Music, University of Chicago, 2012.
Dissertation: "Musical Ideas of Sympathy, Sensibility, and Improvement in the Scottish Enlightenment." Whiting Dissertation Fellowship & Stuart Tave Teaching Fellowship recipient.

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Address: Department of Music
Southern Illinois University Edwardsville
Campus Box 1771
Edwardsville, IL 62026

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Articles by Andrew Greenwood

Song and Improvement in the Scottish Enlightenment

Journal of Musicological Research, 2020

Scots songs were important to the development of the Scottish Enlightenment concept of “improveme... more Scots songs were important to the development of the Scottish Enlightenment concept of “improvement”—defined by Adam Smith as a progression of human societies through four stages: “first, the Age of Hunters; secondly, the Age of Shepherds; thirdly, the Age of Agriculture; and fourthly, the Age of Commerce.” During the Scottish Enlightenment, improvement was constituted partly through an emergent network of eighteenth-century Scottish song culture consisting of circulations and settings of songs for Allan Ramsay’s The Gentle Shepherd by Francesco Barsanti, Joseph Haydn, and others, often accompanied by paratextual essays and visual imagery, and through an appeal to localized discourses of Scottish pastoral.

"Enlightenment" (invited c.3000 word essay)

Cambridge Haydn Encyclopedia. Edited by Caryl Clark and Sarah Day-O'Connell. Cambridge University Press, 2019

"Rethinking the Songster and National-Cosmopolitan Identity in Scotland, c.1787-1830" (book chapter of c.7200 words)

In Cheap Print and Popular Song in the Nineteenth-Century: A Cultural History of the Songster. Edited by Derek B. Scott, Patrick Spedding, and Paul Watt. Cambridge University Press, 2017

"Australian Musical Albums: ‘All New–All Colonial’”

Conference Presentations by Andrew Greenwood

Society for Ethnomusicology 2017 Annual Meeting: "Social Transformation, Fragmentation, and Community in Allan Ramsay’s Scottish Songs for The Gentle Shepherd and Tea-Table Miscellany"

AMS Midwest Spring 2017: "The Musical Enlightenment in Scotland"

ASECS 2016: "Tune’s Air: Toward an Ontology of Music in Eighteenth-Century Scotland"

Periods and Waves: An Interdisciplinary Conference on Sound and History 2016: "The Sonic Enlightenment in Scotland"

ASECS 2015, Los Angeles: “Orality in Musical Settings of Scots Songs for Allan Ramsay’s Ballad- Opera The Gentle Shepherd”

AMS 2014: The Atmosphere of Song in Enlightenment Scotland

This paper argues that the concept of “air” in eighteenth-century Scotland is best understood sim... more This paper argues that the concept of “air” in eighteenth-century Scotland is best understood simultaneously in terms of melody and atmosphere. Musicological scholarship on eighteenth-century Scottish music has traditionally posited a strict division between words and music in its conceptions of song and air respectively. As put by Marjorie Rycroft, “[i]n 18th-century Scotland the term ‘song’ had a very different meaning from the one we know today. It referred not to the music, but to the poetry, while the term ‘air’ was used to refer to the melody.” While this distinction often holds true as a means of labeling collections of airs, the division bears little resemblance to a meaningful ontology of song as found in contemporaneous accounts of Scottish Enlightenment literati. For instance, Francis Hutcheson, often identified as the forefather of the Scottish Enlightenment, wrote in 1725 of “The Air of a Tune” in his Inquiry into the Original of our Ideas of Beauty and Virtue. Later in Adam Smith’s unfinished book study on music, published posthumously in 1790 as Of the Nature of that Imitation in the Imitative Arts, he understands “air” to contain both musical and textual components, referring to them as properties: the “music of an air” and “words of an air”—rather than attempting to establish a strict separation between music and words. My approach is supported by Jayne Lewis’s recent book Air’s Appearance: Literary Atmosphere in British Fiction, 1660-1794, and has implications for our musicological understandings of air and song more generally.

AMS 2012: Haydn, Scots Songs, and Improvement in the Scottish Enlightenment

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Commercializing Music in the Scottish Enlightenment, Yale University

IMS 2012: Scottish Musical Identity in the Eighteenth-Century

In musicological studies, the idea of “art music” has largely been excluded from notions of Scott... more In musicological studies, the idea of “art music” has largely been excluded from notions of Scottish musical identity. Folk and art music traditions have often been designated as mutually exclusive, with the former being understood as constitutive of Scottish identity. As David Johnson puts it in his Music in Society in Lowland Scotland, while “classical” music had an important place in eighteenth-century Scotland, “Scotland’s ‘true’ music has always been its folk music” (200). Johnson’s ahistorical schism of “true” identity collapses the scholarly self with the other and fails to account for how a diverse range of musical traditions in eighteenth-century Scotland could be said to constitute Scottish musical identity. In this paper, I will examine how Scottish and Italian composers with training in “art music” traditions formed a unique musical nexus by establishing and fostering thriving musical societies and institutions in Edinburgh, Glasgow, and Aberdeen and were thus important to an understanding of Scottish musical identity more broadly understood. By examining the intersection of “folk” and “art” musical practices (such as arrangements of Scottish folksongs as instrumental settings), this paper hopes to raise questions concerning whether Scottish musical identity ultimately needs be understood in terms of cultural multiplicities (e.g. Highland/Lowland traditions), or whether salient similarities and intersections can be identified constitutive of Scottish musical identity as a whole.

The Castrato’s Voice: Tenducci in Edinburgh and the Mediation of Sensibility

ASECS 2012: Allan Ramsay and the Emergence of Sympathy in his Scots Songs

Progression from Pastoral to Commercial Society: Allan Ramsay’s Scots Songs as ‘Test Case’ for the Stadial Theory of the Scottish Enlightenment

Performance of Contagion: Conceiving Sympathy as a Musical Idea in the Scottish Enlightenment

Handel’s Orlando as Ritual Performance: Zoroastro’s Magic, Singers, and the Triumph of Reason

Hearing the Voice and Human Expression: Rethinking Music and the Origins of Language, 1746-1780

Invited Colloquia by Andrew Greenwood