Beth Glixon
Instructor in Musicology

Degrees:
Ph.D. Rutgers University, 1985
M.A. Rutgers University, 1978
B.A. Brandeis University 1973

Research Areas:
Seventeenth Century Venetian Opera

At UK since: 1995

Email: beth.Glixon@uky.edu

Beth Glixon received her Ph.D. from Rutgers University in 1985, with a dissertation on recitative in seventeenth-century Venetian opera. Since 1990 she has been conducting archival research on the history of opera in seventeenth-century Venice, as well as on the social history of musicians there, especially women. Her research in Italy has been supported by the Gladys Krieble Delmas Foundation and by the National Endowment for the Humanities. Glixon has published articles in Music & Letters, Journal of Musicology, Early Music History, Early Music, and Musical Quarterly, and has presented papers at the annual meetings of the American Musicological Society and the Society of Seventeenth Century Music, of which she was one of the founding officers. Her book , Inventing the Business of Opera: the Impresario and his World in Seventeenth-Century Venice, co-authored with Jonathan Glixon, was recently published by Oxford University Press. Glixon has been an instructor in musicology at the University of Kentucky since 1995. She regularly teaches MUS 623, the first half of the opera literature survey, and the Baroque music survey (MUS 502). She has also taught Research Methods (MUS 618), and a special topics course on the music of Handel.

PUBLICATIONS

• “Private Lives of Public Women: Prima donnas in Mid-Seventeenth-Century Venice.” Music & Letters, v.76 (1995), 509-531.
• “The Letter as Convention in Seventeenth-Century Venetian Opera,” In Critica Musica: Essays in Honor of Paul Brainard. Amsterdam: Gordon and Breach, 1996, 125-142.
• “Scenes from the Life of Silvia Gailarti Manni, A Seventeenth-Century Virtuosa” Early Music History, 15 (1996), 97-146.
• “New Light on the Life and Career of Barbara Strozzi,” Musical Quarterly 81 (1997), 311-335.
• “Music for the Gods?: A Dispute Concerning F. Lucio’s Gl’Amori di Alessandro Magno, e di Rossane (1651)”, Early Music 26 (1998), 445-454.
• “More on the Life and Death of Barbara Strozzi,” Musical Quarterly 83 (1999), 134-141.
• New Grove Dictionary of Music and Musicians. London: Macmillan, 2001. Articles on Marco Faustini, Anna Renzi, Giacinto Andrea Cicognini, and Sebastiano Enno, as well as revisions of articles on a number of composers and others associated with Venetian music (Baseggio, Boretti, Castrovillari, Freschi, Giannettini, Lucio, and Strozzi).
• “La sirena antica dell’Adriatico: Caterina Porri, a Seventeenth-century Roman Prima Donna on the Stages of Venice, Bologna, and Pavia.” In Musical Voices of Early Modern Women: Many-Headed Melodies, ed. Thomasin LaMay, 211-238. (Aldershot: Ashgate, 2005).

With Jonathan E. Glixon:

• “Marco Faustini and Venetian Opera Production in the 1650s.” Journal of Musicology 10 (1992), 48-73.
• “Oil and Opera Don’t Mix: The Biography of S. Aponal, a Seventeenth-Century Venetian Opera Theater,” in Music in the Theater, Church, and Villa: Essays in Honor of Robert Lamar Weaver and Norma Wright Weaver, ed. Susan Parisi with collaboration of Ernest Harriss II and Calvin M. Bower, 131-144. Michigan: Harmonie Park Press, 2000.
• Inventing the Business of Opera: the Impresario and his World in Seventeenth-Century Venice. American Musicological Society Studies in Music (New York: Oxford University Press, 2006)