As I approach the end of my first week of classes for the semester, I must say that I'm in a much better place psychologically than I was last spring. I should be super stressed out--I have a ton on my plate (3 classes, 2 of which are seminars, auditing another, TAing another, adjuncting another, and 2 papers in debt). Rather I feel the euphoric enthusiasm that got me into this whole thing. At this moment I reflect on my good fortune and the blessing that it is at my university where I find myself. My biggest enemy is my car and the daily 166 miles it absorbs as I go back and forth to school. My department is wonderful. My professors are wonderful. I love being here. This alone, I learn more and more, is nothing to take lightly. I consider myself to be having a better than average graduate school experience. It is what every bright undergrad hopes graduate school will be. I go from class to class with stimulating (mostly) interaction with professors and (sometimes) fellow students (I'm the only doctoral student in musicology at my university--thus have different interests and priorities than my performance major collegues). And the professor I'm TAing for will help me be a better teacher.
Last spring I hit a wall for me personally. I had difficulty coming to terms with the vast amount of skills and knowledge I feel like I should have command of as a professional scholar. This is an awful weight that can drag and drag. It sounds silly to get worked up about feeling stupid: but when you're entering a profession where people are paying you to add to what is known, it can be overwhelming. There were other things that were bothering me, too. But they're not really relevant to my discussion here. And I must reiterate that a couple of really encouraging professors have been a huge blessing.
The seminar in Italy helped me move from the plateau to the next level. During the seminar, I was excited about what we were studying. Right after the seminar I said most assuredly that it was an incredibly stimulating experience. But it is only after I re-enter my semester do I realize how helpful it really was. The skills that it forced me to hone and to re-consider in a new light, the better understanding of 14th c history and musical repertory, the people I met...It was one of those experiences that I can't believe I was allowed to be part of!
It is thus that I begin a new semester. Refreshed and invigorated. This is my last year of coursework. It is also my last year of funding, as I was only given 3 years of my meager package. So with general exams, diss topic, and the need to pay the bills looms in about a year and a little less, I had a few disscussions this week with relevant people before the pressures of the semester begin to mount and I don't have time for these disscussion.
The grad student advisor in the School of Music office offered some helpful information. If my area faculty ask, I can get a 4th year of funding. If they do that, they cannot admit a new doctoral student with funding, so I have to wait to see what the applications look like in the spring semester before I know or not about that. Also this advisor confirmed my fears about the 7 year limit. When I entered my PhD program 2 years ago, the 7 year clock began with no hope of an extension. The Graduate School is being extremely strict about this rule. The 7 year limit is perfectly reasonable for someone in the sciences, not so much for a medievalist. And because I entered without a master's degree, I've had to take more than usual of those 7 years in classes. I'm in Year 3; when I'm done with classes in May, I will have 4 years in which to take my doctoral exams (wh. I will probably do the following Sept, giving me a year from now to study for them), choose a dissertation topic (more later on that one), and write the dissertation. Funding-wise, I really hope I can get a fourth year of my assistantship, because I can't apply for dissertation fellowships (which I plan to do as soon as I can in the disseration process) until I have a topic and pretty strong project. Becuase, I may be able to work part-time and write a dissertation in 4 years, but I really doubt I can manage a full-time job and a diss, because I'm a mortal person with an average brain.
So while I begin getting myself situated for studying for exams, I'm also considering possible dissertation ideas, so that the last chance for courses can potentially feed into that as a time-saving device. So....something late 14th/early 15th c Valois France oriented. This is where I'm going to begin to look. The other day I listened to Du Fay's (1397-147somthing) Missa L'homme arme again, a piece I know very well. For the first time, I heard Machaut (c. 1300-1377) instead of Josquin (c. 1450-1521). For the first time, I heard where he had come from instead of where he was going. It was an amazing experience. Too often in the classroom Machaut gets categorized in the middle ages, and Du Fay in the Renaissance. A distinguishable break is made. A skip is made between Machaut and Du Fay. If we're lucky, Ciconia might make an appearance. I'm very intrigued. I want to find out how Machaut got to Du Fay...to take the time to consider how go from Jean II to Charles VII in France, to think about Philip the Bold, Charles d'Orleans, and Louis of Anjou. These are people that get gapped in musicology. Well, maybe 'gapped' is too strong a word. But they are often passed over in the rush to get to Josquin, Burgundy, Italy, and the glory days fo the Renaissance papal court. Diss project? Making a manuscript edition sounds like an attractive project, because I've already begun to acquire skills for that kind of work in my seminars. It's a project with workable parameters already defined. And depending on the codex, it can exist as a microcosm of all the things I'm interested in--music, patronage, history, ideas...We'll see....
So there is where my thoughts have been straying as of late....
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