History of opera (17th/18th centuries), with a special focus on revivals and adaptations; Lully; music and diplomacy; historiography; sociology of music; performance practices; music and politics; popular music.
Rebekah Ahrendt received the Ph.D. in Music History and Literature from the University of California, Berkeley in 2011. Prior to joining Yale’s faculty, she was a Mellon Postdoctoral Scholar in the Humanities at the Center for the Humanities at Tufts (CHAT), where she also taught courses in the Department of Music. A graduate of the Royal Conservatory of The Hague (Artist’s Diploma in viola da gamba and historical performing practices, 2001), she is also active as a performer and coach.
A specialist in the seventeenth and eighteenth centuries, Ahrendt’s work centers on the importance of mobility—whether through migration, exchange, or long-distance actor networks—in the construction of identity. Fundamentally interdisciplinary, her approach integrates perspectives gained from history, sociology, linguistics, anthropology, and performance studies with extensive archival research. Ahrendt’s dissertation (Mellon/ACLS Dissertation Completion Fellowship, 2010-11) studied the transformations of French operatic works in the lands of Huguenot exile, and will form the basis for her second book. Her current project, The Republic of Music: Transposed Lives at the Crossroads of Europe, 1669-1713, continues the work of the dissertation by reconsidering the social bases of emerging debates about “national style” in music.
Ahrendt’s interests extend to other periods, genres, and concerns as well. She is particularly interested in the interactions of the contemporary early music scene with popular music studies, especially in the realms of gothic, industrial, and metal. Much of Ahrendt’s most recent work has centered on the roles of music in diplomatic practice. Beginning in Spring 2014, Ahrendt will lead the Yale Freshman Seminar “Music and Diplomacy from Castiglione to Condoleeza.” Her own recent work on the topic includes the papers “Utrecht 1713 – Utrecht 2013: Negotiating a ‘European’ Taste” (Utrecht), “The Diplomatic House Concert chez Huygens” (lecture-demonstration with Berlin-based ensemble Bella Discordia in Utrecht, featured on Radio 4 Netherlands), and “The Diplomatic Viol” (AMS Pittsburgh). She co-organized the international conference “Music and Diplomacy” at Tufts and Harvard in the spring of 2013, with a grant from the Mellon Foundation. Selected papers will appear in the volume Ambassador Orpheus: Music and Diplomacy from the Early Modern Era to the Present (2014). She was also invited to curate the 2013 Symposium of the Utrecht Early Music Festival in the Netherlands, for which she received a major grant from the Royal Netherlands Academy of Arts and Sciences. Entitled “Negotiating Music,” the symposium emphasized the impact of cross-border contacts on performance.
Ahrendt’s work has been supported with fellowships and grants from the Netherland-America Foundation (Cultural Grant, 2011), the DAAD (Research fellowship, Berlin, 2009-10), Utrecht University (North America Exchange fellowship, 2009), and the American Musicological Society (Eugene K. Wolf Travel Grant, 2009). Prizes include the Paul A. Pisk Prize of the American Musicological Society (2009), the Irene Alm Memorial Prize of the Society for Seventeenth-Century Music (2009), and the Nicholas C. Christofilos Memorial Prize in Music from the University of California, Berkeley (2007).
“Celts, Clerics, and Crusaders: The ‘Medieval’ in Gothic Music,” in Nostalgia or Perversion? Gothic Rewritings from the Victorian Age to the Present, ed. Isabella van Elferen (Cambridge Scholars Publishing, 2007), 96-112.
Review-essay (on recent studies of the 19th-century French lyric stage), Cambridge Opera Journal 22 (2010): 353-364.
“Armide, the Huguenots, and The Hague,” Opera Quarterly 28 (2013): 131-158.
“1713: Vrede van Utrecht – Muziek in Utrecht,” in Ciconia – Lassus – Froberger – Muffat #Europa: Festival Oude Muziek Utrecht 2013 (Organisatie Oude Muziek, 2013), 32-39.
“The Dark Side of the Palästinalied,” in Music and Medievalism in Historical Context, ed. Kirsten Yri (forthcoming).
Composer Kathryn Alexander, a 2007-08 Aaron Copland Award winner and a 2006 recipient of a Guggenheim Fellowship, has written a wide variety of works, both acoustic and technological. Her pieces draw upon a range of disciplines, including literature, the visual and plastic arts, the sciences, and technology to develop formal schema that distill from the abstract rather than from literal, programmatic meaning. This interdisciplinary approach has culminated in an extensive array of compositions, ranging from pieces for solo instrument and chamber ensemble, solo voice and orchestra, to technological presentations and multimedia works. When Alexander engages music with the other arts, whether for dramatic or abstract expression, or as sonic sculpture, she seeks to highlight the processes of transformation and the beauty of change. The result is a varied repertoire described variously by critics as music in which "... the gestures were bolder, the moods more volatile, the climaxes more clearly marked and - most significant - the sounds enormously more colorful," and where "... the instrumentalists out-Bartoked Bartok in their extramusical pursuits."
Alexander’s recent works include: AroundAbout (2007), a piano trio for the Williams Chamber Players; In The Purest Air, Sapphirine (2006), a chamber concerto for electric jazz guitar soloist, Mark Dancigers, and The NOW Ensemble; Dreams and Reveries (2005), a percussion quartet for the Yale Percussion Group; From The Faraway Nearby (2004), a piano trio for The Blue Elm Trio;… Mania REDUX! (2003), for virtual percussionist and controllist; and In Memoriam (2003), for vocal soloists Richard Lalli and Julia Blue Raspe with The Yale Camerata, Marguerite Brooks, conductor.
In addition to the Guggenheim Fellowship, Alexander has been awarded a Radcliffe Fellowship at the Center for Advanced Study at Harvard University (2004-2005), a Computerworld Laureate Award from the Smithsonian Institute (2000-2001), a Composer's Fellowship from the National Endowment for the Arts (1989-1990), and the Rome Prize (1988-1989). She has won annual awards from ASCAP (1993-2006) and has held residencies at the MacDowell Colony (1994/1989), The Millay Colony (1990), The Virginia Center for the Arts (1990), Yaddo (1989), an! d the Atlantic Center for the Arts (1986). Alexander was a composition fellow of American Opera Projects (2003), the Vermont Chamber Music Festival of the East (1998), the Culture/Rockefeller Exchange (1998), the Words and Music Festival at Indiana University (1994), June-in-Buffalo (1987), and The Tanglewood Music Center (1985). In 1995, Alexander won the Outstanding Young Alumna Awardfrom Baylor University, her alma mater.
A native Texan, Alexander comes from a musical family where she found it natural to be involved with music from an early age. She completed her Bachelor's degree at Baylor University as a flutist, studying with Helen Ann Shanley, and then went on to The Cleveland Institute of Music to work with Maurice Sharp, principal flutist of the Cleveland Orchestra. While there she began to compose. Alexander studied with Donald Erb and Eugene O'Brien at The Cleveland Institute of Music and later earned her DMA in composition at the Eastman School of Music, working with Samuel Adler, Barbara Kolb, Allan Schindler and Joseph Schwantner, and pursued additional study with Leon Kirchner at the Tanglewood Music Center. She has taught at the Oberlin Conservatory of Music (1994/1987-1988), Dartmouth College (1990-1993), the University of Oregon (1995-1996), and currently teaches composition and music technology at Yale University.
19th-century harmony, musical meter, geometric models of musical systems, beat-class set theory, analysis of world music, atonal pitch-class theory
Richard Cohn received his PhD from the Eastman School of Music in 1987, with a dissertation on transpositional combination in atonal music, under the supervision of Robert D. Morris. Early articles focused on music of Bartók and Schenkerian theory. He taught in the Music Department at the University of Chicago from 1985, where he served as Department Chair from 1998 to 2001. In 2004, he founded Oxford Studies in Music Theory, which he edited for Oxford University Press for ten years. In 2005 he was appointed Battell Professor of the Theory of Music at Yale University. He is currently Executive Editor of the Journal of Music Theory.
"Audacious Euphony: Chromatic Harmony and the Triad's Second Nature," was published by Oxford University Press in 2012. He recently contributed to and co-edited a volume on David Lewin's analytical writings. In preparation is a general model of musical meter with applications for European, African, and African-diasporic music. Cohn’s articles have twice earned the Society for Music Theory's Outstanding Publication Award. He has presented keynote lectures and workshops in the UK, France, the Netherlands, Germany, Australia, and (in 2015) Singapore.
Current Projects (summer 2014)
The Method of Musical Meter: States, Syntaxes, Strategies, monograph in preparation
“Meter Without Tactus,” accepted for presentation at SMT 2014
“A Platonic Model of Funky Rhythms,” paper in preparation; preliminary presentation at http://www.youtube.com/watch?v=sItSHfYG3oY
“Music is Regulated by Two Systems of Relation. Why do We Only Teach One of Them?” Paper in Preparation
“Meter,” Commissioned article for Oxford Handbooks Online, ed. Alexander Rehding
David Lewin’s Morgengruss: Text, Context, Commentaries, co-edited with David Bard-Schwarz, Oxford University Press, forthcoming. Solo-authored Introduction, as well as an essay: “Lewin’s Listener Listening: the Beholder’s Share”
Audacious Euphony: Chromatic Harmony and the Triad's Second Nature, Oxford University Press, 2012
“Peter, the Wolf, and the Hexatonic Uncanny,” Tonality 1900-1950. Concept and Practice, eds. Phillip Rupprecht, Ullrich Scheideler, and Felix Woerner, Stuttgart: Franz Steiner, 2012.
"Tonal Pitch Space and the (neo-) Riemannian Tonnetz," in Oxford Handbook of Neo-Riemannian Music Theories, Edward Gollin and Alexander Rehding, ed., forthcoming Oxford University Press, 2011.
"Pitch-Time Analogies and Transformations in Bartók's Sonata for Two Pianos and Percussion," in Music Theory and Mathematics: Chords, Collections, Transformations, ed Jack Douthett et. al., University of Rochester Press (2008).
"Hexatonic Poles and the Uncanny in Parsifal." Opera Quarterly 22.2 (2006), 230.
“Uncanny Resemblances: Tonal Signification in the Freudian Age,” Journal of the American Musicological Society 57.2 (2004): 285-323
“A Tetrahedral Model of Tetrachordal Voice Leading Space,” Music Theory Online 9.4 (2003)
“Complex Hemiolas, Ski-Hill Graphs, and Metric Spaces,” Music Analysis 20.3 (October 2001), pp. 295-326
"Weitzmann's Regions, My Cycles, and Douthett's Dancing Cubes," Music Theory Spectrum 22.1 (2000): 89-103.
"As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert” Nineteenth-Century Music 22.3 (1999): 213-232.
"Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations," Journal of Music Theory 41.1 (1997), 1-66.
"Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions." Music Analysis 15.1 (1996), 9-40.
"Transpositional Combination of Beat-Class Sets in Steve Reich's Phase-Shifting Music." Perspectives of New Music 30/2 (1992), 146-177.
"The Autonomy of Motives in Schenkerian Accounts of Tonal Music." Music Theory Spectrum 14/2 (1992), 150-170.
"Dramatization of Hypermetric Conflicts in the Scherzo of Beethoven's Ninth Symphony," Nineteenth-Century Music 15/3 (1992), 22-40.
"Bartók's Octatonic Strategies: A Motivic Approach." Journal of the American Musicological Society 44 (1991): 262-300.
"Inversional Symmetry and Transpositional Combination in Bartók." Music Theory Spectrum 10 (1988): 19-42.
Jeffrey Douma is the Director of the Yale Glee Club, Yale’s principal undergraduate mixed chorus and oldest musical organization, and Associate Professor of Conducting at the Yale School of Music.
Douma has appeared as guest conductor with choruses and orchestras on six continents, and has prepared choruses for performances under such eminent conductors as Valery Gergiev, Sir Neville Marriner, Sir David Willcocks, Krzysztof Penderecki, Nicholas McGegan, and Helmuth Rilling. He is also currently the Musical Director of the Yale Alumni Chorus and Choirmaster at the Cathedral of St. Joseph in Hartford, CT.An advocate of new music, Douma has premiered new works with the Glee Club by such composers as Dominick Argento, Ned Rorem, Lee Hoiby, Jan Sandström, and James Macmillan, and serves as editor of the Yale Glee Club New Classics Choral Series, published by Boosey & Hawkes.A tenor, Douma has appeared as an ensemble member and frequent soloist with the nation's leading professional choirs, including the Dale Warland Singers, the Oregon Bach Festival Chorus, and the Robert Shaw Festival Singers. He holds the Doctor of Musical Arts degree in conducting from the University of Michigan.
Thomas C. Duffy, composer and conductor, is Director of Bands at Yale University He has served as a member of the Fulbright National Selection Committee, a member of the Tanglewood II Symposium planning committee, and was member of Harvard University's Institute for Management and Leadership in Education (2005). He has served as president of the New England College Band Directors Association, and the College Band Directors National Association (CBDNA) Eastern Division, editor of the CBDNA Journal, publicity chair for the World Association of Symphonic Bands and Ensembles, chair of the Connecticut Music Educators Association’s Professional Affairs and Government Relations committees, and has represented music education in Yale’s Teacher Preparation Program. He is a member of American Bandmasters Association, American Composers Alliance, Connecticut Composers Incorporated, and BMI. An active composer with a D.M.A. in composition from Cornell University, where he was a student of Karel Husa and Steven Stucky, he has accepted commissions from the American Composers Forum, the United States Military Academy at West Point, the U.S. Army Field Band, and many bands, choruses, and orchestras. Deputy Dean of the School of Music from 1999 to 2005, he served as Acting Dean in the 2005-06 academic year. He joined the Yale faculty in 1982.
Daniel Egan coordinates the Shen Curriculum for Musical Theater at Yale and teaches courses in the history of the American musical theater and the work of Stephen Sondheim. As coordinator he has worked on course development, faculty development and connections to co- and extra-curricular theater offerings on campus and in the professional world. He also shepherds the Fridays @ Five master class series, serves as a sophomore advisor, advises senior projects and serves on Yale’s Ad Hoc Arts Advisory Committee. Egan has guest lectured at Penn State, Lawrence University, U.C. Irvine, the Brearley School and the Atlanta Public Schools 2013 ArtsAPS Conference. He is also on the roster of speakers for the Metropolitan Opera’s HD in the Schools program and has led sessions for their national conference in each of the last four years. As a graduate student at Yale, Dan created the first seminar on the work of Stephen Sondheim and worked as music coordinator for the Yale Repertory Theater under Lloyd Richards. He is currently Academic Coordinator for Explore New York, an Elderhostel provider under the founding aegis of Hunter College, where he is also a frequent lecturer on opera, music and theater. As a performer, Egan has appeared in opera, theater, concert and recording venues in all periods and genres of music. He has sung with the New York Philharmonic, New York City Ballet, Manhattan Theater Club, Mark Morris Dance Group, Musica Sacra, New York Virtuoso Singers and The Lambs Theater, among many others, in addition to a decade in the resident ensemble at New York City Opera. Egan participated in Grammy nominated recordings of Sweeney Todd with the New York Philharmonic and Patti Page's 50th Anniversary Concert at Carnegie Hall, as well as NYCO's Emmy-nominated Live From Lincoln Center performances of La boheme and Madama Butterfly. More recent credits include a studio recording of Rodgers & Hammerstein’s 1947 Allegro, Saint-Saens/Nash Carnival of the Animals andStephen Sondheim’s 80th Birthday Concert with the New York Philharmonic. B.M. summa cum laude, St. Olaf College, M.A. Eastman School of Music, MPhil., Yale.
Allen Forte is Battell Professor of Music Theory Emeritus in the Department of Music, Yale University, where he was instrumental in initiating the Ph.D. program in music theory. His publications include some twelve books and eighty articles, published in Journal of Music Theory, Music Theory Spectrum, Music Analysis, Perspectives of New Music, and Journal of the American Musicological Society, reflecting his interest in pitch-class set theory, the study of avant-garde music of the twentieth century, principally that of the Second Viennese School and the music of Olivier Messiaen, Schenkerian analysis, and other aspects of music theory. In addition, he has written about and recorded music of the classic American popular song repertoire. His 1958 monograph on the development of diminutions in American jazz was the first detailed analytical study of that repertoire. Professor Forte was founding President of the Society for Music Theory and is a Fellow of the American Academy of Arts and Sciences. During his tenure at Yale, Professor Forte advised seventy-two Ph.D. dissertations. In 2000 Yale established an endowed professorship in his name, the Allen Forte Professorship of Music Theory. He resides in Hamden, Connecticut with his wife, concert pianist Madeleine Forte. More information, including links to unpublished papers, is at www.allenforte.com.
relating analysis to performance, piano performance (special foci on the music of Schoenberg, Schumann and Beethoven), analysis of post-tonal music, ear training, chamber music coaching, model composition.
Michael Friedmann’s career has encompassed activities as a theorist, pianist, pedagogue and composer. His specialties involve analytical articles about the music of Schoenberg and performances of that composer’s complete piano music. He has evolved a method in teaching ear training especially focused on 20th-century music, and wrote a book (Ear Training for 20th-century Music, published by Yale University Press) which received special recognition from the Society of Music Theory.
In addition to Schoenberg, his piano performances have focused on late Beethoven and Schubert. His teaching specialties have included classes relating the analysis of Brahms’ and Schumann’s chamber music to their performance. In addition to his teaching at Yale, Friedmann has recently taught at Beijing University and at that city’s Central Conservatory of Music, and has lectured and performed at the Beijing Modern Music Festival.
Selected publications and performances:
1985 "A Methodology for the Discussion of Contour", Journal of Music Theory , Fall 1985, pp. 243-248
1990 Ear Training for 20th Century Music Yale University Press (2nd printing 1995)1991 Amherst College: Two Lecture-Recitals: A Guided Tour to Schoenberg's Piano Music (complete)
1995 "Schoenberg's Waltz, op. 23/5: Multiple Mappings in Form and Row", Theory and Practice, Vol. 17
2002 Yale University, Beethoven's "Diabelli Variations"
2003 Virginia Commonwealth University: Vocal performance and lecture: Schoenberg's Ode to Napoleon: A Cast of Characters
Liner notes for Colorado Qts. recording of Beethoven op. 18 Recital Collaborations with violinist Yeon-su Kim in Gettysburg College, Hong Kong's Academy of Performing Arts and most recently in NYC's Zankel Hall Public addresses:
1) Pre-concert talks for the Tokyo Quartet's concerts at NYC's 92nd Street Y
2) Chinese University of Hong Kong-"Purposes of Analysis-Schoenberg's op. 23
2011 Cornell University, Performance and lecture surrounding Schoenberg's Five Piano Pieces, op. 23
music theatre composition
Composer, playwright and pianist Andrew Gerle won the 2012 Kleban Award for outstanding librettist for his show GLORYANA, which also won a 2011 Richard Rodgers Award. He has also won three other Rodgers Awards for THE TUTOR (book and lyrics by Maryrose Wood). With lyricist Eddie Sugarman, he won a Jonathan Larson Award for their show, MEET JOHN DOE (cast album on Broadway Records), and he received the first Burton Lane Fellowship for Young Composers from the Theater Songwriters’ Hall of Fame. His play RENOVATIONS was premiered in 2011 at the White Plains (NY) Performing Arts Center. Recent projects include an adaptation of The Tempest with legendary lyricist Tom Jones (The Fantasticks) and a score for Barrington Stage Company's production of Much Ado About Nothing.
Andrew has been a Fellow at the MacDowell Artists’ Colony and a writer-in-residence at the Sundance Theater Institute at Ucross, the Rhinebeck Writers' Retreat, and the Eugene O'Neill Musical Theatre Conference. As a musical director, he has worked on dozens of Off-Broadway, regional and touring productions, and was heard as the “hands” of Coalhouse Walker, Jr., in the recent Tony Award-winning revival of Ragtime. He has served as musical director and accompanist for such distinguished artists as Kitty Carlisle Hart, John Raitt, Jennifer Holliday, Shirley Jones, Brian Stokes Mitchell, Leslie Uggams and Liz Callaway. A CD of his jazz arrangements of the songs of Maltby & Shire with vocalist Christa Justus was released in 2010 under the PS Classics Label. He is the author of The Enraged Accompanist’s Guide to the Perfect Audition, which is becoming the go-to reference for professional and aspiring musical theater actors alike. He is on the faculty of Yale University, where he teaches musical theater performance and songwriting.
B.A. Stanford University, with distinction and honors; 1981
Ph.D. Yale University; 1986
My chief research interest is in tonal theory, especially at historical margins of the common-practice era. A dissertation on the music of Max Reger was the springboard for Harmonic Function in Chromatic Music (Chicago, 1994), which offered a theory and some analytic tools based on late nineteenth-century ideas on harmony, chiefly those of Hugo Riemann. (I find the history of music theory to be an especially rewarding field of study.) Further developments of this project were undertaken in “Supplement to the Theory of Augmented Sixth Chords” and “Nonconformist Notions of Nineteenth–Century Enharmonicism.” Lately, I've (re)turned to the study of 17th- and 18th-century tonality in “Rosalia, Arcangelo, and Aloysius: A Genealogy of the Sequence.” (See curriculum vitae for details of publication.)
My current work in this area of interest is on contemporary tonal music, especially that of the 20th century. I am investigating ways in which a variety of composers—among whom are notables such as Hindemith, Shosatkovich, Prokofiev, Martinu, Vaughan Williams, Britten, Barber, and Copland—maintained, adapted, and developed traditional compositional materials. A conference paper, “Dissonant Tonics and Post-Tonal Tonality,” currently being prepared for publication, is one result. Other focused projects from this study include an examination of Paul Hindemith's music theories, an investigation into implied claims of Jazz theory about tonality, and various matters relating post common-practice tonality to psychoacoustics and music cognition. All of these topics will culminate in a book, Pieces of Tradition: An Analysis of Contemporary Tonality.
I also have a stake in the analysis of pop music, chiefly from the 1960s and 70s, and specifically the music of The Beach Boys. I've given a few conference papers in this area, published an essay, “After Sundown: The Beach Boys' Experimental Music” in the collection Understanding Rock, and appeared in a Don Was documentary on Brian Wilson, I Just Wasn't Made for These Times (1995).
A long-standing interest that I look forward to working on in the future is musical rhetoric, especially on techniques of proposition and argument and their realization in performance.
At both Yale and at the University of Rochester's Eastman School of Music, I've taught graduate courses in chromatic music and analysis; tonality after the common practice; analysis of rock music; the pedagogy of music theory; and the writing of music theory and analysis. I've advised dissertations on common-practice tonal and contemporary tonal musics, and I would be happy to continue supervising research in these areas as well as in the history of music theory, popular musics, rhetorical-narrative analysis, and analysis of sacred music.
My primary instrument is the organ, which I studied with Herbert Nanney at Stanford and Robert Baker at Yale. In Rochester, I was assistant to David Craighead at St. Paul's Episcopal church for twelve years. Among my other musical experiences is a stint as an arranger and bass-pan player in the steel-drum band Calliope's Children.
History and analysis of European art music from ca. 1750 to 1950; historical contexts, musical structure, and hermeneutics (interpretations of textual meaning); symphonic and chamber works from Haydn, Mozart, and Beethoven through Debussy, Ravel, Mahler, Sibelius, Elgar, and Richard Strauss; problems of extramusical connotation and metaphor in illustrative and program music; differing conceptions of musical modernism, ca. 1880‑1920; Italian opera (Verdi, Puccini); music, ideology, and nationalism; twentieth-century music traditions in the United States (including blues and commercial song, 1900-1950); Cole Porter.
Currently the Chair of the Department, Hepokoski received his M.A. and Ph.D. in musicology from Harvard University (1972-79). He has taught at Oberlin College Conservatory (1978-1988), at the University of Minnesota, Twin Cities (1988-1999), and at the Yale Department of Music since 1999. He was the co-editor of the musicological journal 19th-Century Music from 1992 to 2005. In 2010 Yale awarded him the Sidonie Miskimin Clauss Prize for Teaching Excellence in the Humanities.
Central to his work is a broad, overarching view of the past and current state of the ever changing discipline, its challenges and opportunities. Both in his writings and in his courses, Hepokoski explores ways of synthesizing music history, analysis, and criticism (music as cultural discourse). "Our goals are to think more deeply about how we talk and write about music; to ask informed, hard questions of ourselves and our disciplinary traditions; to contribute original and challenging ideas to the ongoing discussion about music and its many different roles in culture."
At the undergraduate level he teaches two music history survey courses required of music majors (1600-1800 and 1800-1960), along with specialized courses in Mozart, Beethoven, Mahler, American music, symphonic nationalism and cultural identity, and other topics. His graduate-level seminars have dealt with a wide range of subjects. Among them: Late Beethoven; Sonata Theory; American Music Genres in the Twentieth Century (Ives, 1920s-30s blues, popular song and Cole Porter, all of these drawing on primary-source holdings in the Yale Libraries); Methodological Issues in Music History and Analysis; Program Music and Structure; and Richard Strauss’s Tone Poems.
Music, Structure, Thought: Selected Essays. Aldershot, UK: Ashgate, 2009.
Musical Form, Form & Formenlehre: Three Methodological Reflections. Co‑authored with William E. Caplin and James Webster. Ed. Pieter Bergé. Leuven, Belgium: University Press Leuven, 2009.
Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford University Press, 2006. Co-authored with Warren Darcy. Awarded the Wallace Berry Prize (best book) from the Society for Music Theory, 2008.
Sibelius: Symphony No. 5. Cambridge: Cambridge University Press, 1993.
Otello di Giuseppe Verdi [in the series Musica e spettacolo: Collana di Disposizioni sceniche diretta da Francesco Degrada e Mercedes Viale Ferrero ]. Co-authored with Mercedes Viale Ferrero. Translated into Italian by Francesco Degrada. Milan: G. Ricordi & C., 1990. [This book on Verdian staging was the first volume of a series of “production-book” source-reprints—original staging manuals—undertaken by G. Ricordi & C.]
Giuseppe Verdi: Otello. Cambridge: Cambridge University Press, 1987.
Giuseppe Verdi: Falstaff . Cambridge: Cambridge University Press, 1983.
“Program Music.” In Issues in Musical Aesthetics: Musicological Perspectives. Ed. Stephen Downes. New York: Routledge, forthcoming in 2014.
“Dahlhaus’s Beethoven-Rossini Stildualismus: Lingering Legacies of the Text‑Event Dichotomy.” In The Invention of Beethoven and Rossini: Historiography, Analysis, Criticism. Ed. Nicholas Mathew and Benjamin Walton. Cambridge: Cambridge University Press, 2013. Pp. 15‑48.
“Ineffable Immersion: Contextualizing the Call for Silence” (in “Colloquy: Vladimir Jankélévitch’s Philosophy of Music”). Journal of the American Musicological Society 65 (2012), 223‑30.
“Monumentality and Formal Processes in the First Movement of Brahms’s Piano Concerto No. 1 in D Minor, op. 15.” In Expressive Intersections in Brahms: Essays in Analysis and Meaning. Ed Heather Platt and Peter H. Smith. Bloomington: Indiana University Press, 2012. Pp. 217-51.
“Modalities of National Identity: Sibelius Builds a First Symphony.” In The Oxford Handbook of the New Cultural History of Music. Ed. Jane F. Fulcher. New York: Oxford University Press, 2011. Pp. 452‑83.
“The Second Cycle of Tone Poems.” In The Cambridge Companion to Richard Strauss. Ed. Charles Youmans. Cambridge: Cambridge University Press, 2010. Pp. 78-104.
“Un bel dì? Vedremo! Anatomy of a Delusion.” In Madama Butterfly: L’orientalismo di fine secolo, l’approccio pucciniano, la ricezione: atti del convegno internazionale di studi, Lucca-Torre del Lago, 28‑30 maggio 2004. Ed. Arthur Groos and Virgilio Bernardoni. Florence: Leo S. Oschki, 2008. Pp. 219‑46.
"The Framing of Till Eulenspiegel," 19th-Century Music 30 (2006), 4-43.
"Beyond the Sonata Principle." Journal of the American Musicological Society 55 (2002), 91‑154.
"Back and Forth from Egmont: Beethoven, Mozart, and the Nonresolving Recapitulation." 19th-Century Music 25 (2002), 127-54.
"Beethoven Reception: The Symphonic Tradition." Chapter 15 [on the symphony and symphonic poem, ca. 1840-1900] of Jim Samson, ed., The Cambridge History of Nineteenth-Century Music. Cambridge: Cambridge Univ. Press, 2002. Pp. 424-59.
"Jean Sibelius," entry in The New Grove Dictionary of Music and Musicians. 2nd ed. London: Macmillan, 2001. Vol. 23: 319-47.
"Ottocento Opera as Cultural Drama: Generic Mixtures in Il Trovatore." In Martin Chusid, ed.,Verdi’s Middle Period (1849-59): Source Studies, Analysis, and Performance Practice. Chicago: University of Chicago Press, 1997. Pp. 147-96.
"The Dahlhaus Project and Its Extra-Musicological Sources." 19th-Century Music 14 (1991), 221-46.
Yale Baroque Opera Project
early music, lute, theorbo, Renaissance winds, basso continuo, early opera.
Grant Herreid performs frequently on early reeds, brass, strings and voice with many US early music ensembles. A specialist in early opera, he has played theorbo, lute and baroque guitar with the Chicago Opera Theater, Aspen Music Festival, Portland Opera, and New York City Opera. A noted teacher and educator, he is the recipient of Early Music America’s Laurette Goldberg award for excellence in early music outreach and education. He directs the Yale Collegium Musicum, and the Yale Baroque Opera Project (YBOP). Grant also directs the New York Continuo Collective, and recently played hurdy gurdy, lute, theorbo, cittern, and percussion in the Broadway productions of Shakespeare's Twelfth Night and Richard III, starring Mark Rylance and Stephen Fry. He has created and directed several theatrical early music shows, and he devotes much of his time to exploring the esoteric unwritten traditions of early music with the ensemble Ex Umbris.
"The Humours in the English Lute Song”. In Lute Society of America Quarterly. Volume XLVIII, No. 1 & 2, Spring & Summer 2013.
musical theatre performance
Annette Jolles has created a diverse body of work as a director, writer and producer for stage and television. She has developed and directed numerous new works including the Off-Broadway and regional premieres of That Time of the Year, Little By Little, Wallenberg, Passion of the Hausfrau, The Jerusalem Syndrome, Suddenly Hope, Big Red Sun, and Stained Glass, as well as national tours of Keeping the Word and The Handshake. Since 1992, she has been Resident Director/Choreographer for The Little Orchestra Society, staging their operas, concerts and acclaimed Lolli-Pops Series at Avery Fisher Hall, Lincoln Center and the Kaye Playhouse. Theatrical concert credits include the 92nd Street Y’s Lyrics and Lyricists series, and New Voices Concerts at London’s Southbank Centre and NY’s Symphony Space, where she also staged their monumental Wall to Wall Sondheim tribute. She produced and directed Restoring Honor at the Lincoln Memorial, Restoring Courage in Jerusalem’s Davidson Center, and Restoring Love at Cowboys Stadium in Dallas, TX, as well as their supporting events at the Kennedy Center, the Caesarea Amphitheatre and Jerusalem’s Old Train Station. She also produced and directed a nationwide tour featuring Navy Seal Marcus Luttrell, the lone survivor of the historic Redwing mission in Afghanistan. Broadway producing credits include Looped starring Valerie Harper, Scottsboro Boys, (Tony nomination), and David Mamet’s The Anarchist starring Patti LuPone and Debra Winger. Her extensive work in television has earned her three Emmy Awards as producer of the 9/11 Memorial from Ground Zero andproducer/writer for Mitzi Gaynor: Razzle Dazzle! (PBS), and multiple additional Emmy nominations. This season, Ms. Jolles directed two broadcasts for Live from Lincoln Center on PBS: Richard Tucker at 100: An Opera Celebration featuring some of opera’s finest performers and the Metropolitan Opera Orchestra, and Patina Miller in Concert. Highlights of additional broadcasts: Holiday in Bryant Park and Broadway Under the Stars (CBS), Celebrate Israel Parade (WWOR/My9), Egypt Week Live (Discovery), Homecoming (ESPN), The Dr. Joy Browne Show (Discovery Health), This American Life Live 1 & 2, The Importance of Being Earnest (starring Brian Bedford), and Romeo and Juliet (starring Orlando Bloom) (movie theater simulcasts), and the NY Giants and NY Yankees Ticker Tape Parades. She teaches musical theater performance at Yale.
Konrad Kaczmarek is a composer, musician, and programmer whose music incorporates live audio processing and improvisation, drawing freely from his diverse musical and technical background.
As a soloist, he has performed at the Sonorities Festival at Queens University in Belfast, The SoundBytes Festival in Halifax NS, Bargemusic, The Stone, Joyce SoHo, the 92nd Street Y, The Chelsea Art Museum, The Flea Theater, and at the Princeton Composers Ensemble. His compositions have been performed by an eclectic group of performers and ensembles including Crash Ensemble, Yarn/Wire, Dither, Janus, Psappha, PLOrk, Sideband, and the NOW Ensemble. He has been awarded residencies at the Atlantic Center for the Arts, The Banff Centre in Canada, and STEIM in The Netherlands.
His freelance programming and performing have taken him to The River to River Festival in lower Manhattan (2013), Kunstnernes Hus in Olso, Norway (2009), The New Zealand International Arts Festival (2008), The 2008 Whitney Biennial Performance Series, the Next Wave festival at the Brooklyn Academy of Music (2006), “Works and Process” at the Guggenheim (2006), and The Strings of Autumn Festival at the Estate Theater in Prague (2006). More recently, he has been developing a real-time audio processing program called ‘Tide’ for musician and performance artist Laurie Anderson.
He received a B.A. in music from Yale, an MMus in electronic music composition from University of London, Goldsmiths, and is currently pursuing his doctoral degree in composition at Princeton. He has held teaching positions at Yale University, The New School University, The College of New Jersey, and Harvestworks Studio in New York.
music theory; jazz; music and philosophy (with an emphasis on critical theory and phenomenology); aesthetic theory; avant-garde composition and electronic music since 1945; sound studies and new media; Pierre Schaeffer and acousmatic theory; experimental music and circuit bending; noise.
Brian Kane holds degrees from the University of California, Berkeley (B.A. in Philosophy, 1996; Ph.D. in Music, 2006). Prior to joining the faculty at Yale, he was a Mellon Postdoctoral Fellow in Music at Columbia University (2006-2008).
His scholarly work is interdisciplinary, located in the intersection of music theory, composition and philosophy. Working primarily with 20th century music, Kane's emphasis is on questions of sound and signification. Central themes in his research are: music and sound art, histories and theories of listening, phenomenology, improvisation, music and subjectivity, technology, conceptualizations of sound and music in literature and philosophy, and theories of the voice.
Some of these themes are interwoven in Kane’s recent work on acousmatic sound. Acousmatic refers to the separation of audition from all other sensory modalities, and is often deployed in phenomenological contexts in order to disclose the “essence” of listening. In his forthcoming book, Sound Unseen, Kane investigates the question of acousmatic sound beyond its phenomenological context and demonstrates its pertinence to current work on musical and non-musical forms of listening. This also involves reconstructing the philosophical and material history of acousmatic sound from its supposed origins in the Pythagorean school, through the rise of mechanically reproduced sound and electronic composition, to contemporary discourses on the senses, sound, and composition.
Kane is chair of the Society for Music Theory's Music and Philosophy Interest Group, and a founding editor of the humanities journal nonsite.org. He is a co-founder of the Sound Studies Working Group at the Whitney Humanities Center.
Sound Unseen: acousmatic sound in theory and practice, (Oxford University Press, forthcoming, June 2014).
"Eleven Theses on Sound and Transcendence," forthcoming in Current Musicology.
"Badiou's Wagner: Variarions on the Generic," forthcoming in Opera Quarterly.
"Jean-Luc Nancy and the Listening Subject," Contemporary Music Review, 31:5-6 (2012): 439-447.
"Musicophobia, or Sound Art and the Demands of Art Theory," Nonsite 8 (Winter 2012/13).
"Xenakis: the first composer of biopolitics?," in Exploring Xenakis, ed. Sharon Kanach (Hillsdale, NY: Pendragon Press, 2012): 91-100.
"Acousmate: history and de-visualised sound in the Schaefferian tradition," Organised Sound 17:2 (Fall 2012): 179–188.
"Acousmatic Fabrications: Les Paul and the Les Paulverizer," Journal of Visual Culture 10:2 (August 2011): 212-231.
"Music, Image Schemata and the 'Hidden Art'," Nonsite 2 (Summer 2011).
"Excavating Lewin’s 'Phenomenology',” Music Theory Spectrum 33:1 (2011): 27-36.
“Aspect and Ascription in the Music of Mathias Spahlinger,” Contemporary Music Review 27:6 (2008): 595-609.
“Schaeffer: une pensée à l’état de vestiges,” in Pierre Schaeffer: Portraits Polychromes 13, ed. Evelyne Gayou. Paris: INA, 2008: 13-19.
“L’objet Sonore Maintenant: Pierre Schaeffer, Sound Objects and the Phenomenological Reduction,” Organised Sound 12.1 (2007): 15–24.
“The Elusive ‘Elementary Atom of Music,’” qui parle 14.2 (2004): 117-143.
Links: Brian Kane’s website
vocal coaching, accompanying
Sara Kohane holds a BM in piano performance from the University of Michigan and a MM in vocal accompaniment from Boston University, where she was twice the recipient of the Dean’s Scholar award. Her solo and accompanying studies have been with Gyorgy Sandor, Martin Katz, Allen Rogers and Gary Steigerwalt. Ms. Kohane has served as vocal coach and diction instructor at The Hartt School, Boston University, and New England Conservatory, and as head vocal coach at B.U.’s Tanglewood Institute. She has been the accompanist for Boston Concert Opera, Chorus Pro Musica, and the Zamir Chorale, and has accompanied under Leonard Slatkin, Lucas Foss and Peter Sellars. An active collaborative pianist, Ms. Kohane has performed in concerts and radio broadcasts throughout the Northeast, Midwest and Iceland. She is Principal Keyboardist for the Bridgeport Symphony, under the direction of Gustav Meier, and a founding member of the Guastavino Trio. Ms Kohane also serves on the board of the Lotte Lehman Foundation.
History and theory of opera (particularly of the nineteenth century), with a special focus on staging, technology, and mediality; reception studies; music historiography; music and politics; music in the Third Reich; German and European cultural history of the “long” nineteenth and early twentieth centuries; Verdi; Wagner.
Gundula Kreuzer studied musicology, philosophy, and modern history at the Universities of Münster (Westphalia) and Oxford, where she earned her Master of Studies and D.Phil. in musicology. She held a Junior Research (postdoctoral) Fellowship at Merton College, Oxford, before joining the Yale Department of Music in 2005.
In both her writing and her teaching, Kreuzer approaches music from a wide range of interdisciplinary perspectives, such as social, cultural, and political history as well as theories of technology and multimedia. Her first book, Verdi and the Germans: From Unification to the Third Reich (Cambridge University Press, 2010), examines the changing impact of the popular Italian composer on German musical self-perception and national identity. She is currently completing a monograph entitled Wagnerian Technologies: On 19th-Century Opera as Production for California University Press. Merging theoretical and historical approaches to opera’s multimedia nature, the book examines how composers since the late 18th century increasingly tried to control certain aspects of staging by embracing specific stage technologies. Focusing on the cultural resonances and hermeneutic potentials of such technologies as the curtain, the tam-tam, fire, and steam before, in, and beyond Wagner, Wagnerian Technologies ultimately develops a wider perspective on the nature and ephemerality of staged opera as well as the legacies of nineteenth-century efforts to “fix” productions in contemporary culture.
In other recent work Kreuzer has challenged the centrality of the "Beethoven paradigm" in Germanic music historiography and addressed the much-debated phenomenon of Regietheater. Together with Clemens Risi, she guest-edited a double issue of The Opera Quarterly (“Opera in Transition”; vol. 23/2-3, 2011), and she regularly contributes to such encyclopedias as the Verdi-Handbuch (2001, rev. 2013), Wagner-Handbuch (2012), and the Cambridge Encyclopedias of Verdi and Wagner (2013). Her critical edition of Verdi's instrumental chamber music for The Works of Giuseppe Verdi: Series V appeared with The University of Chicago Press and Ricordi in 2010. She also gained experience as a freelance radio presenter in Germany and has recently contributed to broadcasts on WNYC and the BBC. From 2006 to 2010 she was Reviews Editor of The Opera Quarterly, and she currently serves on the editorial board of the Journal of the American Musicological Society.
At Yale, Kreuzer's undergraduate courses include Introduction to the History of Western Music, 1800 to the Present; various introductions to the history and theory of opera; Listening in Paris; Performance: History and Theory; The Operas of Verdi; and Verdi, Wagner, and Britten in 2013. On the graduate level, her seminar topics include Reception Theory; Music in Nazi Germany; Opera and/as Multimedia; Wagner in and on Production; and Verdi at 200. She has also been teaching the Prospectus Seminar and Dissertation Colloquium and serving as Director of Graduate Studies (2010-11 and since 2013).
Kreuzer’s first monograph won the 2011 Lewis Lockwood Award of the American Musicological Society, the 2012 Gaddis Smith International Book Prize of the MacMillan Center for International and Area Studies at Yale, and the inaugural Martin Chusid Award for Verdi Studies in 2013. Among other grants and awards, Kreuzer has received the Paul A. Pisk Prize (2000) and the Alfred Einstein Award (2006) from the American Musicological Society as well as the Jerome Roche Prize (2006) from the Royal Musical Association. At Yale, she was awarded the Samuel and Ronnie Heyman Prize for Outstanding Scholarly Publication in 2010, was a Fellow at the Whitney Humanities Center in 2010-11, and has been a Senior Research Fellow in International and Area Studies at the Macmillan Center since 2012.
"Heilige Trias, Stildualismus, Beethoven: Limits of Nineteenth-Century Germanic Music Historiography," in The Age of Rossini and Beethoven, eds. Nicholas Mathew and Benjamin Walton (Cambridge: Cambridge University Press, 2013), 66-95.
"Wagnerdampf: Steam in Der Ring des Nibelungen and Operatic Production," The Opera Quarterly 27/2-3 (Spring-Summer 2011), 179-218.
"Dahlhaus, Rossini und die Oper des 19. Jahrhundert," in Carl Dahlhaus und die Musikwissenschaft: Werk, Wirkung, Aktualität, eds. Hermann Danuser and Tobias Plebuch (Schliengen: Edition Argus, 2011), 132-41.
Verdi and the Germans: From Unification to the Third Reich (Cambridge: Cambridge University Press, 2010; series New Perspectives in Music History and Criticism).
The Works of Giuseppe Verdi, Series V: Instrumental Chamber Music, ed. Gundula Kreuzer (string quartet in E minor; Romance sans paroles, album leaf for Florimo; Valzer) (Chicago and Milan: The University of Chicago Press and Ricordi, 2010).
"Authentizität, Visualisierung, Bewahrung: Das reisende 'Wagner-Theater' und die Konservierbarkeit von Inszenierungen," in Angst vor der Zerstörung. Der Meister Künste zwischen Archiv und Erneuerung, eds. Robert Sollich, Clemens Risi, Sebastian Reus and Stephan Jöris (Berlin: Theater der Zeit, 2008), 139-60 (Recherchen 52).
"Voices from Beyond: Don Carlos and Modern Regie," Cambridge Opera Journal 18 (2006), 151-79.
"Deception on Stage: Don Carlos di Vargas and Franz Werfel's Politics of Operatic Translation," Music, Theatre and Politics in Germany, 1850-1950, ed. Nikolaus Bacht (Aldershot: Ashgate, 2006), 137-57.
"Oper im Kirchengewande? Verdi’s Requiem and the Anxieties of the Young German Empire," Journal of the American Musicological Society 58/2 (Summer 2005), 399-449.
"Zurück zu Verdi: the 'Verdi Renaissance' and Musical Culture in the Weimar Republic," Studi verdiani 13 (1998), 117-154.
Australian violinist Sarita Kwok has been featured on stages in Australia, New Zealand, England, Italy, France, Germany, Poland, Switzerland, Israel, Japan and the United States and has performed as a soloist with the major symphony orchestras in her home country. After being named the James Fairfax Sydney Symphony Orchestra Young Artist she made her debut with the Sydney Symphony at age 15 and went on to win Australia’s most prestigious musical award: ‘The Symphony Australia Young Performer of the Year’. She has been awarded prizes at the Kloster Schöntal International Violin Competition, Germany, Gisborne International Music Competition, New Zealand, and the 7th Wieniawski and Lipinski International Competition, Poland.
As the first violinist of the Alianza String Quartet from 2004-2010, Ms. Kwok won the grand prize at the Plowman National Chamber Music competition 2007, first prize at the Chamber Music Foundation of New England International Competition 2008 and held residencies at the Pacific Music festival, Japan, Aldeburgh festival, UK, Aix-en-Provence festival, France and at the French Academy in Rome. The New York Times reported that “the Alianza players are musical, well trained and have an unusually elegant sound – they boil over with an edge-of-the-seat eagerness”. The ASQ’s recordings of Ezra Laderman’s last three quartets was released by Albany Records to critical acclaim.
Individually, Ms. Kwok has been guest violinist with the award winning piano quartet Ensemble Made in Canada and has been featured on series such as the Rockport Chamber Music Festival, Andover Chamber Music, Kalliroscope Gallery Chamber Music, and Hammond Performing Arts Series in Boston. She has been broadcast by WBUR-Boston, Suisse Romande radio, Australian Broadcasting TV-Radio. She currently performs alongside her husband, cellist Alexandre Lecarme, violist Ettore Causa and violinist Julie Eskar in the Arabella String Quartet, and extensively with pianists Jian Liu and Wei-Yi Yang.
Frequently sought after as an educator Ms. Kwok has presented master-classes at Wellesely College, Central Connecticut State University, University of the Pacific, SUNY Buffalo, and the New Zealand School of Music. Ms. Kwok received both the Doctoral and Masters of Musical Arts degrees from the Yale School of Music as a student of Syoko Aki and the Tokyo String Quartet. She has served on the faculty of the Yale Department of Music since 2006, is the Director of the Undergraduate Lessons Program at the Yale School of Music and has served as adjunct violin faculty at Amherst College. Ms. Kwok performs on a violin by J.F. Guidantus made in 1736.
vocal performance, opera, early music, music theatre.
Richard Lalli, Professor of Music (Adjunct), taught in the Yale School of Music from 1982 until 1999; he then joined the faculty of the Department of Music. From 2001 until 2006 he was Music Director of the Yale Collegium Musicum and from 2007 until 2010 he was Artistic Director of the Yale Baroque Opera Project. Mr. Lalli also developed the Shen Musical Theater Curriculum. In March of 2008, he was designated the eleventh Master of Jonathan Edwards College, a position he relinquished because of a cerebral hemorrhage.
Mr. Lalli has performed around the world as a singer and pianist. Highlights include solo recitals at London’s Wigmore Hall and other European venues, and performances of Schoenberg's Ode to Napoleon with Peter Serkin and the Brentano String Quartet. In 2007 he appeared with Orchestra of St. Luke’s, Orpheus Chamber Orchestra and the Folger Consort. Lalli is a champion of new music, having premiered works of Pulizer Prize recipients Ned Rorem and Lewis Spratlan. With pianist Gary Chapman, Lalli has recorded four discs of popular songs; their recording accompanies a Yale University Press publication, Listening to Classical American Popular Songs, by Allen Forte.
In 2006 Mr. Lalli was awarded the Sidonie Miskimin Clauss Prize for Teaching Excellence in the Humanities at Yale University. His recording of Yehudi Wyner's The Mirror was nominated for a Grammy Award in 2005. In 2010 he was awarded the Distinguished Alumni Award by the Yale School of Music.
I received my Ph.D. in musicology in 2009 from McGill University’s Schulich School of Music. Prior to coming to Yale in 2014, I held postdoctoral fellowships and teaching appointments at Columbia, Harvard, the Katholieke Universiteit Leuven, and the Hochschule für Musik Freiburg. My primary research interests are in the history of music theory, historically informed analysis (historische Satzlehre), and musical analysis more generally.
My historical work aims to mediate between the history of music theory as a branch of intellectual history (Geschichte der Musiktheorie) and a more practical engagement with the internal content of historical theories (historische Satzlehre). I am interested, that is, in bringing both etic and emic perspectives to bear on these materials—in probing, on the one hand, the relationships that bind music-theoretical systems to their intellectual, institutional, and cultural contexts and, on the other, in thinking imaginatively both with and through the conceptual resources of historical theories. To date, my published work on the history of theory deals primarily with the writings of Jean-Philippe Rameau and their reception among Rameau’s immediate French contemporaries, especially philosophes such as Jean-Jacques Rousseau.
My analytical work, in contrast, has been largely devoted to questions of form in late eighteenth- and early nineteenth-century music. Here, I have been especially engaged with the recent revival of Formenlehre in American music theory. My particular interest in this revival has to do both with how these theories might be used in analyzing opera and vocal music and with how these new American Formenlehren relate to their German antecedents.
“Die phrase harmonique bei Rameau.” Spektrum Musiktheorie. Forthcoming.
“Formal Functions and Retrospective Reinterpretation in the First Movement of Schubert’s String Quintet, D. 956” (with Steven Vande Moortele). Music Analysis. Forthcoming.
“Les planches de musique de l’Encyclopédie: un manuscrit méconnu de Rousseau et ses enjeux ethnographiques.” Recherches sur Diderot et sur l’Encyclopédie 48 (2013): 115-36.
“Rameau’s Changing Views on Supposition and Suspension.” Journal of Music Theory 56 (2012): 121-67.
“Rousseau érudit: à propos de ses recherches sur la polyphonie médiévale.” Orages 11 (2012): 169-88.
“Rousseau and the philosophes on Music History.” Studies on Voltaire and the Eighteenth Century 2010:12, 215-24.
“An Unknown Rousseau Autograph: The Neuchâtel Manuscript of NOTES, en Musique.” Studies on Voltaire and the Eighteenth Century 2008:06, 313-25.
Analysis of the music of the 19th and early to mid-20th centuries, with emphasis recently on Elgar, Nielsen, and Shostakovich; Wagner; chromaticism in tonal music; the history, and the current state, of music theory; concepts of rhetoric and gesture as analytical tools
Master of Music in Music Theory from the University of Michigan, and the Ph. D. in Music Theory from the Eastman School of Music of the University of Rochester. Before coming to Yale in 1998, he taught for fifteen years at the University of Texas at Austin, where he was Associate Director of the School of Music, and five years before that at the Eastman School of Music.
Much of his work has focused on Wagner and on the music of the late nineteenth century. His dissertation/book Wagner's Siegfried: Its Drama, Its History, and Its Music, remains one of the two monographs on an individual opera of the Ring cycle. Another early publication examines the analytical work of the Swiss theorist Ernst Kurth, whose pathbreaking book on Wagnerian harmony, Romantische Harmonik und Ihre Krise in Wagner's Tristan, set the stage for later twentieth-century approaches to Wagner's music. In "Schenker and the Norns" he brings later nineteenth-century tonal and structural principles together with Schenkerian analytical principles to bear on the opening scene of the Prologue of Götterdämmerung. His most recent project involving Wagner is his collaboration with the literary scholar Adrian Daub, of Stanford University, in writing all the entries on the Ring for the Cambridge Wagner Encyclopedia.
From Wagner he has branched out to consider tonal chromaticism from a variety of perspectives: a linguistic perspective in "Syntagmatics and Paradigmatics," a Schenkerian one in "Schenker and Chromatic Tonicization: A Reappraisal," and a biological one in "An Evolutionary Perspective on Semitone Relations in the Nineteenth Century." His more recent encounters with chromaticism include his book chapter on Elgar, and his essay on the “pitch-class motive” in the Estonian journal Res musica.
He has had a long-standing interest in music that has an established presence in the concert repertory, but is under-studied in musical scholarship in general, and in music theory and analysis in particular. This interest has motivated his extensive work on the music of Shostakovich, as well as more limited work on Elgar and Nielsen. It extends back into nineteenth-century Russian music, in which he is currently teaching seminars in the Department of Music, but in which he has not yet published.
Stepping back from actual musical repertories, he has frequently written about the intellectual history of music theory, and its practice, function, and health in the contemporary musical world. Examples include his chapter on rhetoric in The Cambridge History of Western Music Theory, the essay “Rethinking Contemporary Music Theory,” “Ownership, in Music and Music Theory” (the keynote talk for the annual meeting of the Society for Music Theory in 2010), and “Formalism, Fair and Foul.” His concern with music theory as a discipline has not been limited to scholarship: he has served the Society for Music Theory in a number of positions, one of which was President of the Society from 1993 to 1995.
In recent years he has given numerous invited papers and seminars, as well as keynote talks, internationally—in the UK, Spain, the Netherlands, Russia, Estonia, Denmark, Brazil and China. For a number of years he has had an affiliate faculty appointment in the German Department, and as of 2014 he is a Senior Research Fellow in Yale’s MacMillan Center for International and Area Studies.
As a practical musician, he is a choral director and organist, serving as Director of Music at the First Presbyterian Church of New Haven since 1999.
Wagner's Siegfried: Its Drama, History, and Music. Ann Arbor: UMI Research Press, 1982.
"Ernst Kurth and the Analysis of the Chromatic Music of the Late Nineteenth Century." Music Theory Spectrum 5 (1983), 56-75.
"The Cycle of Structure and the Cycle of Meaning: Shostakovich's Piano Trio in E Minor, Op. 67." In Shostakovich Studies, ed. David Fanning. Cambridge: Cambridge University Press, 1995, 113-136.
"An Evolutionary Perspective on Semitone Relations in the Nineteenth Century." In The Second Practice of Nineteenth-Century Tonality, ed. William Kinderman and Harald Krebs. Lincoln: University of Nebraska Press, 1996, 87-113.
"Rethinking Contemporary Music Theory." In Keeping Score: Music, Disciplinarity, Culture, ed. David Schwarz and Anahid Kassabian. Charlottesvile: University of Virginia Press, 1997, 1-49.
"Music and Rhetoric." In The Cambridge History of Western Music Theory, ed. Thomas Christensen. Cambridge and New York: Cambridge University Press, 2002, 847-79.
"Isolde's Transfiguration in Words and Music." In Engaging Music, ed. Deborah Stein. New York: Oxford University Press, 2004,122-35.
"The Anatomy of a Gesture: From Davidovsky to Chopin and Back." In Approaches to Musical Meaning, ed. Byron Almén and Edward Pearsall. Bloomington: Indiana University Press, 2006, 11-40.
"Elgar and the Theory of Chromaticism." In Elgar Studies, ed. Julian Rushton and J.P.E. Harper-Scott. Cambridge: Cambridge University Press, 2007, 1-50.
"Dmitri Shostakovich: The String Quartets." In Intimate Voices: The String Quartet in the Twentieth Century, 2 vols., ed. Evan Jones. Rochester: University of Rochester Press, 2009,
vol. 2, 3-40.
"Analysis and Performance: A Counterexample?" Dutch Journal of Music Theory 14/1 (2009), 1-16.
“Strange Bedfellows: The Hebrew Bible and Wagner in Saul og David.” In Carl Nielsen Studies 4. Copenhagen: Royal Library of Denmark, 2010, 107-44.
"Shostakovich and the Politics of D Minor and Its Neighbours, 1931-1949." In Shostakovich Studies 2, ed. Pauline Fairclough. Cambridge: Cambridge University Press, 2010, 121-89.
“Ownership, in Music and Music Theory,” Music Theory Online 17/1 (2011).
“The Pitch-Class Motive in Tonal Analysis: Some Historical, Theoretical, and Critical Observations,” Res musica (the journal of the Estonia Musicology Society) 3 (2011), 30-59.
“Formalism, Fair and Foul,” in Teoria, Critica e música na atualidade. Série simpósio internacional de musicologia da UFRJ (Rio de Janeiro: Universidade Federal do Rio de Janeiro, 2012), 31-46. Also in the online journal nonsite, 8.
All entries on The Ring of the Nibelung in The Cambridge Wagner Encyclopedia, ed. Nicholas Vazsonyi (Cambridge: Cambridge University Press, 2013. Collaboration with Adrian Daub.
“Three Talks [on 19th-century musical aesthetics, Wagner’s Ring, and musical rhetoric and gesture] for the Shanghai Music Analysis Forum [October 2013],” Journal of the Shanghai Conservatory of Music, 7/1 (2014). (Published in Chinese only)
music and multimedia, music in theater, performance studies, media theory, popular culture, intersections between music history, ethnomusicology, and theater/performance studies
Lynda Paul is a Postdoctoral Associate in the Integrated Humanities at Yale. Her work examines the intersections between multimedia and performance, with a focus on the role of sound in genres from theater and opera to film and digital media. Her current book project comprises an interdisciplinary study of the live-but-technologized music and soundscapes of the Las Vegas Strip and its Cirque du Soleil shows. More broadly, her research centers on music in theater, performance studies, media theory, and popular culture, and raises questions about aesthetics, ideologies, and representations of fantasy, history, myth, and culture as they are manifested through the act and experience of musical performance in diverse societies and historical periods. She has presented her work at national and international conferences, and recently published a review of a Balinese production of Oedipus Rex (William Maranda’s Raja Edepus), a project that drew upon her practical experience with Balinese music, dance, and drama. Beyond Bali, she is a conservatory-trained instrumentalist and vocalist, and has been an avid practitioner of theater in diverse capacities for over two decades. As a vocalist, she is an enthusiastic performer of Baroque opera, American musical theater, and classical Western song, as well as the ensemble repertoires of Bulgaria, Corsica, Georgia, and the Sacred Harp. In addition to her research and performance pursuits, Lynda holds a keen interest in teaching, especially in the areas of interdisciplinary pedagogy and academic writing. She holds degrees from Yale University, the University of Chicago, the University of Rochester, and the Eastman School of Music.
Leon Plantinga graduated from Calvin College, Grand Rapids, Michigan, in 1957. He received a M.Mus. in piano performance from Michigan State University in 1959, and a Ph.D. in the History of Music from Yale University in 1964. On the Yale faculty from 1963 until his retirement in 2005, Plantinga served as chair of the Department of Music for ten years. For six years in the 1990s, he was the Director of the Division of the Humanities. After retirement Plantinga spent a year at the Princeton Institute for Advance Study, and is currently Interim Director of the Yale Collection of Musical Instruments. He has written widely on music of the later eighteenth and the nineteenth centuries, with books on Schumann as a music critic, a life and works study of Muzio Clementi, a history of nineteenth-century European music, and a study of the Beethoven concertos. Plantinga has published many articles and reviews in professional journals, and, lately, in the TLS of London.
Music theory; theories of rhythm and meter, with a special emphasis on polymeter and issues of perception and cognition; recent chamber music of Elliott Carter. Other research interests include music cognition research focusing on contemporary music and Schenkerian analysis.
I completed my doctoral studies in music theory at The Graduate Center of the City University of New York (CUNY). My Ph.D. dissertation "Toward a General Theory of Polymeter: Polymetric Potential and Realization in Elliott Carter's Solo and Chamber Instrumental Works After 1980" presented a conceptual framework for the analysis of polymetric structures and explored issues of performance and perception. During my studies at The Graduate Center, I also received an Elebash Dissertation Award to conduct research on music in New York as well as two grants from the Graduate Research Grants Program, the first one of which funded a listening experiment that used a polymetric texture from Carter's 90+ for piano (1994). My research on Carter's music included sketche studies at the Paul Sacher Foundation in Basel, Switzerland as well as a series of interviews with expert performers in New York.
Since coming to Yale in 2008, I have taught courses on the music of Elliott Carter, rhythm in twentieth-century music, the cognition of musical rhythm, and Schenkerian analysis. I have also collaborated with Bruno Repp at Haskins Laboratories on a series of experiments aimed at tackling issues in the perception of polymeter, in particular how highly trained musicians track the competing beats in a polymetric structure. I am also one of the co-founders of the Northeast Music Cognition Group (NEMCOG), a group created to facilitate interaction among researchers and students interested in all areas of music cognition, to discuss research in the field, and to identify topics of joint interest and areas for potential collaboration. On-going projects include research on polymeter in contemporary musical practices and further studies in the perception and cognition of complex rhythmic structures, in particular questions pertaining to expertise and attention.
I also hold a B.A./M.A. in music (piano/composition) from Hunter College of CUNY, where I subsequently served on the music theory faculty, as well as a Diplôme d'Études Collégiales in classical music (piano performance) from the Collège Lionel-Groulx (Québec).
Selected Publications & Conference Presentations:
“Le potentiel polymétrique et sa réalisation dans l'œuvre de Carter : Ébauche d'une approche analytique multivalente.” (Forthcoming). In Hommage à Elliott Carter. Ed. Max Noubel. Le Vallier, France: Editions Delatour.
with B. H. Repp. “Can musicians track two different beats simultaneously?” Music Perception, 30/4 (2013): 369-390.
with Fidali, B. C. & Repp, B. H. “Detecting perturbations in polyrhythms: Effects of complexity and attentional strategies." Psychological Research. Published online, 29 December 2011 (DOI 10.1007/s00426-011-0406-8).
“Using tapping data to study listeners' perception of rhythmic structures.” Paper read at AMS/SMT/SEM, New Orleans (LA), 3 November 2012.
“Multiple temporalities: Speeds, beat cues, and beat tracking in Carter's instrumental music.”
Paper read at the VII European Musical Analysis Conference, Rome (Italy), 30 September 2011, and AMS/SMT/SEM, New Orleans (LA), 2 November 2012.
“Polymeter as ‘perceptual paradox’ and the realization of multiple temporalities: A case study and some prospects.” Lecture given at the “Theory & Historical Colloquium Series”, Columbia University, New York (NY), 12 October 2012.
“Tracking the Beat in Carter.” Poster presented at the Eleventh International Conference on Music Perception and Cognition (ICMPC11), University of Washington, Seattle (WA), 26 August 2010.
Review of Elliott Carter: A Centennial Portrait in Letters and Documents. By Felix Meyer and Anne C. Shreffler. (Woodbridge, Suffolk: Paul Sacher Foundation and Boydell Press, 2008.) In Journal of the Society for American Music (2010) Volume 4, Number 1. Pp. 104–110.
“Local Polymetric Structures in Elliott Carter's 90+ for Piano (1994)." In Modernist Legacy: Essays on New Music. Ed. Björn Heile. Aldershot, England: Ashgate, 2009. Pp. 205-233.
"Vincent d'Indy's Theory of Rhythm in the Cours de composition musicale (1902-1950): Sources, Reception, and Legacy." Paper read at AMS/SMT, Nashville, November 7, 2008.
music cognition; computational modeling; history of tonal theory; algebraic theory and analysis, especially neo-Riemannian and other transformational applications to harmony; American folk hymnody; minimalism and postminimalism; Ligeti.
Ian Quinn has degrees from Columbia University (B.A., 1993) and the Eastman School of Music of the University of Rochester (M.A., 1998; Ph.D., 2004). Before joining the Yale faculty, he taught at the University of Chicago and the University of Oregon. In 2008-09 he was a Residential Fellow of the Center for Advanced Study in the Behavioral Sciences (CASBS) at Stanford.
Quinn regularly teaches courses in music cognition, computational modeling, and Sacred Harp singing. Other courses include an undergraduate seminar on minimalism and postminimalism in music, graduate classes on the analysis of post-tonal music and on the cognitive history of tonality, and a freshman seminar called "Math, Music, and Mind."
Central themes of Quinn's work are music cognition and the foundations of music-theoretic practice. His current work interrogates the historically resilient analogy between music and language, with a particular focus on applications of computational linguistics to models of harmonic syntax and to the problem of key-finding. His earlier work in mathematical music theory deals with the classification of the horizontal and vertical building blocks of music -- melodies and chords -- focusing on careful critique of the models mathematically-inclined music theorists have used in the last few decades. His theory of abstract (non-tonal) chord classification was published serially inPerspectives of New Music as “General Equal-Tempered Harmony” and won the Outstanding Publication Award from the Society for Music Theory in 2009. This article completes the project Quinn began with his article "Listening to Similarity Relations," which won SMT's Emerging Scholar Award in 2004. Related research in the mathematical modeling of voice leading, developed with collaborators Dmitri Tymoczko and Clifton Callender, was published in Science in 2008.
A musician who has recorded works by Steve Reich with Alarm Will Sound (Canteloupe) and Ossia(Nonesuch), Quinn's interests extend also to modern and avant-garde music. Related projects include a study of the development since the late 1970s of Steve Reich’s harmonic language, and an essay on Ligeti’s early and late music that uses the evolution of a particular musical idée fixe as a springboard for a discussion of the composer’s idiosyncratic thoughts on form.
Quinn edited the Journal of Music Theory from 2004 to 2011 and serves on the editorial board of the Journal of Mathematics and Music, which launched in 2007. He was co-organizer (with Richard Cohn) of the 2009 meeting of the Society for Mathematics and Computation in Music. He serves on the executive committee of the Northeast Music Cognition Group (NEMCOG), which meets several times per year in New York, New Haven, and Boston. He also organizes the Yale-New Haven Regular Singing (YNHRS), a weekly shape-note singing group.
Quinn's dissertation advisees have written on Ligeti, Boulez, Berio, corpus methods, and performance timing in Bulgarian music.
Italian music and poetry, Music of the Baroque, Venice, Italian opera, Handel, Opera criticism.
Vassar College (B.A.), Harvard University (M.A.), New York University (Ph.D.).
She was the recipient of fellowships from the ACLS, NEH, Rockefeller Foundation, and Guggenheim Foundation, and was elected to the American Academy of Arts and Sciences in 1996. Editor of the Journal of the American Musicological Society (1981-83), President of the American Musicological Society (1992-94), and Vice-President of the International Musicological Society (1997-2002), she taught at Rutgers University before coming to Yale as Professor of Music in 1992, where she chaired the department from 1993-98. Her undergraduate Introduction to Opera has turned several generations of Yale students into opera fanatics, and she has co-taught on both undergraduate and graduate levels with members of the Italian and Comparative Literature Departments. Her dissertation students have written on subjects ranging from the Italian madrigal (Gesualdo, Monteverdi, Guarini), 17 th-century opera, cantata, and motet (Atto Melani, Francesco Cavalli, Florentine Comic Opera, Music in Austria under Ferdinand II), and 18 th –century opera (on Tasso subjects, Arcadian opera, Handel, Scarlatti). She currently serves on the editorial boards of The Journal of Musicology, The Cambridge Opera Journal, Journal of the Royal Musical Association, and Cambridge Studies in Opera.
In addition to her books, Opera in Seventeenth-Century Venice: the Creation of a Genre (1991) and Monteverdi’s Venetian Trilogy: the Late Operas (forthcoming), she edited Orfeo by Antonio Sartorio and Aurelio Aureli (Drammaturgia musicale veneta, vol 6, 1983), I sacri musicali affetti by Barbara Strozzi (1988), and the fourteen-volume Garland Library of the History of Western Music(1985). Her other publications include articles on Barbara Strozzi, Monteverdi, Cavalli, Vivaldi, Handel, and music in sixteenth-century Venice.
music theatre composition
JOSHUA ROSENBLUM received his B.A. in music summa cum laude from Yale College and his M.M. in Piano Performance from the Yale School of Music. He has been teaching Composing for Musical Theater as part of the Shen Curriculum in the Yale Department of Music since the inception of the program in 2006.
Rosenblum composed the score to the cult hit musical Fermat's Last Tango, which had a critically acclaimed Off-Broadway production at the York Theatre Company in 2000, and spawned both CD and DVD recordings. Other works for the theater include The Joy of Going Somewhere Definite (Atlantic Theater Company), Arabian Nights, Garbo and Me, and Einstein’s Dreams, based on the best-selling novel by Alan Lightman. He is also the composer and creator of Bush Is Bad, the smash Off-Broadway musical revue, which Variety called “a sensation.” Rosenblum is developing his newest musical, The Haunted Hotel, as part of the Signature Theater’s American Musical Voices Project.
For the concert hall, Rosenblum has written pieces for trumpeter Philip Smith of the New York Philharmonic, flutist Kathleen Nester of the New Jersey Symphony, Mannes School of Music faculty trombonist Haim Avitsur, French hornist Eric Ruske, the Herrick Trio, and the ground-breaking string quartet Ethel, among many others. Recordings of his instrumental music include Impetuosities—Music of Joshua Rosenblum, and Sundry Notes, both available from Albany Records. Rosenblum has won awards from ASCAP and the Meet the Composer Foundation, and his music, including his prize-winning choral setting of Jabberwocky, is published by the Theodore Presser Co.
Also a conductor, Rosenblum has led the orchestras for thirteen Broadway and Off-Broadway shows. He is also the founder and music director of the Pit Stop Players, a genre-defying chamber ensemble comprised of Broadway musicians. Other conducting credits include guest appearances with the New Jersey Symphony Orchestra, the Brooklyn Philharmonic, and the American Repertory Ballet. He has also conducted world premiere productions for the Metropolitan Opera Guild, the B.A.M. Next Wave Festival, Playwrights Horizons, and Lincoln Center Theater, as well as the soundtracks to six major motion pictures. Rosenblum is a regular pianist with the New York Pops and the City Center Encores! Orchestra.
As a music journalist, Rosenblum has contributed articles to Newsday and Stagebill, as well as over 500 CD and concert reviews for Opera News. He lives in New York City with his wife, singer and author Joanne Lessner, and their two children, Julian and Phoebe.
Dr. Stanley Scott, recipient of the 2011 Mumbai Forum Award for “contribution to the cause of Indian music by an overseas-resident personality,” is a visiting lecturer in Music and South Asian Studies at Yale. He also teaches North Indian classical singing, guitar, banjo, and mandolin at Wesleyan University, and has many private music students in Connecticut’s South Asian community. His 2012 Indian concert tour included performances at Bharatiya Vidya Bhavan (Mumbai), Mumbai University, Delhi University, Dayalbagh University (Agra), and Delhi’s India International Center. His recordings include “The Weaver’s Song: Bhajans of North India” and a solo role in Anthony Braxton’s opera “Trillium E.”
chamber music performance, violin performance.
Wendy Sharp, award-winning violinist, performs frequently as a recitalist and a chamber musician. In demand as a teacher and chamber music coach, she is on the faculties of the Yale School of Music and California Summer Music, and maintains a private studio. At Yale, Ms. Sharp teaches Music 221-The Performance of Chamber Music, coordinates the School of Music Chamber Music program and has a studio of undergraduate violinists. For nearly a decade, Ms. Sharp was the first violinist of the Franciscan String Quartet. As a member of the Quartet, she toured the USA, Canada, Europe and Japan, and was honored with many awards including first prize in the Banff International String Quartet Competition and the Press and City of Evian Prizes at the Evian International String Quartet Competition. A native of the San Francisco Bay area, she attended Yale University, graduating summa cum laude with Distinction in Music and received her Master of Music degree from the San Francisco Conservatory of Music. Ms. Sharp has served on the faculties of Mannes College, Dartmouth College, the San Francisco Conservatory of Music, and Choate Rosemary Hall, and has participated in the Aspen, Tanglewood, Chamber Music West, Norfolk, and Music Academy of the West festivals.
conducting, orchestral performance.
Toshiyuki Shimada, conductor, joined the Yale faculty in 2005 as music director of the Yale Symphony Orchestra, and as associate professor of conducting at Yale School of Music and Department of Music. He is also music director of the Eastern Connecticut Symphony Orchestra, music director, Music Director of the Orchestra of the Southern Finger Lakes and principal conductor of the Vienna Modern Masters, in Vienna, Austria. He was music director of the Portland (Maine) Symphony Orchestra from 1986-2005, and now serves as its Laureate Conductor. Prior to his post in Portland, he was associate conductor of the Houston Symphony Orchestra, he served as music director of the Nassau Symphony Orchestra, and of the Shepherd School Symphony Orchestra at Rice University. Maestro Shimada has been frequent guest conductor of the Moravian Philharmonic Orchestra, and the recent engagements include Lithuanian State Symphony Orchestra; Orquesta Filharmonico de Jalisco in Guadalajara, Mexico, the Slovak Philharmonic; Tonkünstler Orchestra in Austria; Orchestre National de Lille; the Royal Scottish National Orchestra; and Prague Chamber Orchestra, to name a few. He has also been guest conductor with the Honolulu Symphony Orchestra, Chautauqua Symphony Orchestra, the San Jose Symphony Orchestra, the Boston Pops Orchestra, Pacific Symphony Orchestra, the Edmonton Symphony Orchestra, and many other U.S. and Canadian orchestras. He has also conducted All State High School Honor Orchestra in California, Maine, New York, Massachusetts and Connecticut, as well as conducting the United States Air Force Band and Coast Guard Band. Maestro Shimada has studied with such distinguished conductors as Leonard Bernstein, Herbert von Karajan, Herbert Blomstedt, Hans Swarovsky, Sergiu Comissiona, David Whitwell, and Michael Tilson Thomas. He was a finalist in the 1979 Herbert von Karajan conducting competition in Berlin, and a fellow in the Los Angeles Philharmonic Institute in 1983. He has collaborated distinguished artists such as Itzhak Perlman, Andre Watts, Emanual Ax, Yefim Bronfman, Idil Biret, Janos Starker, Jashua Bell, Hilary Hahn, Nadjia Salerno-Sonnenberg, Cho-Liang Lin, James Galway, and Doc Severinsen. He is a adjudicator of the National Orchestra Honor Project. Maestro Shimada records with the Naxos, the Vienna Modern Masters, the Capstone, the Albany, and the Querstand. He was awarded an Honorary Doctorate of Fine Arts from Maine College of Art.
history of opera, early-modern European musical thought and practice, the musical cultures of indigenous American societies, jazz and popular music, and the philosophy of history and critical theory.
Gary Tomlinson is a musicologist and cultural theorist known for his interdisciplinary breadth. His teaching, lecturing, and scholarship have ranged across a diverse set of interests, including the history of opera, early-modern European musical thought and practice, the musical cultures of indigenous American societies, jazz and popular music, and the philosophy of history and critical theory. His latest project concerns the evolutionary emergence of human musical capacities; his Wort Lectures at the University of Cambridge in 2009, outlining this project, were entitled "1,000,000 Years of Music."
Tomlinson's books include Monteverdi and the End of the Renaissance; Music in Renaissance Magic; Metaphysical Song: An Essay on Opera; The Singing of the New World: Indigenous Voice in the Era of European Contact; and Music and Historical Critique. He is the co-author, with Joseph Kerman, of the music appreciation textbookListen, now in its sixth edition.
Tomlinson has garnered prizes from the American Musicological Society, ASCAP, the Modern Language Association, and the British Academy. He is a member of the American Academy of Arts and Sciences and the recipient of a Guggenheim Fellowship and a MacArthur "genius" award.
Ethnomusicology (African and Caribbean Music), African-American Music (Jazz and Popular Music) .
B.M. Berklee College of Music (Jazz Composition and Arranging); 1986 M.A. Wesleyan University (Ethnomusicology); 1994 Ph.D Wesleyan University (Ethnomusicology); 2001
Michael E. Veal has been a member of the Yale faculty since 1998. Before coming to Yale, he taught at Mount Holyoke College (1996 – 1998) and New York University (1997-1998). Veal’s work has typically addressed musical topics within the cultural sphere of Africa and the African diaspora. His 2000 biography of the Nigerian musician Fela Anikulapo-Kuti uses the life and music of this influential African musician explore themes of African post-coloniality, the political uses of music in Africa, and musical and cultural interchange between cultures of Africa and the African diaspora. His documentation of the “Afrobeat” genre continued with the 2013 as-told-to autobiography Tony Allen: Master Drummer of Afrobeat. Professor Veal’s 2007 study of Jamaican dub music examines the ways in which the studio-based innovations of Jamaican recording engineers during the 1970s transformed the structure and concept of the post-WWII popular song, and examines sound technology as a medium for the articulation of spiritual, historical and political themes. His forthcoming book Wait Until Tomorrow surveys under-documented periods in the careers of John Coltrane and Miles Davis that encapsulate the stylistic interventions of “free jazz” and “jazz-rock fusion,” and draws on the language of digital architecture in order to suggest new directions for jazz analysis.
Undergraduate courses that Professor Veal has taught have included: Music Cultures of the World; Theory & Practice of Ethnomusicology; Traditional and Contemporary Musics of Sub-Saharan Africa; Jazz in Transition 1960 -1985; Funk - The Re-Africanization of the American Popular Song Form; Jazz & Architecture; Music and the Post-Colonial and Popular Music: The Experimental Tradition. Graduate courses have included: Music in Africa; The Recording Studio in Sonic and Cultural Perspective; Topics in Jazz Studies; Recalibrating the Ethnographic Radar (A History of Ethnographic Recording) and Proseminar in Ethnomusicology.
Fela: The Life and Times of an African Musical Icon (Temple University Press, 2000)
Dub: Soundscapes and Shattered Songs in Jamaican Reggae (Wesleyan University Press, 2007)
Tony Allen: Master Drummer of Afrobeat (Duke University Press, 2013)
The Sublime Frequencies Companion (co-edited with E. Tammy Kim) (forthcoming from Wesleyan University Press)
Wait Until Tomorrow: The Music of John Coltrane and Miles Davis Re-Assessed in the Digital Age (forthcoming from Wesleyan University Press)
Morse Junior Faculty Fellowship (Yale University, 2003 – 2004)
Griswold Faculty Travel Fellowship (Yale University, 2000)
Five College Dissertation Fellowship (Mount Holyoke College, 1996 –1997)
Studied piano and music history at the Eastman School of Music (1962-1966) and went on to earn an M.A. and Ph.D. in musicology at Harvard (1966-1972). While at Harvard he attended numerous Red Sox games, played chess with pianist Robert Levin (still a close friend), and, as a teaching assistant, taught composer John Adams—all survived the experience. After a pleasant year teaching at the University of Kentucky in Lexington (1972-1973), Wright moved to Yale, serving as chair of the Department of Music from 1986-1992 and becoming the Henry L. and Lucy G. Moses Professor of Music in 2006. At the undergraduate level he teaches a basic music appreciation course (one of Yale’s largest) and the music history course required of majors in Medieval and Renaissance music. His music appreciation course, "Listening to Music" is currently the fourth most popular online course in China. At Yale, Wright has also developed an interdisciplinary course, "Exploring the Nature of Genius," which has attracted a strong following in Yale's Humanities program. Recently, he has turned his professional research away from early music to Mozart and the concept of genius.
Wright’s writing in music history began with a rigorously primary-source approach—the first-hand study in situ of the music manuscripts and archival documents of Western Europe as they pertain to early music. In the course of time he has expanded his view to a broadly interdisciplinary one, as the title of his most recent book suggests: The Maze and the Warrior: Symbols in Architecture, Theology and Music. His interests have also extended chronologically, and his publications now range from studies of the music of Leoninus (died ca. 1200) to Bach. He is one of the few individuals to be awarded the Dent medal (RMA), the Einstein prize (AMS), and the Kinkeldey award (AMS). He also has been the recipient of a Guggenheim Fellowship and an NEH Fellowship. In 2004 Wright was awarded the honorary degree Doctor of Humane Letters from the University of Chicago, and in 2010 he was elected to membership in the American Academy of Arts and Sciences.
Music at the Court of Burgundy, 1364-1419: A Documentary History (Institute of Mediaeval Music, Ltd., Henryville, Ottawa, Binningen, 1979), 271 pp.
Music and Ceremony at Notre Dame of Paris, 500-1550 (Cambridge University Press, 1989), 400 pp.
Listening to Music (West Publications, St. Paul, 1992), 419 pp; 2nd edition (West Publications, St. Paul, 1996), 435 pp; 3 rd edition (Wadsworth, 2000), 451 pp.; 5th edition (Wadsworth, 2007), 451 pp.
The Maze and the Warrior: Symbols in Architecture, Theology and Music (Harvard University Press, Cambrdge, MA, 2001, paperback edition, 2004), 351 pp.
Music in Western Civilization (Wadsworth-Schirmer, to appear 2006)
The Essential Listening to Music (Cengage Learning-Schirmer), 2012, 288 pp.
Music of the Middle Ages and Renaissance; the history of musical notation; motets; text-music relations; Guillaume de Machaut; Philippe de Vitry; music and monstrosity.
Anna Zayaruznaya received her Ph.D. in historical musicology from Harvard University in 2010. She taught at New York University (2010–2011) and Princeton University (2011–2013) before coming to Yale in 2013. Bringing the history of musical forms and notation into dialogue with medieval literature, iconography, and the history of ideas, Zayaruznaya’s recent papers and publications have focused on French and northern Italian music of the fourteenth and fifteenth centuries. Her first book explores the role of monstrous and hybrid exempla in the musical aesthetics of fourteenth-century French motets; The Monstrous New Art: Form and Idea in the Late Medieval Motet is scheduled to come out in 2014 with Cambridge University Press. A second book will focus on poet, composer, and public intellectual Philippe de Vitry (1291–1361).
Zayaruznaya has published articles and reviews in the Journal of the American Musicological Society, the Journal of Musicology, Early Music History, and Speculum, and serves on advisory and editorial boards for the Journal of Musicology and Music Theory Spectrum. In 2011 she was awarded the Van Courtlandt Elliott Prize from the Medieval Academy of America for her article “She has a Wheel that Turns…’: Crossed and Contradictory Voices in Machaut’s Motets” (Early Music History, 2009). Zayaruznaya has also received awards and fellowships from the American Musicological Society, the Institute of Advanced Study at Princeton University, and the Radcliffe Institute of Advanced Studies at Harvard University, where she will spend the academic year 2013–14 as a fellow.
“The Chanson Mass as Analogy,” in The Cambridge History of Fifteenth-Century Music, ed. Anna Maria Busse Berger and Jesse Rodin (forthcoming from Cambridge University Press).
“Hockets as Compositional and Scribal Practice in the ars nova Motet—A Letter from Lady Music,” Journal of Musicology 30 (October 2013).
“What Fortune Can Do to a Minim,” Journal of the American Musicological Society 65 (2012): 313–81.
“In Defense of Green Lines, or The Notation of B-flat in Early Ambrosian Antiphoners,” Ambrosiana at Harvard: New Sources of Milanese Chant, ed. Thomas Forrest Kelly and Matthew Mugmon, Houghton Library Studies 3, 33–56 (Harvard University Press, 2010).
"‘She has a Wheel that Turns…’: Crossed and Contradictory Voices in Machaut’s Motets,” Early Music History 28 (2009): 185–240.
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The Department of Music at Yale University offers the Bachelor of Arts degree in Music with undergraduate courses in composition and music technology, ethnomusicology, music history, music theater, music theory and performance. For more information, see the undergraduate music program.
The Ph.D degree in Music is offered in ethnomusicology, music history, and music theory. For more information, see the graduate music program.
It is the Yale School of Music that offers graduate degrees in composition, conducting and performance. Sacred music study is undertaken at the Yale Institute of Sacred Music.