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.
Marguerite Brooks, choral conductor, holds degrees from Mount Holyoke College and Temple University. She has served on the faculties of Smith and Amherst College and was also director of choral music at the State University of New York at Stony Brook. The conductor of the Yale Camerata, Brooks joined the Yale faculty in 1985 as the director of the choral conducting program at the School of Music and the director of choral music at the Institute of Sacred Music. She is active as a guest conductor and gives master classes sponsored by the American Choral Directors Association, the Music Educators National Conference, and the American Guild of Organists, and is director of music at the Church of the Redeemer in New Haven.
I am an ethnomusicologist with broad interests in music and religion of the African diaspora. The bulk of my fieldwork has explored popular music making in relation to charismatic Christianity in Haitian and Jamaican communities. In these transnational Caribbean contexts, I interrogate the cultural politics of musical style and religious expression while attending to the role of musical performance in constructing individual and collective identities. Much of my research centers on the phenomenology of Pentecostal musical worship, how the transcendent becomes immanent through musical performance, and the intersections of faith, ritual, gender, and power. These interests fuel my ongoing concern with ethnographic representation and the ways in which scholars negotiate their identities in relation to various fields of supernatural encounter. I am presently at work on two book manuscripts. One of these examines the theological and experiential connections between Jamaican and African American gospel performance, along with the musical migrations that shape identities in Jamaica and its diaspora. The other focuses on a continuum of Pentecostal practice in Haiti and the discourses of cultural authenticity and spiritual power that inflect congregational practice. At the heart of both projects lies a critical reconsideration of how spiritually charged music making is deeply embedded in processes of boundary crossing, identity formation, and social positioning in post-colonial contexts. As a saxophonist, I have worked professionally with celebrated Haitian konpa group Tabou Combo, along with numerous jazz artists, including Donald Byrd, Betty Carter, Joey DeFrancesco, Christian McBride, Jimmy McGriff, and Reuben Wilson. I now perform mostly with Brian Blade and the Fellowship Band, with whom I am featured on three recordings.
Richard Cohn is Battell Professor of Music Theory at Yale University. His work on chromatic harmony has been the topic of a series of summer seminars convened by the late John Clough, and has been developed in about a dozen doctoral dissertations, at Chicago, Indiana, Yale, Harvard, and SUNY-Buffalo. His recently completed Audacious Euphony: Chromatic Harmony and the Triad's Second Nature is forthcoming from Oxford University Press. In preparation is a general model of meter with applications for European, African, and African-diasporic music, and a co-edited collection on David Lewin's phenomenological writings. His articles have twice earned the Society for Music Theory's Outstanding Publication Award. Cohn edits Oxford Studies in Music Theory.
Audacious Euphony: Chromatic Harmony and the Triad's Second Nature, forthcoming Oxford University Press.
"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," inMusic 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 has an active career in both teaching and performance. He has performed in opera, theater, concert and recording venues in all genres of music while maintaining ties to the classroom through guest lectures at Yale, Penn State, Lawrence University, U.C. Irvine and the Brearley School in New York. At Yale, he 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 aegis of Hunter College, where he is also a frequent lecturer on opera, music and theater. As a performer, Egan has appeared as a soloist and/or ensemble singer 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 several full seasons as a tenor in the resident ensemble at New York City Opera. He has performed at numerous festivals including NAMT New Musicals, Mostly Mozart, Tanglewood and the Bard Festival. Egan participated in Grammy nominated recordings of Sweeney Todd and Ruins of Athens 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. Most recently he has worked to resuscitate lesser known works in the Rodgers & Hammerstein canon, performing on and assisting in research and casting of a new recording of Allegro. Egan's academic training is in music theory. B.M., summa cum laude, St. Olaf College, M.A. Eastman School of Music, MPhil., Yale University.
Professor Fassler was the Robert S. Tangeman Professor of Music History iat Yale University. She held joint appointments at the Divinity School, the School of Music, and in the Department of Music. A historian of music and liturgy, her special fields of interest were medieval and American sacred repertories. She offered courses in medieval and contemporary liturgics, sacred repertories of music from early Christianity to the present, Christian hymnody, liturgical drama (with Jaime Lara). Her book Gothic Song won the Nicholas Brown Prize of the Medieval Academy and the Otto Kindelday Prize of the American Musicological Society. She recently finished a book on the Virgin of Chartres (Yale University Press) and is now writing a book on Hildegard of Bingen. Psalms in Community: Jewish and Christian Textual, Liturgical, and Artistic Traditions, which she co-edited with Harold W. Attridge, was published in 2004 by the Society of Biblical Literature. B.A., State University of New York; M.A., Syracuse University; M.A., Ph.D., Cornell University.
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.
He received his B.A. from Brandeis University and his Ph.D. in composition from Harvard University. He has served on the music faculties of the New England Conservatory of Music, the University of Pittsburgh, the Hartt School of Music, and was Valentine Visiting Professor at Amherst College in the fall of 1990. He has also taught at the Steans Institute for Young Artists of the Ravinia Festival. In spring, 2008, he served on the Yale/PkU program in Beijing, teaching both at Beijing University and the Central Conservatory of Music. Mr.
Friedmann has published articles in several music theory journals. His book, Ear Training for Twentieth-Century Music, was given a special citation by the Society for Music Theory. His compositions have been widely performed, and he is a frequent piano recitalist. He joined the Yale faculty in 1986.
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
Forthcoming Jan, 2011-Cornell University, Performance and lecture surrounding Schoenberg's Five Piano Pieces, op. 23
music theatre composition
Composer, playwright and pianist Andrew Gerle is a three-time recipient of the Richard Rodgers Award for musical theater writing, administered by the American Academy of Arts and Letters, for THE TUTOR (book and lyrics by Maryrose Wood). With lyricist Eddie Sugarman, he won a 2006 Jonathan Larson Award for their show, MEET JOHN DOE, which received seven Helen Hayes nominations for its world premiere last season at the Ford's Theatre in Washington, DC. A revue of his songs, "UP", recently had its premiere at the Zipper Factory Theater in NYC. Has been a Fellow at the MacDowell Artists' Colony and a writer-in-residence at the Sundance Theater Institute. As a musical director, he has worked on dozens of Off-Broadway, regional and touring productions. He has served as musical director and accompanist for such distinguished artists as Kitty Carlisle Hart, John Raitt, Jennifer Holliday, Leslie Uggams, Liz Calloway, Mary Testa and Michael Rupert. As a classical pianist, he has appeared as soloist with the Baltimore Symphony, the Yale Symphony, the National Symphony, and on programs for National Public Radio and Television. Andrew is a *magna cum laude* graduate of Yale University.
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.
musical theatre performance
Annette Jolles has created a diverse body of work as a director, writer and producer for stage and television. She directed and choreographed Laurence Holzman and Felicia Needleman’s That Time of the Year at the York Theatre Company, where she also directedLittle By Little and the York’s 2007 NEO benefit. She directed “Johnny Mercer at the Movies” for the 92nd Street Y’s Lyrics and Lyricists series and five seasons of New Voices Concerts at Symphony Space where she also staged “Broadway and Beyond” with host Rob Fisher and their monumental Wall to Wall Sondheim tribute. For The Little Orchestra Society, Ms. Jolles has directed and choreographed fifteen seasons of Lolli-Pops Concerts and productions including Amahl and the Night Visitors, Humperdinck’s Hansel and Gretel, and Peter and the Wolf at Avery Fisher Hall, Lincoln Center. In addition, she directed and produced their multi-award winning DVD The Orchestra – A Happy Family. Her work in television earned her an Emmy Award as producer of the 9/11 Memorial from Ground Zero and six additional Emmy nominations. Highlights of broadcasts include Broadway Under the Stars (CBS), Egypt Week Live (Discovery),The Dr. Joy Browne Show (Discovery Health), Romance/ Romance, Nunsense 1, 2 & 3, Stop the World… (PBS, A&E, TNN), Trading Spaces “Home Free” Finale (TLC), and the Times Square New Year’s Eve festivities from 1997-2004. In the emerging field of live webcasts, Ms. Jolles co-produced several AOL broadband concerts featuring artists such as Usher, Avril Lavigne, and Alicia Keys. Most recently, she directed the live MSN Al Gore interview that launched Live Earth: The Concerts for a Climate in Crisis. She is a summa cum laude graduate of Yale University and recipient of a Drama League Directors fellowship. She is also a proud mother of two.
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, in the margins between 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 co-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).
"Eleven Theses on Sound and Transcendence," forthcoming in Current Musicology.
"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 book Verdi and the Germans: From Unification to the Third Reich (Cambridge University Press, 2010; winner of the 2011 Lewis Lockwood Award of the American Musicological Society and the 2012 Gaddis Smith International Book Prize of the MacMillan Center for International and Area Studies at Yale) examines the changing impact of the popular Italian composer on German musical self-perception and national identity. She is currently completing a book 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 aspects of staging by incorporating them into their work concepts. Such attempts are particularly obvious in view of special effects, which often required specific stage technologies. The book focuses on the cultural resonances and hermeneutic potentials of such usually overlooked technologies as the curtain, the tam-tam (and various sound effects), fire, and steam before, in, and beyond Wagner’s works. 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 operatic culture and performance art.
In other recent work Kreuzer has challenged the centrality of the "Beethoven paradigm" in Germanic music historiography; argued that authorial control became both a major marketing factor and the chief motivation for the revamping of touring productions in the late nineteenth century; discussed the impact of translations on the shifting relations between words, sound, and image in performance; and questioned current scholarly approaches to the much-debated phenomenon of Regietheater. She recently guest-edited, together with Clemens Risi, a double issue of The Opera Quarterly on “Opera in Transition” (vol. 23/2-3, 2011), and regularly contributes to such encyclopedias as the Verdi Handbuch (2001, rev. 2013), Wagner Handbuch (2012), and the Cambridge Encyclopedias of Verdi and Wagner (both forthcoming). 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. In Germany she also gained experience as a freelance music critic and radio presenter. From 2006 to 2010 she served as Associate and Reviews Editor of The Opera Quarterly. In April 2010 she co-organized an international conference "Beyond Opera: Staging Theatricality" that took place jointly at the Whitney Humanities Center at Yale and at Stony Brook University.
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; and The Operas of Verdi. On the graduate level her seminar topics include Reception History; Music in Nazi Germany; Opera and/as Multimedia; and Wagner in and on Production. She has also been teaching the Prospectus Seminar and Dissertation Colloquium, and in 2010-11 was Director of Graduate Studies.
Among other grants and awards, Kreuzer has held fellowships from the Studienstiftung des Deutschen Volkes (1994-99, 2001-03), the DAAD (1997-98), and the British Academy (A.H.R.B., 1999-2002). She has received prizes from both the American Musicological Society (Paul A. Pisk Prize, 2000; Alfred Einstein Award, 2006; Lewis Lockwood Award, 2011) and the Royal Musical Association (Jerome Roche Prize, 2006). 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 will be a Senior Research Fellow in International and Area Studies at the Macmillan Center in 2012-13.
"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, forthcoming).
"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 fifteen and went on to win Australia’s most prestigious musical award: ‘The Symphony Australia Young Performer of the Year (Strings)’. She has been awarded prizes at the Kloster Schöntal International Violin Competition, Germany, Gisborne International Music Competition, New Zealand, and an Honorary Diploma at the 7th Wieniawski and Lipinski International Competition, Poland.
As a founding member and first violinist of the Alianza String Quartet, Ms Kwok has given debut performances at the Pacific Music festival, Japan, Aldeburgh festival, UK, Aix-en-Provence festival, France, and the French Academy in Rome. The Alianza quartet is the Grand Prize winner of the Plowman Chamber Music Competition 2007 and the First Prize winner of the Chamber Music Foundation of New England International Chamber Music Ensemble Competition 2008. From 2006 to 2008 the ASQ were in residence at the Yale School of Music and were closely mentored by the Tokyo String Quartet. In October 2007, the Alianza quartet made their Carnegie Hall debut to critical acclaim and received the following review from the New York Times: “the Alianza players are musical, well trained and have an unusually elegant sound – they boil over with an edge-of-the-seat eagerness”. With the ASQ, Ms. Kwok has been featured on concert series at the Brooklyn Friends of Chamber Music, NY, Danbury Concert Association, CT, Cosmos Club, Washington DC, Horowitz Piano series, CT, Redbank Chamber Music Series, NJ, to name a few, and on the international stages of Carnegie Hall’s Weill and Zankel recital halls, Merkin Concert Hall and Juilliard’s Paul Recital Hall in NY, Sapporo’s Kitara Hall and the Hakodate Arts Hall, Japan, the Villa Medici, Rome, and the Théâtre du Jeu de Paume, Aix-en- Provence, France.
As a soloist and collaborator, Ms. Kwok has been featured throughout the United States on series such as the Rockport Chamber Music Festival, Norfolk Chamber Music Festival, Thayer Academy Winter Series, Hebron Academy and Temple Emanuel Chamber Series, Hammond Performing Arts Series and on WGBH public radio with pianist, Jian Liu, and her husband, cellist, Alexandre Lecarme. This season she performed on the Concert des Lauréats de l’Académie de Lausanne, Switzerland and was nationally broadcast by Suisse Romande radio. Ms. Kwok has performed in concert with Pinchas Zukerman, Amanda Forsyth, Boris Berman and members of the Tokyo String Quartet and has worked in master-classes with the late Lord Yehudi Menuhin, Midori, Pierre Amoyal and Bruno Canino and members of the Takacs, Guarneri and Julliard String Quartets.
Passionate about new music, Ms. Kwok has debuted works by Ezra Laderman, Jerome Combier and worked closely with Martin Bresnick and Michael Jarrell. The Alianza Quartet’s recording for Albany records of the three last quartets of Ezra Laderman has just been released. Ms. Kwok is also sought after as an educator, having given master-classes and pre-concert talks at the Rockport Festival, Hammond Performing Arts series, Wellesley College, and Central Connecticut State University. Recently, she completed a series of solo recordings on instruments in the Yale Collection of Musical Instruments.
Ms. Kwok received both the Doctoral and Masters of Musical Arts degrees from the Yale School of Music as a student of Syoko Aki. She currently serves on the faculty of the Yale Department of Music and is the Coordinator for the Undergraduate Lessons Program at the Yale School of Music.
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.
early music performance
Judith Malafronte has an active career as a mezzo-soprano soloist in opera, oratorio and recital. She has appeared with the San Francisco Symphony, the Los Angeles Philharmonic at the Hollywood Bowl, the St. Louis Symphony, the St. Paul Chamber Orchestra, the Handel and Haydn Society and Mark Morris Dance Group. She has sung at the Tanglewood Festival, the Boston Early Music Festival, the Utrecht Early Music Festival, and the Göttingen Handel Festival. Winner of several top awards in Italy, Spain, Belgium and the US, including the Grand Prize at the International Vocal Competition in Hertogenbosch, Holland, Malafronte holds degrees with honors from Vassar College and Stanford University, and studied at the Eastman School of Music, in Paris and Fontainebleau with Mlle. Nadia Boulanger, and with Giulietta Simionato in Milan as a Fulbright scholar. She has recorded for major labels in a broad range of repertoire, from medieval chant to contemporary music and her writings have appeared in Opera News, Stagebill, Islands, Early Music America Magazine, Schwann Inside and Opus. B.A., Vassar; M.A., Stanford.
history of music theory; Wagner, rhetorical and narrative approaches to analysis.
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 few monographs on a single Wagner opera. 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 ofGötterdämmerung. In another essay on Wagner, "A Motivic Dyad in Parsifal," he shows how a simple pair of pitch-classes bears the structural weight of much of the musical drama. Another early article 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.
From his work on Wagner he has branched out to consider a much wider range of topics. He addresses larger problems of harmony and chromaticism in late tonal music in "Syntagmatics and Paradigmatics," "Schenker and Chromatic Tonicization: A Reappraisal," and "An Evolutionary Perspective on Semitone Relations in the Nineteenth Century." Before serving as President of the Society for Music Theory in 1993 to 1995, he wrote a retrospective on the history and practice of music theory in the United States, "Rethinking Contemporary Music Theory." Here he appropriates the work of Michel Foucault on disciplinarity to put the development of contemporary theory into historical perspective. More recently, following a long-standing interest in the discipline of rhetoric, he contributed the article "Music and Rhetoric" to The Cambridge History of Western Music Theory, edited by Thomas Christensen. Another long-term interest is the music of Shostakovich, about which he has one essay in print and two forthcoming (see bibliography). In the past few years he has begun again to address aspects of chromaticism in tonal music: at the Sixth Annual Mannes Institute for Music Theory of 2006, which he co-directed at Yale with colleague Dan Harrison; in an essay (2007) on Elgar's use of chromaticism; in a talk, "'There Is Sweet Music': Thoughts on Tonality, 2008," at the Tonality in Perspective Conference at King's College London, in March of 2008; and in an upcoming seminar at Yale (spring 2009) on Wagner's Tristan.
As a practical musician, he is a choral director and organist, serving as Director of Music ad 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.
"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,
"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,
"Dmitri Shostakovich: The String Quartets." in Intimate Voices: The String Quartet in the Twentieth Century. Rochester: University of Rochester Press, forthcoming 2009.
"Analysis and Performance: A Counterexample?" Dutch Journal of Music Theory, forthcoming 2009.
"Shostakovich and the Politics of D Minor, 1931-1949." In Shostakovich Studies 2, ed. Pauline Fairclough. Cambridge: Cambridge University Press, forthcoming 2009.
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 laudefrom Yale College and his M.M. in Piano Performance from the Yale School of Music. He returns to Yale this fall for his second year teaching Composing for Musical Theater. 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, and Einstein’s Dreams, based on the best-selling novel by Alan Lightman. He is also the composer and creator ofBush Is Bad, the smash Off-Broadway musical revue, which Varietycalled “a sensation.” In addition to the New York production, the show has enjoyed successful runs in Los Angeles and Minneapolis, as well as numerous special benefit performances around the country. 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 the forthcoming 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. 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 five major motion pictures. As a music journalist, Rosenblum has contributed articles to Newsday and Stagebill, as well as over 300 CD and concert reviews forOpera 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 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 topics within the musical sphere of Africa and the African diaspora. His 2000 biography of the Nigerian musician Fela Anikulapo-Kuti (Fela: The Life & Times of an African Musical Icon) uses the life and music of one of the most influential African musicians of the post-WWII era to explore themes of African post-coloniality, musical and cultural interchange between cultures of Africa and the African diaspora, and the political uses of music in Africa. His documentation of “Afrobeat” will continue with the forthcoming as-told-to autobiography Tony Allen: Master Drummer of Afrobeat. His 2007 study of Jamaican dub music (Dub: Soundscapes and Shattered Songs in Jamaican Reggae) 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, as well as the theme of how sound technology can be used to articulate themes of spirituality, history and politics. His forthcoming book Technotopia 1969: Miles Davis at the Crossroads surveys an under-documented period in the life and career of Miles Davis, examines the role of sound rcordings in the construction of jazz history, and takes an analytical approach to the years of “electric jazz” prior to its commodification as “jazz-rock fusion.”
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; 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; and Recalibrating the Ethnographic Radar.
Fela: The Life and Times of an African Musical Icon (Temple University Press, 2000)
Dub: Songscape, Studio Craft, Science Fiction, and the Shattering of Song Form in Jamaican Reggae (Wesleyan University Press, 2007)
“Miles Davis and the Unfinished Project of Electric Jazz” Raritan, Summer 2002
“African Music and African-American Audiences” New York Times, 17 July 2001
Guest Editor, Glendora Review (Lagos, Nigeria) Music Issue, Summer 2004
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.