Faculty

TheoryFaculty
From left to right: James Buhler, Ed Pearsall, Eric Drott, Marianne Wheeldon, John Turci-Escobar, Robert Hatten, Byron Almén, and David Neumeyer. Not pictured: B. Glenn Chandler.


Byron AlménByron Almén

Associate Professor of Music Theory

almen@utexas.edu

Byron Almén received a Ph.D. from Indiana University in 1998 and joined the Butler School of Music theory faculty in that same year. His research interests are broadly focused on issues of musical meaning, including musical narrative, topic theory, myth and symbol, Jungian applications to music theory, discourse analysis, music in film and television, and text-music relationships. He has published in Journal of Music Theory, Journal of the American Musicological Society, Theory & Practice, Theoria, and Journal of Music Theory Pedagogy, among others. Professor Almén is the author of a recent book on musical narrative from Indiana University Press (2009). Along with Edward Pearsall (UT-Austin), he is the editor of a collection of essays on musical meaning, also published by Indiana University Press. He is a co-author of the undergraduate theory textbook Tonal Harmony (7th ed., 2012). An active pianist and organist, Dr. Almén is the primary instructor for the history of music theory, music theory pedagogy, freshman music theory, and score reading at UT-Austin. He is currently at work on the book The Discourses of Music and Jung’s Theory of Consciousness. Dr. Almén is a member of UT-Austin’s Faculty Council and the Indiana Theory Review Editorial Board and he recently served as the Program Committee Chair for the Society for Music Theory’s 2011 conference in Minneapolis.

Selected Publications and Papers

Textbook
  • Kostka, Stefan, Dorothy Payne, and Byron Almén. Tonal Harmony,7th ed. McGraw-Hill, 2012.
  • 2012. Kostka, Stefan, Dorothy Payne, and Byron Almén. Tonal Harmony, 7th ed. McGraw-Hill.
Books
  • (In preparation). The Discourses of Music and Jung’s Theory of Consciousness.
  • A Theory of Musical Narrative. Indiana University Press, 2009.
  • Approaches to Meaning in Music. Edward Pearsall, co-editor. Indiana University Press, 2006.
Articles and Reviews
  • (with Robert S. Hatten). “Narrative Engagement with 20th-century Music: Possibilities and Limits.” In Michael L. Klein and Nicholas Reyland (eds.) Music and Narrative Since 1900 (Indiana University Press, 2012), 59-85.
  • “Towards an Aesthetics of Musical Function.” In Denis Collins (ed.), Music Theory and Its Methods: Structures, Challenges, Directions. Peter Lang Publishers, 2012.
  • “Narrative Archetypes: Theory and Analysis” Music Theory and Analysis: Journal of the Department of Music Theory(Belgrade). Proceedings of the Seventh International Conference, 2009, 1-25.
  • “Jung’s Function-Attitudes in Music Composition and Discourse.” In Psyche and the Arts, Susan Rowland, editor. Routledge Press, 2008, 117-27.
  • “The Sacrificed Hero: Creative Mythopoesis in Mahler’s Wunderhorn Symphonies.” In Approaches to Meaning in Music. Edited by Byron Almén and Edward Pearsall. Indiana University Press, 2006, 135-69.
  • “Modes of Analysis.” Theory & Practice 31 (2006): 1-38.
  • “Musical ‘Temperament’: Theorists and the Functions of Musical Analysis.” Theoria 12 (2005): 31-68.
  • “Poetry Analysis in the Music Classroom: Wilfred Owen and Britten’s War Requiem.”Journal of Music Theory Pedagogy19 (2005): 1-50.
  • “Narrative and Topic.” Indiana Theory Review 25 (2004): 1-38.
  • “Narrative Archetypes: A Critique, Theory, and Method of Narrative Analysis.” Journal of Music Theory 47.1 (2003): 1-39.
  • “Prophets of the Decline: The Worldviews of Heinrich Schenker and Oswald Spengler.” Indiana Theory Review 17.1 (1996): 1-24.
  • Review of Daniel K.L. Chua, Absolute Music and the Construction of Meaning. Journal of the American Musicological Society 57.1 (2004): 185-93.
Forthcoming articles
  • “Toward a Pluralism of Musical Cognitive Functions.” In Denis Collins (ed.), Music Theory and Its Methods: Structures, Challenges, Directions. Frankfurt am Main: Peter Lang Publishers.
  • “The Teleology of the Sign User.” Semiotyka muzyki dzi?. Teorie – strategie – aplikacje [Music Semiotics Today: Theories, Strategies and Applications]. The Charles Sanders Peirce Philosophical Society: Krakow, Poland.
  • “Archétypes narratives en musique: la method de J. J. Liszka.” In Marta Grabocz (ed.), Narratologie musicale: théorie et analyse (Topiques et strategies narratives en musique). Editions des Archives contemporaines: Paris.
Recent Paper
  • 2011. Plenary Address: “The Teleology of the Sign User: Modeling Some Binary Constraints on Narrative Interpretation.” International Semiotics Institute Symposium , Imatra, Finland (June 5-8).
Upcoming Papers
  • 2012. “An Overview of Musical Narrativity in North America and Great Britain.” 1st International Conference on Narratology and the Arts. Institut Hongrois, Paris. (December 7-8).
  • 2012. (with James Buhler) “ ‘To Everything There Is a Season’: Topic Formation and The Hearts of Space.” International Conference on Music Semiotics in Memory of Raymond Monelle University of Edinburgh (October 26-28).
Recent Keynote and Plenary Addresses
  • Plenary Address: “The Teleology of the Sign User: Modeling Some Binary Constraints on Narrative Interpretation.” International Semiotics Institute Symposium. Imatra, Finland, June 5-8, 2012.
  • “Hermeneutic Knots and Fractured Agents in David Lynch’s INLAND EMPIRE.” University of Minnesota, April 23, 2010.
  • Keynote Address: “Approaching Musical Narrative.” Seventh International Conference on Music Theory. Belgrade, Serbia. May 15-17, 2009.

Teaching Awards

  • 2014 Regents’ Outstanding Teaching Award (University of Texas System)
  • Dads’ Association Centennial Teaching Fellowship. 2011-12.
  • Grace Hill Milam Centennial Fellowship in Fine Arts. 2010-11 and 2014-15
  • College of Fine Arts Distinguished Teacher Award. 2010.
  • Butler School of Music Teaching Excellence Award. 2010.

Awards

  • 2012. University of Texas College of Fine Arts Summer Creative Research Grant.
  • 2012. Faculty Research Assignment (Spring Semester)
  • 2011. Nominated for UT Regents’ Outstanding Teaching Award

Professional Society

Society for Music Theory: Chair of the 2011 Program Committee (Minneapolis)s


James BuhlerJames Buhler

Associate Professor of Music Theory

jbuhler@mail.utexas.edu

James Buhler received his Ph.D. from the University of Pennsylvania in 1996. Prior to joining the faculty at UT Austin, he taught at Carleton College and the University of Wisconsin—Madison. His research interests include the history and theory of the sound track, auditory culture, and critical theory. He has published extensively in edited anthologies as well as in Nineteenth-Century Music, Journal of the American Musicological Society, Cambridge Opera Journal and Modernism/Modernity among others. Along with David Neumeyer and Caryl Flinn, Professor Buhler edited a collection of essays on film music for Wesleyan University Press (2000). He is also author with David Neumeyer and Rob Deemer of Hearing the Movies, a textbook on music and sound in film for Oxford University Press (2009). He is currently working on a book dealing with the auditory culture of early American cinema.

www.hearingthemovies.net
www.hearingthemovies.blogspot.com

Selected Publications

“Branding the Franchise: Music, Opening Credits, and the (Corporate) Myth of Origin.” In Epic Music in Film: Spectacular Listening, edited by Stephen Meyer. New York: Routledge. 2016.
(with Byron Almén) “Mad Sound and the Crystal-Image: The Soundtrack of Rivettes L’Amour fou.” In Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks, edited by Liz Greene and Danijela Kulezic-Wilson. Basingstroke: Palgrave Macmillan. In press.
(with Hannah Lewis)“Evolving Practices for Film Music and Sound, 1925-1935.” In Cambridge Handbook to Film Music, edited by Mervyn Cooke and Fiona Ford. Cambridge: Cambridge University Press. In press.

“Wagnerian Motives: Narrative Integration and the Development of Silent Film Accompaniment, 1908-1913.” In Wagner and Cinema, edited by Sander L. Gilman and Jeongwon Joe. Bloomington: Indiana University Press, 2010.

“Music and the Adult Ideal in A Nightmare on Elm Street.” In Music in the Horror Film: Listening to Fear, edited by Neil Lerner, pp. 168-86. New York: Routledge, 2009.

“‘Everybody Sing’: Family and Social Harmony in the Hollywood Musical.” In A Family Affair, edited by Murray Pomerance, 29-44. London: Wallflower Press, 2008.

Composing for the Films, Modern Soundtrack Theory, and the Difficult Case of A Scandal in Paris. Eisler-Studien (2008), 123-41. Co-authored with David Neumeyer.

“Enchantments of The Lord of the Rings: Soundtrack, Myth, Language, and Modernity.” In From Hobbits to Hollywood: Essays on Peter Jackson’s Lord of the Rings, edited by Murray Pomerance and Ernest Mathijs, 231-48. Editions Rodopi, 2006.

“Music—Sound—Narrative: Analyzing Casablanca.” In Interdisciplinary Studies in Musicology 5, edited by Maciej Jablonski and Michael Klein, 277-91. Poznan, Poland: Rhytmos, 2005. Co-authored with David Neumeyer.

“Frankfurt School Blues: Rethinking Adorno’s Critique of Jazz.” In Apparitions: New Perspectives on Adorno and Twentieth Century Music, edited by Berthold Hoeckner, 103-30. Routledge, 2006.

“Theme, Thematic Process, and Variant-Form in the Andante moderato of Mahler’s Sixth Symphony.” In Perspectives on Gustav Mahler, edited by Jeremy Barham, 255-88. Ashgate Press, 2005.

“Disenchanting Music.” Review article of Absolute Music and the Construction of Meaning, by Daniel K.L. Chua. ??19th-Century Music?? 26, no. 2 (2002): 183-190.

“Analytical and Interpretive Approaches to Film Music (I): Analyzing the Music.” In Film Music: An Anthology of Critical Essays, edited by K.J. Donnelly, 16-38. Edinburgh University Press, 2001. Co-authored with David Neumeyer.

“Analytical and Interpretive Approaches to Film Music (II): Interpreting Interactions of Music and Film.” In Film Music: An Anthology of Critical Essays, edited by K.J. Donnelly, 39-61. Edinburgh University Press, 2001.

“Star Wars, Music and Myth.” In Music and Cinema, edited by James Buhler, Caryl Flinn, and David Neumeyer, 33-57. Wesleyan University Press, 2000.

“Breakthrough as Critique of Form: The Finale of Mahler’s First Symphony.” 19th-Century Music 20, no. 2 (1996): 125-43.

“Film Music/Film Studies,” Review article of Strains of Utopia, by Caryl Flinn; and Settling the Score, by Kathryn Kalinak. Journal of the American Musicological Society 47, no. 2 (1994): 364-85. Co-authored with David Neumeyer.

Forthcoming Publications:

(with David Neumeyer) Hearing the Movies. Oxford University Press. 2nd Edition scheduled for 2014.

(with David Neumeyer) “Music and the Ontology of the Sound Film: The Classic Hollywood System.” In Oxford Handbook of Music in Film and Visual Media, edited by David Neumeyer. New York: Oxford University Press, in press.

“Ontological, Formal, and Critical Theories of Film Music and Sound.” In Oxford Handbook of Music in Film and Visual Media, edited by David Neumeyer. New York: Oxford University Press, in press.

“Gender, Sexuality and the Soundtrack.” In Oxford Handbook of Music in Film and Visual Media, edited by David Neumeyer. New York: Oxford University Press, in press.

“Psychoanalysis, Apparatus Theory, and Subjectivity.” In Oxford Handbook of Music in Film and Visual Media, edited by David Neumeyer. New York: Oxford University Press, in press.

“Notes to Source Code.” In Oxford Handbook of Sound and Image in Digital Media, edited by Carol Vernallis, John Richardson, and Amy Herzog. New York: Oxford University Press, in press.

(with Alex Newton). “Outside the Law of Action: Music and Sound in the Bourne Trilogy.” In Oxford Handbook of Sound and Image in Digital Media, edited by Carol Vernallis, John Richardson, and Amy Herzog. New York: Oxford University Press, in press.

“The Reception of British Exhibition Practices in The Moving Picture World, 1907-1914.” In The Sounds of Early Cinema in Britain, edited by Julie Brown and Annette Davison. New York: Oxford University Press, in press.

“The Photoplay Agitated Allegro: Origins, Nature, Uses, and Construction.” In Studies in Honor of Eugene Narmour, edited by Lawrence Bernstein and Lex Rozin. New York: Pendragon, in press.

Recent papers:

“Cinematic Listening and the Early Talkie.” Music and the Moving Image. New York. 27 May 2016.
“The End(s) of Vococentrism.” Voicing the Soundtrack: A Conference in Honor of David Neumeyer. The University of Texas at Austin. 16 April 2016.
“Afterglow: Television, Joss Whedon, and The Avengers.” Society for Cinema and Media Studies. Atalanta. 1 April 2016.

“A Postcolonial Critique of Musical Topics.” Music and the Moving Image VII. New York University. 3 June 2012.

(with Byron Almén) ” ‘To Everything There Is a Season’: Topic Formation and The Hearts of Space. International Conference on Music Semiotic in Memory of Raymond Monelle. University of Edinburgh. 27 October 2012.


B. Glenn Chandler

B. Glenn Chandler

Professor of Music Theory

bgchandler@austin.utexas.edu

B. Glenn Chandler holds a bachelor’s degree in vocal music education from Samford University and a Ph.D. in music theory from Indiana University. He held a post-doctoral fellowship at Yale University and was a visiting scholar at the School of Music at Cambridge University. He was appointed to the faculty of Central Connecticut State University in 1972 and served as Department Chair from 1981 to 1993. From 1994 to 2001 he was Professor of Music and Director of the Rudi E. Scheidt School of Music at The University of Memphis. In 2001 he was named Director of the Sarah and Ernest Butler School of Music at The University of Texas at Austin, where he is also Professor of Music and holds the Florence Thelma Hall Centennial Chair in Music. Under his leadership, the Butler School has expanded its curriculum, created new centers of excellence, more than doubled its endowment, established an extensive international exchange programs, and raised the school’s profile both nationally and internationally.

He is a Jean Philippe Rameau scholar and also a choral conductor. Throughout his career he has presented numerous times at regional, national and international conferences and has published in various journals. In addition, he has conducted choirs in several states including regional and all-state choirs and ensembles. In Connecticut, he served as President of Connecticut Music Educators Association and on the Executive Committee of the Music Educators National Conference. In Tennessee, he served as President of the Tennessee Association of Music Administrator. In Texas, he is currently on the Executive Board of the Texas Association of Music Schools and heads the General Music Commission. He serves as an adjudicator, guest conductor, consultant and guest speaker for various organizations and events. He is an accreditation evaluator for the National Association of Schools of Music, having chaired the evaluation committee for numerous music schools across the country, and was recently elected to a second term on the NASM Commission.


eric-drottEric Drott

Associate Professor of Music Theory
Head, Division of Theory/Composition

drott@utexas.edu

Eric Drott received his PhD from Yale University in 2001, where he taught prior to coming to the University of Texas at Austin. His research focuses on contemporary music culture, avant-garde movements in music, French cultural politics, and the sociology of music. His book, Music and the Elusive Revolution (University of California Press, 2011), examines music and politics in France after May ’68, in particular how different music communities (jazz, rock, contemporary music) responded to the upheavals of the period.

Prof. Drott has presented papers at national and international conferences, including the Society for Music Theory, the American Musicological Society, the International Musicological Society, the Modernist Studies Association, and the International Conference on Twentieth-Century Music. His articles have appeared in the Journal of the American Musicological Society, Musical Quarterly, Music Analysis, Journal of Musicology, as well as several collections of essays. He is also a recipient of a research fellowship from the National Endowment for the Humanities.

Recent publications:

  • Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968-1981 (University of California Press, 2011).
  • “Lines, Masses, Micropolyphony: Ligeti’s Kyrie and the ‘Crisis of the Figure.'” Perspectives of New Music vol. 49 nos. 1-2 (2011).
  • “The End(s) of Genre.” Journal of Music Theory, vol. 57 no. 1 (Spring 2013).
  • “What Inclusiveness Excludes.” Journal of the American Musicological Society, vol. 65 no. 3 (Winter 2012).

Forthcoming articles:

  • “Music and May ’68 in France: Practices, Roles, and Representations.” In Dissenting Across Borders: Music and Protest in 1968. Ed. Beate Kutschke and Barley Norton. Cambridge University Press.
  • “Music, the Fête de l’Humanité, and Demographic Change in Postwar France.” In Red Strains: Music and Communism outside the Communist Bloc after 1945. Ed. Robert Adlington. Oxford University Press.

Recent and forthcoming papers:

  • “Music as a Technology of Surveillance.” Paper to be presented at the National Meeting of the American Musicological Society, Vancouver, BC, November 3-6, 2016.
  • “Music, Technology, and Music-as-Technology.” Paper to be presented at the National Meeting of the Society for Music Theory, Vancouver, BC, November 3-6, 2016.
  • “Why the Next Song Matters” Keynote address, University of Minnesota Music and Sound Studies Symposium, Minneapolis, MN, September 16-17, 2016. Also to be presented at the University of Chicago Music Department Colloquium Series, May 2017.
  • “Putting New Music Ensembles in their Place.” Response to Panel, “Aspects of Ensemble Practice in the 1970s,” Royal Musical Association Annual Meeting, September 3-5 2016, London, England.
  • “Genre in the Age of Algorithms.” Paper presented at the Northwestern University Music Theory Colloquium, May 2, 2016
  • “Notes on the Political Economy of Music Recommendation.” Paper presented at the American Comparative Literature Association national meeting, Cambridge, MA, March 17-20, 2016.
  • “La musique en streaming et les médiations du capitalisme cybernétique.” Keynote presentation, Association pour un Colloque Etudiant sur les Musiques Populaires, Paris, France, December 4-5, 2015.
  • “The Peasant’s Voice and the Tourist’s Gaze: Listening to Landscape in Luc Ferrari’s ‘Petite symphonie intuitive pour un paysage de printemps’.” Paper to be presented at the Ecomusicologies 2012 Conference, New Orleans, LA (29-31 October 2012)

Robert HattenRobert S. Hatten

Marlene and Morton Meyerson Professor in Music

Professor of Music Theory

rohatten@austin.utexas.edu

Robert S. Hatten joined the faculty in Fall 2011 as Professor of Music Theory, having taught previously at Indiana University. His first book, Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation (Indiana University Press, 1994), was co-recipient of the Wallace Berry Publication Award from the Society for Music Theory in 1997. His second book, Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert (Indiana University Press, 2004), helped launch the book series “Musical Meaning and Interpretation,” for which Dr. Hatten serves as general editor. Dr. Hatten has served as Vice-President of the Society for Music Theory (2005-07) and President of the Semiotic Society of America (2007-08). His research interests include semiotic theories of musical meaning (including agency, expressive genres, gesture, style, topics, tropes, and narrativity), performance and analysis (as pianist), music and the poetic text (as poet), and twentieth-century opera (as librettist and composer). He has given invited papers and keynotes across North American and Europe, and extended lecture series in Poland, Finland, Spain, and Mexico.

Books:

  • Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation (Advances in Semiotics, Thomas A. Sebeok, general editor). Bloomington and Indianapolis: Indiana University Press, 1994. Wallace Berry Publication Award, Society for Music Theory, 1997 (co-recipient). Paperback reprint, 2004.
  • Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert, (Musical Meaning and Interpretation, Robert S. Hatten, editor), Bloomington and Indianapolis: Indiana University Press, 2004.
  • A Theory of Virtual Agency for Western Music (forthcoming, Indiana University Press)

Recent Articles (selected):

  • “An Introduction to Virtual Agency in Music,” in Semiotics 2015: Virtual Identities, ed. Jamin Pelkey (Semiotic Society of America, 2016), 1-9.
  • “Reflections Inspired by a Response” [response to Lorraine Byrne Bodley’s response to my “A Surfeit of Musics: What Goethe’s Lyrics Concede When Set to Schubert’s Music,” 19th-Century Music Review 5:2 (2008)],  19th-Century Music Review 13 (2016), 35-38.
  • (with Ann Gebuhr) “A Sea of Dreams Did Breathe on Me…: Songs of Reflection and Nostalgia,” translated in Polish, Teoria Muzyki 7 (Krakow Academy of Music, 2016), 53-74.
  • “Schubert’s Alchemy: Transformative Surfaces, Transfiguring Depths,” in Schubert’s Late Music in History and Theory, ed. Lorraine Byrne-Bodley and Julian Horton (Cambridge: Cambridge University Press, 2016), 91-110.
  • “Reconceiving Analysis,” International Journal of Musicology, New Series, vol. 2 (2016), 237-52.
  • “Melodic Forces and Agential Energies: An Integrative Approach to the Analysis and Expressive Interpretation of Tonal Melodies,” in Music, Analysis, Experience. New Perspectives in Musical Semiotics, ed. Constantino Maeder and Mark Reybrouck (Leuven: Leuven University Press, 2015), 315-30.
  • “Commentary: ‘Up’ within ‘Down’,” (response to Jonathan Still, “How Down is a Downbeat? Feeling Meter and Gravity in Music and Dance”), Empirical Musicology Review 10: 2 (2015), 138-39.
  • Review, Matthew Riley, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart (Oxford: Oxford University Press, 2014), Music Theory Online 21.2.10 (July 2015).
  • “Performing Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A Minor and the Last Dance of Schumann’s Davidsbündlertänze.” Music Theory Online 20:4 (December 2014), URL: http://www.mtosmt.org/issues/mto.14.20.4/mto.14.20.4.hatten.html
  • “Beyond ‘Beyond Analysis’,” in Musical Analysis. Historia – theoria – praxis, ed.Anna Granat-Janki et al., (Wrocław: The Karol Lipiński Academy of Music in Wrocław, 2014), 35-48.
  • “The Troping of Topics in Mozart’s Instrumental Works,” in The Oxford Handbook of Topic Theory, ed. Danuta Mirka (Oxford: Oxford University Press, 2014), 514-538.
  • “Le geste par defaut: comment les auditeurs trouvent le sens d’une oeuvre en l’absence d’organisation tonale,” in Expression et geste musical, Coll. Arts 8, ed. Susanne Kogler and Jean-Paul Olive (Paris: Editions L’Harmattan, 2013), 139-52.
  • “A Discourse on Musical Values,” in Music: Function and Value, vol. 1. Proceedings of the 11th International Congress on Musical Signification, Kraków, Poland, September 27-October 2, 2010. Ed. Teresa Malecka and Malgorzata Pawlowska (Kraków: Akademia Muzyczna w Krakowie, 2013), 56-74.
  • (with Byron Almén) “Narrative Engagement with 20th-century Music: Possibilities and Limits,” in Music and Narrative since 1900, ed. Michael Klein and Nicholas Reyland (Bloomington:Indiana University Press, 2012), 59-85.
  • (with Jenefer Robinson) “Emotions in Music,” Music Theory Spectrum 34:2 (Fall 2012), 71-106. Distinguished music philosopher and aesthetician Prof. Jenefer Robinson (U. Cincinnati) is author of Deeper than Reason: Emotion and its Role in Literature, Music, and Art (Oxford, 2005).
  • “Musical Forces and Agential Energies: An Expansion of Steve Larson’s Model,” Music Theory Online 18.3 (Fall 2012). URL: http://mtosmt.org/issues/mto.12.18.3/mto.12.18.3.hatten.php
  • “Enlarging the Musical Discourse: Mozart’s Piano Quartet in G Minor, K. 478,” in Mozart’s Chamber Music with Keyboard, ed. Martin Harlow (Cambridge: Cambridge University Press, 2012), 182-97.
  • “On Metaphor and Syntactic Troping in Music,” in Music Semiotics: A Network of Significations: In Honour and Memory of Raymond Monelle, ed. Esti Sheinberg (Ashgate Press, 2012), 87-103.
  • “Interpreting the Grotesque in Music,” Semiotics 2011: The Semiotics of Worldviews. (New York: Legas, 2012), 419-26.(New York: Legas, 2012), 419-26.
  • “Analiza i abdukcja” [“Analysis and Abduction”] Teoria Muzyki 1 (2012), 51-56. (invited article, inaugural issue of the journal Music Theory, Kraków Academy of Music)
  • Review article, “Sentiment and Style: Charles Rosen’s Pursuit of Musical Meaning,” Charles Rosen, Music and Sentiment (Yale, 2010), Nineteenth-Century Music Review 8 (2011), 273-84.
  • “Aesthetically Warranted Emotion and Composed Expressive Trajectories in Music,” Music Analysis 29/1-3 (2010), 83-101. (plenary address from International Conference on Music and Emotion 2009, Durham, England).
  • “Performance and Analysis—or Synthesis: Theorizing Gesture, Topics, and Tropes in Chopin’s F-Minor Ballade,” Indiana Theory Review 28 (2010), 45-66. See http://music.indiana.edu/ITR/itr-newissue.htm for my performance of excerpts discussed.
  • “Musical Agency as Implied by Gesture and Emotion: Its Consequences for Listeners’ Experiencing of Musical Emotion,” in Semiotics 2009: Proceedings of the 34th Annual Meeting of the Semiotic Society of America, ed. Karen Haworth and Leonard Sbrocchi (New York: Legas Publishing, 2010), 162-69.
  • “A Surfeit of Musics: What Goethe’s Lyrics Concede When Set by Schubert,” 19th Century Music Review 5/2 (2008), 7-18 [special issue ed. James Sobaskie and Susan Youens].
  • “Interpreting the ‘Tempest’ through Topics, Gestures, and Agency,” in Beethoven’s Tempest Sonata: Contexts of Analysis and Performance [Analysis in Context: Leuven Studies in Musicology], ed. Pieter Berge, Jeroen D’hoe, and William Caplin (Leuven: Peeters, 2009), 163-180.

Forthcoming Articles:

  • “Constructions of Musical Agency and Musical Narrative,” for Proceedings, Narratology and the Arts, ed. Márta Grabócz, University of Strasbourg, France.
  • “Les degrés de narrativité en musique,” to appear in Marta Grabocz (ed.), Narratologie musicale: théorie et analyse (Topiques et strategies narratives en musique). Paris: Editions des Archives contemporaines

Recent and forthcoming presentations:

  • “Staging Subjectivity as Spiritual Freedom: Beethoven’s ‘Emergent’ Themes,” “Utopian Visitions and Visionary Art: Beethoven’s ‘Empire of the Mind’ Revisited,” Internationales Forschungszentrum, Vienna (March 17, 2017).
  • “Agentially and Expressively Motivated Counterpoint,” Society for Music Theory, Vancouver (November 4, 2016).
  • “A Theory of Virtual Agency in Music,” for University of Michigan, Distinguished Resident (Sept. 15, 2016), Eastman School of Music (Sept. 30, 2016), and Michigan State University (Jan. 13, 2017).
  • “Composing my own libretto: Valerie’s scena from Compassion,” Eastman Symposium on Song, organized by Matt BaileyShea and Stephen Rodgers, Rochester University (Oct. 1, 2016).
  •  Keynote address on gesture and virtual agency, international colloquium, Penser l’art du geste en résonance entre les arts et les cultures, organized by the Sorbonne in Paris (June 29, 2016).
  • Keynote address on virtual agency in music for the International Congress on Musical Signification, Canterbury, England. (April, 2016).
  • Keynote address on virtual agency in music, for Laboratory on Music and Rhetoric at the University of Parma, Italy. Another lecture to accompany a performance of the fourth scene of my one-act opera, Compassion, set in Italy during WWI (March, 2016).
  • Keynote on virtual agency and co-directing 3-hour (public) student workshop on 19th-century musical form (with Prof. Boyd Pomeroy), University of Arizona (February 2016).
  •  “Virtual Agency in Music,” Louisiana State University (October 16, 2014) and University of California at Santa Barbara (May 20, 2015).
  • Housewright Scholar at Florida State University (5-day residency, February 16-20, 2015). Presentation and teaching for “Musical Meaning and Performance” (3 days), “Classical Forms and Styles,” “Music and Meaning” (doctoral seminar), “Pedagogy of Music Theory,” “Piano Etudes as Art Music,” and lectures for the Cawthon Colloquium (freshmen) and the Music Theory Society (“Virtual Agency in Music”).
  • “Beethoven, Sonata Form, and Paradox,” plenary lecture/performance (Beethoven, Op. 101, I), and “Virtual Agency in Mozart’s Piano Sonatas: From Musical Forces to Subjectivity,” Semiotic Society of America, Seattle, Washington, Oct. 1-5, 2014.“Interpreting the Mozart Piano Sonatas,” two invited lectures and a masterclass, Berea College, Kentucky, September 12-13, 2014.
  • “Virtual Agency in Music,” five lectures and ten classes. Three doctoral lectures: “A Theory of Virtual Agency in Music,” “Further Implications of Agency: Melody as Melos and Refractive Counterpoint,” “Understanding Subjectivity and its Historical Emergence in Music,” Kraków Academy of Music, April 9-15, 2014.
  • (with Ann Gebuhr) “Freedom in Life, Freedom Through Death: From Beethoven to Bonhoeffer,” Beethoven Easter Festival, Warsaw, Poland, April 7-8, 2014.
  • “Toward Virtual Human Agency in Tonal Instrumental Music: From Musical Forces to Subjectivity,” Indiana University, September 25, 2013; Northwestern University, October 19, 2013; Karol Szymanowski Academy of Music, Katowice, Poland, November 28, 2013.
  • (with Ann Gebuhr) “A Sea of Dreams Did Breathe on Me…: Songs of Reflection and Nostalgia,” for symposium on “Generation 80: Penderecki, Gorecki, and Bujarski,” Krakow Academy of Music, November 27, 2013.
  • “Narrative Agency in Music: Its Consequences for Shostakovich’s Opera Based on Leskov’s Lady Macbeth of Mtsensk,” “Narrativity and the Arts” II, University of Strasbourg, France, December 6, 2013.
  • “Semiotics and Music,” one-hour seminar for the members of the Semiotic Society of America, Dayton, October 24, 2013.
  • “Engaging the Spiritual in Music,” invited lecture, Penn State University, April 16, 2013.
  • “Melodic Forces and Agential Energy: An Integrative Approach to the Analysis and Expressive Interpretation of Tonal Melodies,” invited keynote address, to appear in selected proceedings volume for the XIIth International Congress of Musical Signification (Université catholique de Louvain, Belgium), April 2-6, 2013). Also performed a piano recital of the five works discussed in my keynote at the Académie Royale de Belgique in Brussels.
  • “Beyond ‘Beyond Analysis’,” invited keynote address, to appear in proceedings volume for “Musical Analysis. Historia – theoria – praxis,” international conference in Wroclaw, Poland, December 11-12, 2012.
  • “Constructions of Musical Agency and Musical Narrative,” invited paper, international symposium on “Narratology and the Arts,” organized by Márta Grabócz, Institut Hongrois, Paris, Dec. 7-8, 2012.
  • “The Troping of Topics in Mozart’s Instrumental Works,” for SMT/AMS joint session, New Orleans, Nov. 2, 2012.
  • “Performing Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A Minor and the Last Dance of Schumann’s Davidsbündlertänze.” SMT, Indianapolis, Indiana, November 6, 2010.
  • “Schubert’s Late Style,” Keynote address for the international conference, Schubert and Concepts of Late Style, National University of Ireland, Maynooth, Ireland, October 21-23, 2011.
  • “Musical Forces and Agential Energies: An Expansion of Steve Larson’s Model,” Keynote address for the Steve Larson Memorial Conference (West Coast Conference of Music Theory and Analysis), University of Oregon, Eugene, Oregon, March 2-4, 2012.
  • Beyond “Beyond Analysis,” Keynote address for Music Theory Southeast, Emory University, Atlanta, Georgia, March 9-10, 2012.
  • “On War and Peace (Inner and Outer): A Complex Series of Oppositions in Beethoven’s Agnus Dei and Op. 111 from 1822,” Beethoven Symposium, Beethoven Easter Festival, Warsaw, Poland, March 27, 2012.
  • “Engaging the Spiritual in Music through Theory and Analysis,” Houston Baptist University, April 12, 2012.

One-week teaching residencies at the Academy of Music, Kraków, Poland:

  • Musical Gesture: April, 2011
  • Topics and Tropes: November, 2011
  • Narrativity: March, 2012
  • Analytical Techniques: November, 2013
  • Virtual Agency in Music: April, 2014

Professional Societies:

  • Semiotic Society of America: Program Committee (2013-14)
  • Society for Music Theory: President-Elect (2017)
  • Texas Music Theory Society: Program Committee (2011-12)

David NeumeyerDavid P. Neumeyer

Professor Emeritus of Music Theory

 

 

E-mail:
neumeyer@utexas.edu

David Neumeyer is Professor Emeritus of Music Theory in the School of Music. He is the editor of The Oxford Handbook of Film Music Studies (2014), co-editor of Music and Cinema (Wesleyan University Press), and co-author of Hearing the Movies: Music and Sound in Film History (Oxford University Press). His research interests include music in film, linear analysis (including Schenker), and music and social dance in the eighteenth and nineteenth centuries. Early in his career, he wrote The Music of Paul Hindemith (Yale University Press), which won a publication award from the Society for Music Theory in 1987. He serves on the editorial board of Music and the Moving Image. Dr. Neumeyer earned a bachelor’s degree from Michigan State University and master’s and doctoral degrees from Yale University. He taught formerly at Indiana University, where he also served as Director of Graduate Studies in the School of Music (1993-2000).

visit Dr. Neumeyer’s homepage


Edward PearsallEdward Pearsall

Associate Professor of Music Theory

epearsall@utexas.edu

Edward Pearsall holds a PhD from the University of Wisconsin. He served on the faculty at Texas Tech University before joining the UT theory faculty in 1999 and is the current president of the Texas Society for Music Theory. His research addresses topics ranging from cognitive approaches to prolongation in tonal and post-tonal music to theories of rhythm, interpretation and performance, the music of George Crumb, and biological explorations of music and the mind. Articles on these and other subjects have appeared in numerous books and journals including, among others, the Journal of Music Theory, Music Analysis, Perspectives of New Music, Indiana Theory Review, and College Music Symposium. He is co-editor (with Byron Almén) of a book on music and interpretation published by Indiana University Press entitled Approaches to Meaning in Music. As an active composer, he has written music for both film and radio. He began his career in music as a professional tubist and has performed professionally with such prestigious ensembles as the Pittsburgh Symphony, the Mexico City Philharmonic, and the Missouri Brass Quintet. In addition to his scholarly and creative pursuits, he is a board-certified music therapist specializing in psychiatric disabilities.

Selected Publications

  • Twentieth-Century Music Theory and Practice. New York: Routledge, 2012.
  • Review: “George Crumb: Complete Crumb Edition, Vol. 11.”  Journal of the Society for American Music 5/4, 2011: 571-74.
  • “George Crumb.” In Musicians and Composers of the 20th Century, ed. Alfred Kramer. Pasadena, CA: Salem Press, 2009.
  • Approaches to Meaning in Music, eds. Byron Almén and Edward Pearsall. Bloomington: Indiana University Press, 2006. (Robert S. Hatten Series on Musical Meaning and Interpretation).
  • “Shape/Interval Contours and Their Ordered Transformations: A Motivic Approach to the Aural Analysis of Twentieth-Century Music.” (Co-author, John Schaffer-University of Wisconsin). College Music Symposium 45, 2005: 57-80.
  • “Dialectical Relations Among Pitch Structures in the Music of George Crumb.” In George Crumb and the Alchemy of Sound: Essays on His Music, eds. Stephen Bruns and Ben Amots. Boulder: Colorado College Press, 2005.
  • “Transformational Streams: Unraveling Melodic Processes in Twentieth- Century Motivic Music.” Journal of Music Theory 48/1, 2004.
  • “The Structure of Conflict: Dialectics and the Play of Personae in Chopin’s Op. 27, no. 2.” Indiana Theory Review 24/1 (Special Issue on Analysis and Performance), 2003: 107-127.
  • “Symmetry and Goal-Directed Motion in Music by Two Twentieth-Century ‘Colorists,” Béla Bartók and George Crumb.” Tempo 58/228, 2004: 32-40.
  • “Motif as Action: A Systems Approach to Motion in Music and Architecture.” In Systems Research in the Arts, Vol. IV: Music, Environmental Design and the Choreography of Space, eds. George E. Lasker, Jane Lily, and James Rhodes. Niagara Falls, New York: The International Institute for Advanced Studies (IIAS), 2002, 35-38.
  • “Mind and Music: On Intentionality, Music Theory, and Analysis.” Journal of Music Theory 43/2, 1999: 231-55.
  • “Interpreting Music Durationally: A Set Theory Approach to Rhythm.” :italicPerspectives of New Music 35/1, 1997: 205-30.
  • “Multiple Hierarchies: Another Perspective on Prolongation.” Indiana Theory Review 17/1, 1996: 37-66.
  • “Harmonic Progressions and Prolongation in Post-Tonal Music.” Music Analysis 10/3, 1991: 345-55.

Recent and Forthcoming Presentations

  • “Restless Minds: Seeking Equilibrium in Music.” International Musicological Society.  Tokyo, Japan, March 20, 2017.
  • “Music and Motion: More than a Metaphor.”  Hawaii International Conference on the Arts and Humanities.  Honolulu, January 14, 2007.
  • “Motif as Action: A Systems Approach to Motion in Music and Architecture.” Fourteenth Annual Symposium on Systems Research in the Arts: Music, Environmental Design and the Choreography of Space. Baden-Baden, Germany, July 30, 2002.

Software

  • Motivic Hearing, Online Twentieth-Century Ear-Training Program (2011).

Professional License

  • Board Certified Music Therapist—MT-BC

Research Grants

  • College of Fine Arts Summer Research Grant (University of Texas—Summer, 2014).
  • University of Texas Special Research Grant (September 29-October 1, 2013)
  • University of Texas Faculty Research Award (2010).
  • Faculty and Student Teams for Technology (~FAST Tex) Grant, a program of The Center for Teaching and Learning at the University of Texas at Austin (2010-2011).

Merit and Recognition

  • Butler School of Music Teaching Excellence Award, 2015.
  • Author of the Month, December, 2011 (New York: Routledge).
  • Texas Exes Teaching Excellence Award, May 2009.
  • Fellow (2009). Mannes Institute on Mind and Music

John Turci-EscobarJohn Turci-Escobar

Assistant Professor of Music Theory

turci-escobar@austin.utexas.edu

John Turci-Escobar earned a B.A. from Rutgers University (1996) and a Ph.D. from Yale University (2004). His primary areas of interest are the late Italian madrigal, the music of Astor Piazzolla, and Argentine tango. Secondary areas of interest include nineteenth-century chromaticism, Classical form, and broader issues in music and meaning. Turci-Escobar has presented his work at regional, national, and international conferences. He is currently writing a series of articles on the music of Carlo Gesualdo and the late Italian madrigal. He is also preparing a book on the 1965 collaboration between Astor Piazzolla and Jorge Luis Borges.


Marianne WheeldonMarianne Wheeldon

Associate Professor of Music Theory

mwheeldon@austin.utexas.edu

Marianne Wheeldon received degrees in music theory from King’s College, University of London (B.Mus) and Yale University (Ph.D.). Her research interests include the music of Claude Debussy and its posthumous reception, the analysis of twentieth-century French music, and interdisciplinary topics in music analysis, cultural history, and the sociology of culture. Professor Wheeldon regularly teaches graduate courses in Schenkerian Analysis, Form Theory, and offers doctoral seminars in her areas of interest, including Music and Culture in fin-de-siècle Paris, Music Analysis in Cultural Context, Neoclassicism, and Musical Schemata.

Books:

  • Debussy’s Legacy and the Construction of Reputation (New York: Oxford University Press, 2017).
  • Debussy’s Late Style (Bloomington: Indiana University Press, 2009).

Edited Collection:

  • Rethinking Debussy, ed. Elliott Antokoletz and Marianne Wheeldon (New York: Oxford University Press, 2011).

Recent Articles:

 

  • “Anti-debussyism and the Formation of French Neoclassicism,” Journal of the American Musicological Society 70, no. 2 (2017).
  • “Debussy, le debussysme et les Chansons de Charles d’Orléans,” in Regards sur Debussy, ed. Myriam Chimènes and Alexandra Laederich (Paris: Fayard, 2013).
  • “Defending Tonality: the Musical Thought of Milhaud and Koechlin,” Tonality 1900-1950: Concept and Practice, ed. Felix Wörner, Ullrich Scheideler, and Philip Rupprecht (Steiner Verlag: Stuttgart, 2012).
  • Tombeau de Claude Debussy: the Early Reception of the Late Works,” Rethinking Debussy, ed. Elliott Antokoletz and Marianne Wheeldon (New York: Oxford University Press, 2011).
  • “Debussy’s Legacy: the Controversy over the Ode à la France,” Journal of Musicology, Vol. 27 no. 3 (Summer 2010).
  • “The String Quartets of Debussy and Ravel,” Intimate Voices: the Twentieth-Century String Quartet, Vol. 1, ed. Evan Jones (Rochester: University of Rochester Press, 2009).

Recent Presentations:

 

 

  • “Neoclassicism Reconsidered,” Louisiana State University, October 2015.
  • Anti-debussysme and the Formation of French Neoclassicism,” International Conference for Music since 1900, Liverpool Hope University, England, 2013.
  • “Five Unknown Early Songs of Debussy: History, Style, Analysis, and Performance,” American Musicological Society, New Orleans, 2012.
  • Debussysme after Debussy,” Symposium: “L’héritage de Claude Debussy: du rêve pour les générations futures,” University of Montréal, March 2012.
  • “Debussy, debussysme et les Chansons de Charles d’Orléans ,” Colloque International Claude Debussy, Paris, February 2012.
  • “Debussy’s Reputational Entrepreneurs,” Symposium: “Music Criticism in France during the Interwar Period,” University of Ottawa, November 2011.
  • “Defending Tonality: the Musical Thought of Milhaud and Koechlin,” Symposium: “Concepts and Practices of Tonality 1900-1950,” University of North Carolina at Chapel Hill and Duke University, 2010.
  • “Debussy, Villon, and the Ode à la France,” American Musicological Society, Philadelphia, 2009.
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