Notes on Contributors
He is assistant professor of music theory at the Eastman School of Music (Rochester, NY), and previously was on the faculty of the Indiana University Jacobs School of Music. He earned the PhD in music theory from Yale University in 2013 with a dissertation on the keyboard suites of J. S. Bach, and also holds a DMA in piano performance from the University of Minnesota. His research on structure and style in Baroque music, as well as on musical form in the eighteenth through twentieth centuries, has been presented at national and international conferences. An article titled Parametric Interaction in Tonal Repertoires is forthcoming in the «Journal of Music Theory».
He is a lecturer in musicology at the University of Pisa. His main research topics are music theory, musical aesthetics, the symphonies of Bruckner and Mahler, the theory, history and analysis of film music and musical performance. His articles appear in musicological journals including «Il Saggiatore musicale» and «Music, Sound, and the Moving Image». He contributed chapters in several books, including the forthcoming Rethinking Mahler (Oxford University Press). He participates in the editorial board of the journal «Analitica» and in the scientific com- mittee of the Gruppo Analisi e Teoria Musicale (GATM). He collaborates with the Institute of Music of the Giorgio Cini Foundation, Venice, where he serves as editorial board member of the online journal «Archival Notes».
He is director of graduate studies and coordinator of music theory at Florida Inter- national University. His research has focused on musical form, Schenkerian theo- ry, and the music of Kurt Weill, with publications in «Music Theory Spectrum», «Journal of Music Theory», «Intégral», «Current Musicology», «Notes», The Kurt Weill Edition, the Oxford Handbook series, and the International Schenker Symposium series. He is a past editor of the «Journal of Music Theory» and currently serves on the editorial boards of The Kurt Weill Edition (the critical edition of the composer’s complete musical works) and «Music Theory Spectrum».
He is a PhD candidate in music theory at the City University of New York and a lecturer at the University of Massachusetts Amherst. His research focuses on how Heinrich Schenker’s approach to form changed over time, including recent papers read at the Seventh International Conference on Music Theory (Tallinn, Estonia), the European Music Analysis Conference (Leuven, Belgium) and the Annual Meeting of the Society for Music Theory (Milwaukee Wis.). His work appears in «Theory and Practice» and the «Journal of the American Musicological Society».
Steven D. Mathews
He is a PhD candidate in music theory at the University of Cincinnati. His in progress dissertation focuses on Schenkerian analysis and sonata forms without recapitulations. He has read papers related to this topic at the European Music Analysis Conference (Leuven, Belgium) and Mannes College’s Third Graduate Student Conference (New York City). He has also read papers on diverse topics, including the bass lines of Tomás Luis de Victoria, the concertos of Alexander Glazunov, and Schenkerian pedagogy, at regional and national meetings of the Society for Music Theory. Several reviews of recent Neo-Riemannian and Schenkerian literature appear in «Notes», «Music Research Forum», and forthcoming in «Indiana Theory Review».
He is professor emeritus at the Paris-Sorbonne University. For twenty years he has been researcher in the Musical Instruments Museum Brussels and directed this institution for several years before moving to Paris in 1995. He directed the music department in the Sorbonne (1999-2004) and the research team Langages musicaux (1998-2008). A founding member of the Belgian Society for Music Analysis, he is a member of the administrative board of the French Society for Music Analysis, and the chief editor of the journal «Musurgia». He read papers in th3 European Music Analysis Conferences and in many other conferences in Europe and abroad. His many publications concern organology, the history of music theory, and music analysis. He is the French translator of Schenker’s Der freie Satz.
He is maître de conférences at the Paris-Sorbonne University and a member of the Institut de recherche en musicologie (IReMus, Paris). He specialises in the history of music theory (eighteenth to twentieth century), a research area to which he devoted a book (La théorie musicale germanique du XIXe siècle et l’idée de cohérence, Société française de musicologie, 2009) and papers presented in several international conferences. He also produces critical editions, including two versions of Fauré’s Requiem (Carus-Verlag, Stuttgart 2005 and 2011) and a Gounod volume in preparation. He has been editor of the «Cahiers Rémois de Musicologie».
He is associate professor of music theory at Indiana University Bloomington. He was a workshop leader at the Mannes Institute for Advanced Studies in Music Theory Summer Institute in Schenkerian Theory and Analysis in 2002 and a work- shop leader as well as invited presenter at the first conferences in Germany devoted to Schenkerian theory and analysis held in Berlin, Sauen and Mannheim in 2004. He has lectured on voice-leading and musical time at the Sibelius Academy in Helsinki in 2007 and spoke as Endowed Chair at the University of Alabama in 2016. His publications appear in book series and journals, including Schenker Studies 2, «Beethoven Forum», «Theory and Practice», «Music Theory Spectrum», «Music Theory Online», «Intégral», and in several recent volumes. He is currently working on a book on Schenkerian theory and analysis.