The Division of Music History, Theory, and Ethnomusicology is a vibrant contributor to the College of Music. MHTE maintains a full range of academic programs from the bachelor's to the doctorate. In fact, the Ph.D. program, celebrating more than a half-century of activity, was the first in the university. Today more than 70 students are enrolled in its graduate programs.
The division offers the B.A. in Music with an emphasis in Music History; the B.M. in Music Theory, the Master of Arts in Music with concentrations in musicology, ethnomusicology, music theory, and musicology with an emphasis in early music performance; the Ph.D. in Music with concentrations in music theory, musicology, and musicology with an emphasis in early music performance.
As a hub of academic activity, the division fosters a wide range of activities. Students are encouraged to take advantage of our faculty's vast expertise in historical musicology, theory, and ethnomusicology. Division faculty members have been recognized with significant awards for outstanding teaching, research, service and the promotion of diversity in teaching and across campus.
Frank Heidlberger, Chair.
The division sponsors a lecture series that annually attracts scholars from throughout the world, regularly invites short residencies from major figures in the disciplines, and in recent years has hosted important international conferences on Strauss, Berlioz, 500 years of printed music, and Argentine Song. MHTE publishes Theoria, a journal devoted to historical aspects of music theory, recently achieving its sixteenth volume. Faculty lead study abroad opportunities in Eastern Europe, India, Ghana, and China. In 2009, MHTE hosted the AMS-Southwest and SEM-Southern Plains chapter meetings.
The Early Music Performance program, one of the largest in the United States, has been designated an area of excellence within the College. Its Baroque Orchestra maintains an extraordinary level of historically informed performance on period instruments and garners international acclaim. The early music performance program is led by the acclaimed conductor, Paul Leenhouts. Dr. Richard Sparks, Chair of Conducting and Ensembles, works closely with musicology faculty on the "musicology with an emphasis in early music performance studies" curriculum.
The newest program is the master’s degree in Ethnomusicology, now in its seventh year. The College of Music is the proud steward of a full Balinese gamelan, given the name "Bwana Kumala," Jewel of the World. Ethnomusicology and world music ensemble faculty engage in collaborative efforts through the Global Music consortium, a group of faculty dedicated to the study, transmission, and enhanced understanding of music cultures throughout the world.
Division students regularly present their research at regional, national and international conferences and engage with their colleagues as well as faculty through GAMuT, the Graduate Association of Musicologists and Theorists.
While the faculty members have achieved distinction in the full range of their respective disciplines, UNT has become noted as center for study in early music, African and African American music, and especially nineteenth and early twentieth century music. With regard to the latter, an important focal point of activity is the Center for Schenkerian Studies, which particularly seeks to integrate scholarship and performance, and publishes its own Journal of Schenkerian Studies. In Spring 2009, the Center sponsored the Hans Weisse Memorial Concert and a residency by theorist, Allen Forte. More recent lectures, publications, and concerts by our faculty can be found under the individual biographies.
We hope that you will be encouraged to learn more about our programs, attend concerts and lectures sponsored by MHTE, and meet our outstanding faculty and students.
Danny Arthurs, Music Theory
Steven Friedson, Ethnomusicology
Bernardo Illari, Music History
For additional information about our programs, please contact Prof. Frank M. Heidlberger, division chair, at email@example.com.
Wednesday, November 6, 4-5pm, Room 321
University of California, Santa Barbara
Title: “Strategies of now-then: molding Mexicanness through music, dance, theater, film, and photography”
Reception in the Green Room, 5-6pm
Ruth Hellier-Tinoco holds a Ph.D. in Ethnomusicology and Performance Studies from the Birmingham Conservatoire, University of Central England. She is Associate Professor in the Department of Music, University of California, Santa Barbara where her classes are also listed in the departments of Theater and Dance, Feminist Studies and Latin American and Iberian Studies. Her interdisciplinary research and teaching are particularly focused on Mexican music and dance, politics, poetics and cultural history; experimental performance-making; and community and educational arts.
Between 1983 and 1994 Hellier-Tinoco had a successful career as a stage actress and performer in the UK, and also worked as a community arts facilitator and Head of Music in secondary education. In the field of arts and disability, she directed the InterAct Theatre Workshop.
Dr. Hellier-Tinoco’s publications include the books Embodying Mexico: Tourism, Nationalism, and Performance (Oxford University Press); Women Singers in Global Contexts: Music, Biography, Identity (University of Illinois Press); and Creating Theater and Performance: Mexican Trilogy–Trilogía Mexicana (forthcoming).
Wednesday, October 23, 4-5pm, Room 321
Title: Far buon stromento: Reconstructing the technique of a forgotten instrument
|Bruce Dickey is a performer and researcher who has devoted himself since 1975 to the revival of the cornetto. He has taught cornetto and 17th century performance practice at the Schola Cantorum Basiliensis in Basel (Switzerland) since 1976 and is founder and co-director of the ensemble Concerto Palatino. As a performer he has made many groundbreaking recordings both as a soloist and with his ensemble, and has collaborated with most of the leading figures in the field of early music. His many students, over more than 30 years of teaching at the Schola Cantorum Basiliensis, have helped to consolidate and elevate the status of this once forgotten instrument. For his achievements the Historic Brass Society awarded him in 2000 the Christopher Monk Award for "his monumental work in cornetto performance, historical performance practice and musicological scholarship." In 2007 he was honored by British conductor and musicologist Andrew Parrott with a “Taverner Award” as one of 14 musicians whose “significant contributions to musical understanding have been motivated by neither commerce nor ego.” He has published numerous articles on the cornetto and performance practice. Together with Michael Collver, he has published a catalog of the surviving cornetto repertoire, and, together with trumpeter Edward Tarr, a book on historical wind articulation.|
Wednesday, September 25, 4-5pm, Room 321
Eastman School of Music/University of Rochester
"Before the Invasion: London, Liverpool and British Pop in the Early 1960s"
Reception in the Green Room, 5-6pm
John Covach is Professor and Chair of Music at the University of Rochester, Director of the University of Rochester Institute for Popular Music, Mercer Brugler Distinguished Teaching Professor, and Professor of Theory at the Eastman School of Music. Professor Covach teaches classes in traditional music theory as well as the history and analysis of popular music. He has published dozens of articles on topics dealing with popular music, twelve-tone music, and the philosophy and aesthetics of music. He is the author of the college textbook What's That Sound? An Introduction to Rock Music, recently published by W. W. Norton in a third edition, and has co-edited Understanding Rock (Oxford University Press), American Rock and the Classical Tradition, and Traditions, Institutions, and American Popular Music (both with Routledge), as well the recently published volume, Sounding Out Pop (Michigan). He is one of the founding editors for the University of Michigan Press series called Tracking Pop, which is devoted to scholarly monographs on popular music.|
As a guitarist, Covach has performed widely on electric and classical guitar in both the US and Europe and recorded with the progressive rock band, Land of Chocolate. He currently performs with several Rochester based bands, including Going for the One.
GAMuT Graduate Student Conference at UNT - Saturday, September 28, 2013
Click here for more information
The Graduate Association of Musicologists und Theorists (GAMuT) and the College of Music at the University of North Texas are pleased to announce a graduate student conference to be held Saturday 28 September 2013 at the University of North Texas in Denton, Texas. We are also excited to announce that Dr. John Covach, Director of the Institute of Popular Music for the Eastman School of Music, will be our keynote speaker.
Thursday, April 11, 2013, 6pm, Voertman Concert Hall
Susan Boynton, Columbia University
Topic: "Liturgy to Devotion: Transformations of the Man of Sorrows, ca. 1340-1503."
Wednesday, April 3, 2013, 4pm, 321:
Professor of Music Theory, Schulich School of Music, McGill University
Topic: "Teaching Classical Form: Strict Categories versus Flexible Analyses."
Professor William Caplin was the invited resident of UNT’s division of Music History, Theory, and Ethnomusicology in April, where he taught graduate analysis classes, including advanced Schenkerian analysis. Caplin’s residency culminated in his lecture at our division lecture series, concerning “Teaching Classical Form: Strict Categories versus Flexible Analyses.”
William Caplin is James McGill Professor of Music Theory at the Schulich School of Music, McGill University, specializing in the theory of musical form and the history of harmonic and rhythmic theory in the modern era. His book Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (Oxford, 1998) won the 1999 Wallace Berry Book Award from the Society for Music Theory (SMT). Caplin publishes in the leading journals of his discipline (e.g., Music Theory Spectrum, Journal of the American Musicological Society, Eighteenth-Century Music) and contributes book chapters to major collections of essays (e.g., Cambridge History of Western Music Theory, Beethoven’s String Quartets, Beethoven’s “Tempest” Sonata). He recently co-authored (with James Hepokoski and James Webster, and edited by Pieter Bergé) Musical Form, Forms, & Formenlehre. A textbook on musical form, Analyzing Classical Form, will be published by OUP in June 2013. A former president of the SMT, he has presented many keynote addresses, guest lectures, and workshops in North American and Europe. He currently holds a major research grant from the Social Sciences and Humanities Research Council of Canada and is serving the second year of two-year leave supported by a Killam Research Fellowship from the Canada Council of the Arts, both on the project “Cadence: A Study of Closure in Tonal Music.”
Wednesday, March 27, 4pm, 321
Robert Pearson, University of North Texas
Topic: "The Critical reception of Beethoven's Fidelio and his 1806 Revisions to 'O namenlose freude'"
Robert D. Pearson is currently a lecturer in music history at UNT. Dr. Pearson received a B. A. in music from UC Davis and higher degrees in musicology from Brandeis University, where his dissertation research on Donald Francis Tovey was supported by an Andrew W. Mellon Dissertation Year Fellowship. His research interests include the history of music theory, performance, and Beethoven.
Monday, March 4, 2013, 4pm, 321
Michael Bakan, Florida State University
Topic: "Musical Ethnography as Social Activism in the Ethnomusicology of Autism"
Dr. Michael Bakan, Professor and Head of Ethnomusicology and World Music at Florida State University visited UNT March 4 and 5 during which time he delivered a division lecture entitled “Musical Ethnography as Social Activism in the Ethnomusicology of Autism.” Bakan detailed his experiences performing music with children labeled autistic over the past decade. He presented a compelling and evocative argument for putting ethnomusicological research to practical use. In particular, he discussed his experience as director of the Artism Ensemble, a unique music performance collective featuring children on the autism spectrum, their co-participating parents, and professional musicians from diverse world cultures. This NEA-funded project provides a powerful vehicle for enacting and promoting forms of social activism that model autistic experience and praxis in terms of ability, creativity, cultural competence, and social agency, rather than in relation to the more customary tropes of disability, rigidity, isolationism, and social exclusion.
In addition to this lecture, Bakan conducted a workshop with graduate students in musicology and ethnomusicology in performing the Balinese Gamelan Beleganjurtradition. Afterwards, he lectured to the World Music survey class on the Balinese gamelan music and dance tradition. In particular, he focused on the role of the Beleganjur musicians as part of ancient cremation ceremonies to cleanse the souls of the deceased and prepare them for reincarnation. This discussion was based on his book Music of Death and New Creation: Experiences in the World of Balinese Gamelan Beleganjur (Univ. of Chicago Press, 1999).
Sriji Poovalur, a member of the UNT Global Music faculty and director of the University’s South Indian Cross-Cultural ensemble gave a guest lecture in the World Music Survey class on March 19. Mr. Poovalur introduced students to the South Indian Carnatic tradition, tracing its early development dating back to the 4th century B.C. He discussed his own experience as part of a musical family lineage and teacher of a distinct microtonal, modal art form which is built upon a highly developed theoretical foundation. In particular, he explained the concept of “tala” and demonstrated various repeated rhythmic phrases which are counted additively.
Wednesday, February 27, 2013, 4pm, 321
Professor Giorgio Sanguinetti of the University of Rome—Tor Vergata completed a one week residency in the theory department this spring. His busy schedule included lecturing in undergraduate core theory classes, a special topics discussion of European vs. American approaches to analysis, he taught 18th-century counterpoint and Schenkerian analysis courses, and read a paper codifying Verdi’s usage of 6/4s as part of the MHTE division lecture series. As the culmination of his stay, Prof. Sanguinetti was the invited keynote speaker at the annual meeting of the Texas Society for Music Theory, held this year at UNT, where he spoke about the history and future of partimenti, the subject of his recent book.
Giorgio Sanguinetti is the author of The Art of Partimento. History, Theory and Practice (Oxford University Press, 2012) and co-author of Partimento and Continuo Playing in Theory and Practice (with Thomas Christensen, Robert Gjerdingen and Rudolf Lutz; Leuven University Press, 2010). He has published on the history of music theory, Schenkerian analysis, form, and opera analysis. His articles and reviews have appeared in The Journal of Music Theory, Studi Musicali, Rivista Italiana di Musicologia, Rivista di Analisi e Teoria Musicale, Fonti Musicali in Italia, Studi Pergolesiani, and in several conference proceedings. He has delivered papers and keynote addresses at the annual meetings of the Society for Music Theory, of the Dutch-Flemish Society for Music Theory, the Società Italiana di Musicologia, at the Schola Cantorum Basilensis, at the 6th European Music Analysis Conference and at several other meetings and conferences. He was the organizer of the VII European Music Analysis Conference (EuroMac 2011). In 2012 he was Visiting Professor at McGill University. He is Associate Professor at the University of Rome–Tor Vergata.
March 1-2, 2013
UNT CoM hosted the TSMT meeting, 1-2 March, 2013
MHTE Welcomes New Faculty (Fall, 2012)
The Graduate Association of Musicologists und Theorists (GAMuT) is a graduate student organization dedicated to providing a forum for the presentation of original research by its members. Recent research presentations have included "From Outward Appearance to Inner Reality: A Brief Journey Through Copland's Inscape," "Dropping the Beat: Formal Devices of Buildups in Trance and House Music," and “Smuggling, Betrayal, and the Handle of a Gun: Death and Autonomy in Two Narcocorridos." In addition, GAMuT offers a forum for discussion of matters relevant to the academic lives of its members and serves as an organized liaison between students and faculty in the Division of Music History, Theory, and Ethnomusicology. Each year, GAMuT publishes a journal, Harmonia, that features papers written by graduate students.