Frank Heidlberger, Chair
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. Read More
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 firstname.lastname@example.org.
MHTE News and Events
The Division of Music History, Theory and Ethnomusicology, the UNT Music Library, and GAMuT hosted a conference in honor of retiring professor Graham Phipps.
Click here for more details
Click here to download the conference program
January 21, 2014
Congratulations to Bernardo Illari for winning the Otto Mayer-Serra Competition!
The Center for Iberian and Latin American Music at the University of California, Riverside, is pleased to announce the winner and honorable mention in the 2013 Otto Mayer-Serra Competition, for the best essay on Latin American music in either musicology or ethnomusicology. This annual competition honors the memory of the Spanish-Mexican musicologist Otto Mayer-Serra (1904-68) and seeks to continue his groundbreaking research on the music of Latin America. The OMS competition accepts submissions in Spanish or Portuguese. The winner receives a cash award of $1500, and his or her article will be published in Latin American Music Review.
This year’s judges reviewed numerous essays and were duly impressed by their high quality. Information about next year’s competition will be available in early 2014.
2013 Otto Mayer-Serra Competition Results
Bernardo Illari: “¿Una nueva y gloriosa nación? Retórica y subjetividad en la Marcha patriótica rioplatense de 1813.”
Julio Mendívil: “El imperio contraataca: La representación revivalista de la música incaica y los primeros brotes de nacionalismo en la musicología sobre la región andina.”
The Center for Iberian and Latin American Music is grateful to all those who submitted essays to this competition and looks forward to future contributions. It especially wishes to thank the three judges who reviewed the submissions:
John Koegel, chair (California State University, Fullerton)
Frederick Moehn (King’s College London)
Melanie Plesch (University of Melbourne)
Title: Structural Cyclicity in the Early Trecento Ballata
Wednesday, March 5, 4pm, Music Building, 321
Heather Holmquest is a Ph.D. candidate in music theory at the University of Oregon. She is also an active performer of early music, and seeks to understand historical performance practice through analysis, scholarship, and constant musical exposure.
Title: (Not) Just the Same Three Chords: Harmonic Schemas in the Rock Era
Monday, March 3, 4pm, Music Building, 321
Christopher Doll is Assistant Professor at Rutgers University, where he specializes in the theory of recent popular and art music, particularly with regard to tonality and intertextuality. He has given dozens of talks at institutions such as Oxford, Princeton, Eastman, Indiana, and Northwestern, and his articles explore topics ranging from "Louie Louie" to Milton Babbitt. His book, Hearing Harmony: Towards a Theory for the Rock Era, will appear later this year.
Daniel J. Arthurs Title: Free Jazz Group Prolongational Strategies in Brad Mehldau's “Convalescent”
Wednesday, February 26, 4pm, Music Building, 321
Daniel J. Arthurs, Senior Lecturer (Ph.D., music theory, Indiana University), has taught a variety of graduate and undergraduate music theory and analysis courses at UNT, from core music theory and aural skills to eighteenth-century counterpoint, Schenkerian analysis and post-tonal analytical techniques. Before coming to UNT he served on the faculty at Eastern Illinois University and Indiana University. At IU he was awarded the Dissertation Year Fellowship in 2009, which was instrumental in the completion of his dissertation on the music of Brad Mehldau. Dr. Arthurs has presented research at numerous regional and national music theory conferences, including annual meetings of the Society for Music Theory (2012, 2013), Music Theory Midwest, Music Theory Society of the Mid-Atlantic, the Texas Society for Music Theory, the Indiana University Music Theory Symposium, Florida State University's Music Theory Forum, student conferences hosted by the Cincinnati Conservatory of Music, and at the Oklahoma Music Theory Roundtable. A former classical and jazz trombonist and pianist, his musical interests have been widespread, from pedagogy to post-tonal form analysis, and from the history of theory to Schenkerian analysis. His writings have appeared in the Journal of Music Theory Pedagogy, Theoria, Indiana Theory Review, and Journal of Schenkerian Studies. Currently his research focuses on how the collaboration of jazz and rock groups, especially during acts of improvisation, can promote a tonal environment.
Title: Contrapuntal Ingenuity in the Motets of Machaut
Wednesday, February 5, 4pm, Music Building, 321
Justin Lavacek is a lecturer in music theory at UNT. He completed his Ph.D. at The Jacobs School of Music, Indiana University, in 2011. He research interests include issues of counterpoint and meaning in early music, Schenkerian analysis, and the history of music theory.
Title: "Somos Más Americanos” (We are More American): Re-imagining History, Place and Nationality through Música Norteña”
Wednesday, January 29, 4pm, Music Building, 321
Cathy Ragland is Visiting Assistant Professor of Ethnomusicology in the College of Music. Dr. Ragland’s research centers on Mexican, Mexican American and Border music and the politics of migration/immigration, music and nationalism, deejay culture and popular music, and public arts research and education. She is the author of the book Música Norteña: Mexican Migrants Creating a Nation between Nations (Temple University Press, 2009) as well as other book chapters, journal articles and reviews. A native of San Antonio, Texas, she was a popular music critic and columnist at the San Antonio Express-News, Seattle Times, Seattle Weekly and the Austin American-Statesman daily newspapers. She has also been a folklorist and program director at the Center for Traditional Music and Dance in New York, Texas Folklife Resources in Austin, and Northwest Folklife in Seattle. She is co-founder of the Mariachi Academy of New York, a free music program for youth in East Harlem and current artistic director of the International Accordion Festival held annually in San Antonio.
Title: Antinomies of the Vernacular: The ‘Afro’ Turn in Kenyan Popular Music
Wednesday, January 22, 4pm, Music Building, 321
Andrew J. Eisenberg is Visiting Assistant Professor of Music and Anthropology at Bard College. His research on popular music and subject formation in Nairobi, Kenya has been supported by the European Research Council, under the auspices of the “Music, Digitization, Mediation” project led by Professor Georgina Born at Oxford University.