Professor of Music History
Department(s)Music History, Theory and Ethnomusicology
Margaret Notley received an undergraduate degree from Barnard College (magna cum laude, Phi Beta Kappa in junior year) and a doctorate from Yale University. She is the author of Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism, AMS Studies in Music (New York: Oxford University Press, 2007). Dr. Notley also edited Opera after 1900: An Anthology of Critical Essays, Volume 6 of The Ashgate Library of Essays in Opera (Farnham, UK: Ashgate, 2010). Her work has appeared in Journal of the American Musicological Society, 19th-Century Music, Journal of Musicology, and a number of anthologies. For an article on late nineteenth-century adagios she received the American Musicological Society’s Alfred Einstein Award in 2000. She has been a member of the Editorial Board of the Journal of Musicology since 2001 and an Associate Editor of 19th-Century Music since 2006. Her work has been supported by grants from the Fulbright Scholar Program (2001), National Endowment for the Humanities (1996), and American Philosophical Society (1995, 2011, and 2015). Dr. Notley has served on several committees for the American Musicological Society, including the Lewis Lockwood Award Committee, the Alfred Einstein Award Committee, and the Committee on the Status of Women.
Since arriving at U.N.T. in the fall of 1999 Dr. Notley has specialized in teaching courses on music after 1900; in recent years she has taught seminars on twentieth-century opera, Alban Berg, and Gustav Mahler, as well as on metaphors of ritual used in reference to the music of Stravinsky, Britten, and Birtwistle and on interpreting allusions, quotations, and influences in twentieth-century music. In December 2006 she became the first professor to receive the Faculty Award for Excellence in Doctoral Mentoring given by the U.N.T. Graduate Student Council. A number of students have written papers in her seminars that went on to win awards and have published and given talks in prestigious venues.
Most of her current research projects concern twentieth-century topics. Recently published work includes an article in German, “Fortwirkungen der Kammermusik Beethovens,“ in Die Kammermusik, edited by Martina Sichardt and Friedrich Geiger, 499-514, Vol. 3, Beethoven-Handbuch, edited by Albrecht Riethmüller (Laaber: Laaber-Verlag, 2014); “Ancient Tragedy and Anachronism: Form as Expression in Brahms’s Gesang der Parzen” in Expressive Intersections in Brahms: Essays in Analysis and Meaning, edited by Heather Platt and Peter H. Smith, 111-43 (Bloomington, IN: Indiana University Press: 2012 ); “1934, Alban Berg, and the Shadow of Politics: Documents of a Troubled Year” in Alban Berg and His World, edited by Christopher Hailey, 225-68 (Princeton, NJ: Princeton University Press: 2010); “Brahms and Questions of Lateness,” in Spätphase(n)?--Johannes Brahms’ Werke der 1880er und 1890er Jahre: Internationales musikwissenschaftliches Symposium, Meiningen 2008, edited by Maren Goltz, Wolfgang Sandberger, and Christiane Wiesenfeldt, 313-24 (Munich: Henle-Verlag, 2009); and “Berg’s Propaganda Pieces: The ‘Platonic Idea’ of Lulu,” Journal of Musicology 28/2 (Spring 2008): 95-142.