Rebecca Geoffroy-Schwinden brings the combined methodologies of history and anthropology to archival work on eighteenth-century music, particularly of the French Revolution. Rebecca’s concern for the politics of musical production seeks to move past the rhetoric of struggle toward a nuanced understanding of the relationships that animate musical labor and expression.
Music History, Theory and Ethnomusicology
Dr. Sovík currently serves as Professor of Music Theory in the College of Music at the University of North Texas with a dual appointment as Director of Central European Studies & Exchanges.
Associate Professor Stephen Slottow received a bachelor's degree from Cleveland State University, a master's from Queens College, and a Ph.D. from the Graduate Center of the City University of New York, where he wrote a dissertation on pitch organization in the music of Carl Ruggles. He has taught at City College, Queens College, Temple University, and Hofstra University. A former professional fiddler and banjo player, his interests include American traditional music, the American ultramodernists, and Schenkerian analysis.
David Bard-Schwarz has degrees in English, Comparative Literature, German (Foreign Language Certificate), Interactive Telecommunications, and Music. He has written two single-authored books Listening Subjects: Music, Psychoanalysis, Culture and Listening Awry: Music and Alterity in German Culture. His specialties include Music Theory and Music and Cultural Studies with an emphasis on semiotics and Post-Lacanian psychoanalysis.
Hendrik Schulze studied Musicology, Medieval History, and Philosophy at Berlin (TU), Princeton and Ferrara and holds a Ph.D. from the University of Heidelberg. His field of specialization includes 17th- and early 18th-century Italian and French music (mainly opera and instrumental music). A recipient of a fellowship by the Alexander-von Humboldt foundation, he has previously held the position of a Visiting Assistant Professor at the University of Illinois/Urbana-Champaign; before that, he was on the faculty at the Universities of Salzburg and of Heidelberg.
Frank Heidlberger has been professor of music theory at the College of Music of the University of North Texas since fall 2001. In 2006 he was promoted to full professor. Since 2012 he serves as Chair of the Division of Music History, Theory and Ethnomusicology. He received M.A. (1988), and Ph.D. (1993, 1998) degrees in historical musicology at Würzburg University. Heidlberger was research fellow and assistant professor at Würzburg University (1988-1999), and adjunct professor of music history and form analysis at the Hochschule fuer Musik in Würzburg.
Catherine Ragland, who earned her doctorate in ethnomusicology from the City University of New York Graduate Center, joins the UNT College of Music after serving as assistant professor of music and director of the master’s program in ethnomusicology at the University of Texas-Pan American. She has been an artistic curator for the International Accordion Festival in San Antonio and worked as program director for the Center for Traditional Music and Dance (New York), Texas Folklife Resources (Austin), and Northwest Folklife (Seattle).
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).
Prof. Mondelli has served on the faculty at UNT’s College of Music since 2012. His main research projects consider the impact of print culture and bourgeois capitalism on nineteenth-century Parisian opera. Other areas of interest include oral song culture in the late eighteenth-century, early music and musicology in fin-de-siècle France, and the relationship between music studies and the posthumanities.
He is a specialist in nineteenth-century music, French opera, media history, and critical theory.
Justin Lavacek received a bachelor’s in music theory from Loyola University New Orleans, a master’s in music theory pedagogy from the Peabody Conservatory, and a PhD in music theory from the Jacobs School of Music, Indiana University. His dissertation formalizes an approach to Machaut’s counterpointing of borrowed tenors in the motets. His primary research is in the counterpoint and meaning of “early music,” which he has presented at regional, national, and international conferences, and in two forthcoming articles. In his spare time, Dr. Lavacek likes to realize figured bass.