Organizers

 

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Roger Mathew Grant is Assistant Professor of Music at Wesleyan University. His interests include eighteenth-century music, the history of music theory, Enlightenment aesthetics, early modern science, and theories of the affects and the passions. His articles have appeared in Critical Inquiry, Music Theory Spectrum, Eighteenth-Century Music, and the Journal of Music Theory. His first book, Beating Time and Measuring Music in the Early Modern Era, was published in the Oxford Studies in Music Theory series at Oxford University Press (2014) and won the Emerging Scholar Award from the Society for Music Theory. In addition to his academic work, he has also collaborated on the creation of new and newly-imagined operas. Most recently, he collaborated on an installation of The Magic Flute with Jonathan Berger, Susanne Sachsse, Vaginal Davis, and Jamie Stewart at NYU’s 80WSE gallery. Holland Cotter of The New York Times listed the piece among the “Best in Art of 2015.” In 2014 he assisted in Bruce LaBruce’s film of Pierrot Lunaire, which won a Teddy Award at the Berlinale film festival.

ajhicks.jpgAndrew Hicks is an associate professor of music at Cornell University. His research focuses on the  intellectual history of early musical thought from a cross-disciplinary perspective that embraces philosophical, cosmological, scientific and grammatical discourse in Late Antiquity and the Middle Ages, and spans the linguistic and cultural spheres of Latin, Greek, Persian, and Arabic. His first book, Composing the World: Harmony in the Medieval Platonic Cosmos,was published by Oxford University Press in fall 2016.  He has collaborated with Fr. Édouard Jeauneau on an edition of John Scottus Eriugena’s Commentary and Homily on the Gospel of John (CCCM 166, Brepols 2008), and their collaboration continues with the forthcoming first edition of William of Conches’ Glosulae super Priscianum (Brepols). His published essays range across the history of music theory, Pythagoreanism, the reception of Martianus Capella, textual criticism, and musical metaphors and modalities in Classical Persian literatures. His new book project, tentatively titled The Broken Harp: Musical Metaphor in Classical Persian Literature, focuses on the Near Eastern reception of Greco-Roman harmonic theory.

Martin.NathanNathan Martin is assistant professor of music theory at the University of Michigan, having previously held postdoctoral fellowships and teaching positions at Columbia, Harvard, the Katholieke Universiteit Leuven, the Hochschule für Musik Freiburg, and Yale. He received his PhD from McGill University’s Schulich School of Music in 2009. His primary research interests are in the history of music theory and the analysis of musical form. To date, his published work on the history of music theory has concentrated on the theoretical writings of Jean-Philippe Rameau and their early French reception, particularly among such philosophes as Jean-Jacques Rousseau. In general, Martin approaches the history of music theory both as a branch of intellectual history (Geschichte der Musiktheorie) and through more practical engagements with historically informed analysis, style-bound improvisation, and model composition (historische Satzlehre).  He co-edits Music Theory & Analysis (since its inception in 2013) and is also the co-editor of Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (University of Rochester Press, 2015). In 2014, his article “Rameau’s Changing Views on Supposition and Suspension” won the Society for Music Theory’s Outstanding Publication Award.

mutch_headshotCaleb Mutch is a Post-Doctoral Resident Scholar and Visiting Assistant Professor of Music in the Jacobs School of Music at Indiana University. He completed a dissertation on the development of the concept of the cadence in tonal theory in 2015 at Columbia University, where he was also a Core Lecturer. His research areas include the history of music theory from antiquity to the romantic era, formal analysis of baroque and classical music, and historically informed approaches to Schenkerian analysis. He has presented parts of his dissertation research at the annual meetings of the Society for Music Theory and Music Theory Midwest, and has delivered papers on other subjects at past meetings of the Society for Music Theory and the Music Theory Society of New York State. In addition to his Music Humanities instructing, Caleb has also taught courses in the undergraduate music theory curriculum at Columbia, as well as graduate-level seminars at the University of British Columbia and Rutgers University. His research appears in the journal Eighteenth-Century Music.


carmel organ headshot.jpgCarmel Raz
 is a postdoctoral research fellow at the Society of Fellows at Columbia University and lecturer in the department of music. She received her PhD in music theory from Yale in 2015, and holds a Masters degree in composition from the University of Chicago and a Diplom in violin performance from the Hochschule für Musik “Hanns Eisler” in Berlin. Her primary research interests focus on the music and neural science of the early Romantic period and the influence of Common Sense philosophy on music theory in the Scottish Enlightenment. Her academic work has been recognized and supported by the Theron Rockwell Field Dissertation Prize, a Whiting Dissertation Fellowship, a Mellon Graduate Achievement Award, and the Baden Württemberg Stiftung. She has published articles in 19th-Century MusicCurrent Musicology, the Zeitschrift der Gesellschaft für Musiktheorie, Laboratoire italien, and the Journal of Neo-Victorian Studies.

anna-zAnna Zayaruznaya received her Ph.D. in historical musicology from Harvard University in 2010. She taught at New York University (2010–2011) and Princeton University (2011–2013) before coming to Yale in 2014. Bringing the history of musical forms and notation into dialogue with medieval literature, iconography, and the history of ideas, Zayaruznaya’s recent publications have focused on French and northern Italian music of the fourteenth and fifteenth centuries. Her first book, The Monstrous New Art: Divided Forms in the Late Medieval Motet, explores the role of monstrous and hybrid exempla in the musical aesthetics of fourteenth-century French motets. A second book currently in progress will focus on poet, composer, and public intellectual Philippe de Vitry (1291–1361). She has published articles and reviews in venues including the Journal of the American Musicological Society, the Journal of Musicology, Early Music History, Digital Philology, and Speculum. In 2011 she was awarded the Van Courtlandt Elliott Prize from the Medieval Academy of America for her article “She has a Wheel that Turns…’: Crossed and Contradictory Voices in Machaut’s Motets” (Early Music History, 2009). Zayaruznaya has also received awards and fellowships from the American Musicological Society, the Institute of Advanced Study at Princeton University, and the Radcliffe Institute of Advanced Studies at Harvard University, where she spent the academic year 2013–14 as a fellow.

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