Marie Rolf

Marie Rolf

Senior Associate Dean of Graduate Studies

Professor of Music Theory

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Biography

Marie Rolf is Senior Associate Dean of Graduate Studies and Professor of Music Theory at the Eastman School of Music. Under her leadership, new graduate degrees in Contemporary Media and Film Composition, Early Music, and Opera Stage Directing, and diploma and certificate programs in the Art of Improvisation, Early Music, Orchestral Studies, Pedagogy, Ethnomusicology, and Sacred Music have been developed and implemented. In addition, she chairs the interdepartmental committees that oversee all graduate curricula and policies at Eastman, and grants well over 6.5 million dollars of scholarship in graduate awards annually. New degrees as well as diploma and certificate programs are currently under discussion. Rolf also oversees all faculty searches at Eastman in addition to bearing responsibility for the oversight of Sibley Music Library. She served as Chair of the Theory Department from 1990 to 1995, during which time the MA in Theory Pedagogy, among other initiatives, was developed and first offered.

Rolf is best known for her scholarship on French composer Claude Debussy, but her research interests range from analysis and performance, keyboard skills, and the music and manuscripts of Debussy and Mozart, to the pedagogy of music theory. Her articles and reviews appear in the Cahiers Debussy, Intégral, the Mozart Jahrbuch, Music Theory Spectrum, The Musical Quarterly, Nineteenth-Century Music, and MLA Notes, among other journals, and she has authored chapters in books such as Rethinking Debussy, Berlioz and Debussy: Sources, Contexts and Legacies, Debussy and His World, Debussy Studies, and Haydn Studies. Rolf is the only American member of the editorial board for the critical edition of Claude Debussy’s works, the OEuvres complètes de Claude Debussy, published by Durand in Paris. She is the editor of Debussy’s orchestral masterpiece La Mer as well as a volume of early songs (composed ca. 1882–87). Professor Rolf recently brought to light an “unknown” early song, “Séguidille,” which she published with Durand in 2014. In 2004, she authenticated another early song by Claude Debussy entitled “Les Papillons” and published a monograph, facsimile, and transcription of it with the New York Public Library. She is also the editor-arranger of Mozart’s Rondo for Horn in E-flat, KV 371, published by Bärenreiter, which is the first edition of the work that incorporates the sixty new bars of music brought to light in 1991 by Rolf.

Professor Rolf has lectured in London, Paris, Tours, Geneva, Melbourne, Montreal, and throughout the United States. She has received research grants from the National Endowment for the Humanities and the American Council of Learned Societies, and she regularly serves as a reviewer of articles and grant applications for the NEH and various journals. In addition, she has concertized as a pianist, collaborating with musicians such as Marcia Baldwin, Jan DeGaetani, Robert Spillman, Charles Castleman, Millard Taylor, and Francis Tursi.

Works / Publications

Current Research

  • “Oriental and Iberian Resonances in Early Debussy Songs.” Chapter for Debussy’s Resonances, UR Press forthcoming.
  • “Musico-Poetic Influences on Debussy’s ‘Séguidille’.” Article in progress.
  • Debussy critical edition, volume 1 of songs, composed ca. 1879–1882, most of which were not published during the composer’s lifetime. The first of four volumes of songs to be published within the Œuvres complètes de Claude Debussy (Paris: Durand).
  • Two other book-length projects are underway and will be announced as soon as they are under contract with a publisher.
  • Single-volume book on practical keyboard skills, beginning at an elementary level and ending with advanced concepts, including figured bass, improvisation, modulation, score reading, transposition, and the like.

Publications

Articles

  • “La première ébauche de Colloque sentimental.” In Regards sur Debussy, ed. Myriam Chimènes et Alexandra Laederich, 195–210. Paris: Fayard, 2013.
  • “Jerald Curtis Graue and Jens Peter Larsen,” Haydn: Online Journal of the Haydn Society of North America, vol. 3, no. 2 (Fall 2013).
  • “General Meredith Read and Claude Debussy’s Marche écossaise.” The Musical Quarterly 95, nos. 2–3 (Summer–Fall 2012): 252–98.
  • “Debussy’s Rites of Spring.” In Rethinking Debussy, ed. Elliott Antokoletz and Marianne Wheeldon, 3–30. Oxford: Oxford University Press, 2011.
  • “Symbolism as Structural Agent in Act IV, Scene 4 of Debussy’s Pelléas et Mélisande.” In Berlioz and Debussy: Sources, Contexts and Legacies, ed. Barbara Kelly and Kerry Murphy, 117–48. Aldershot: Ashgate Publishing Ltd., 2007.
  • “Debussy, Gautier, and ‘Les Papillons’.” In Debussy and His World, ed. Jane Fulcher, 99-115. Princeton: Princeton University Press, 2001.
  • “Semantic and Structural Issues in Debussy’s Mallarmé Songs.” In Debussy Studies, ed. Richard Langham Smith, 179-200. Cambridge: Cambridge University Press, 1997.
  • “A New Manuscript Source for Mozart’s Rondo in E-flat for Horn, K. 371.” The Horn Call 25/3 (May 1995): 23-27.
  • “A New Manuscript Source for Mozart’s Rondo in Eb for Horn, KV371.” Mozart Jahrbuch 1991: Bericht über den Internationalen Mozart-Kongreß 1991 (Teilband 2): 938-945.
  • “Adler, Samuel (Hans).” The New Grove Dictionary of Opera. Ed. Stanley Sadie. Volume 1. London: Macmillan Press Limited, 1992.
  • “Analytical Issues and Interpretive Decisions in Two Songs by Richard Strauss.” Intégral 4 (1990): 67-103. Co-authored with Elizabeth West Marvin.
  • “Des Ariettes (1888) aux Ariettes oubliées (1903).” Cahiers Debussy 12-13 (1988-1989): 29-47.
  • “Mauclair and Debussy: The Decade from ‘Mer Belle aux Iles Sanguinaires’ to La Mer. ” Cahiers Debussynouvelle série 11 (1987): 2-34.
  • “The Glockenspiel-Celeste Controversy in Debussy’s La Mer. ” Modern Percussionist 3/4 (September-November 1987): 28-29.
  • “Adler, Samuel (Hans).” The New Grove Dictionary of American Music. Ed. H. Wiley Hitchcock and Stanley Sadie. Volume 1. London: Macmillan Press Limited, 1986.
  • “Rouse, Christopher (Chapman).” The New Grove Dictionary of American Music. Ed. H. Wiley Hitchcock and Stanley Sadie. Volume 4. London: Macmillan Press Limited, 1986.
  • “Debussy’s Settings of Verlaine’s ‘En sourdine’.” In Perspectives on Music, ed. Dave Oliphant & Thomas Zigal, 205-233. Austin, Texas: Humanities Research Center, The University of Texas at Austin, 1985.
  • “Orchestral Manuscripts of Claude Debussy – 1892-1905.” The Musical Quarterly 70/4 (Fall 1984): 538-566.
  • “Stylistic Influence in the Early Haydn Piano Trios.” In Haydn Studies, ed. Jens Peter Larsen, Howard Serwer, and James Webster, 459-464. New York: W. W. Norton & Company, 1981.

Editions

  • Debussy, Claude. Mélodies, 1882–1887. Œuvres complètes de Claude Debussy, series II, volume 2. Paris: Editions Durand, 2016.
  • Debussy, Claude.  “Séguidille.” Paris: Durand, 2014.
  • Debussy, Claude. “Les Papillons.” Facsimile edition. New York: The New York Public Library, 2004.
  • Mozart, Wolfgang Amadeus. Rondo in E-flat for Horn and Orchestra, KV371. Kassel und Basel: Bärenreiter (with the engraver).
  • Debussy, Claude. La MerŒuvres complètes de Claude Debussy, series VIII, volume 5. Paris: Editions Durand, 1997.
  • Mozart, Wolfgang Amadeus. Rondo in E-flat for Horn and Piano, KV371. Kassel und Basel: Bärenreiter, 1993.
  • “The Society for Music Theory: The First Decade.” Associate Editor. Special Issue of Music Theory Spectrum11/1 (1989).

Dissertation

  • “Debussy’s La Mer: A Critical Analysis in the Light of Early Sketches and Editions.” PhD dissertation, University of Rochester, 1976.

Reviews

  • Robert Spillman and Deborah Stein. Poetry into Song (Oxford University Press). In MLA Notes, March 1997.
  • Claude Debussy. Klaviertrio in G, ed. Ellwood Derr. In MLA Notes 44/2 (December 1987): 362-365.
  • Arthur Wenk. Claude Debussy and Twentieth-Century Music . In Nineteenth-Century Music 8/3 (Spring 1985): 280-282.
  • Claude Debussy. “Etude retrouvée” and “Jane,” ed. Roy Howat. In MLA Notes (September 1983): 149-150.

Miscellaneous

  • Liner notes for “Debussy: Songs for His Muse,” CD of 20 early songs. Gillian Keith, soprano; Simon Lepper, piano. Deux-Elles, DXL 1154, 2014.
  • “In Memoriam Dorothy Katherine Payne (6 February 1935–11 March 2010).” Journal of Music Theory Pedagogy 24 (2010): 6–10.
  • “In Memoriam Margaret Gallatin Cobb (16 September 1907–24 March 2010).” Cahiers Debussy 34 (2010): 163–65.
  • “Remembering a Consummate Musician.” Eastman Notes (Winter 2008): 16.
  • Program notes. Claude Debussy. La Mer. In Reflect. Connect. Expect. Eastman Weekend 2006. Eastman Philharmonia Orchestra, Neil Varon, conductor. Eastman Theatre, Rochester, New York, 21 October 2006.
  • Liner notes for “Forgotten Songs,” CD of Debussy’s Vasnier Songbook, his Ariettes oublieés, and his Cinq poèmes de Charles Baudelaire. Dawn Upshaw, soprano; James Levine, piano. New York: Sony, SK 67190, 1997.
  • “A Message from Marie Rolf.” Eastman Notes (May 1996), p. 6.
  • “Debussy, Selected Songs.” Article for The Pierpont Morgan Library: Masterworks in Manuscript. Songs performed by Benita Valente, soprano, and Cynthia Raim, piano. New York, New York, 20 October 1993.
  • 1993 Advanced Placement in Music Theory: Free-Response Scoring Guide with Muliple-Choice Section.Analysis by Chief Faculty Consultant Marie Rolf. Princeton, New Jersey: The College Board, 1993.
  • Program notes. Wolfgang Amadeus Mozart. Concert Rondo for Horn, K.371. World première. The Gibbs Chamber Orchestra, Shinik Ham, conductor; Peter Kurau, horn. Kilbourn Hall, Rochester, New York, 23 January 1991.
  • Program notes. Claude Debussy. La Mer. The Philharmonia Orchestra, John Eliot Gardiner, conductor. Royal Festival Hall, London, England, 10 December 1989.
  • Editor for The State of Research in Music Theory: A Collection of Selective Bibliographies. Rochester, New York: Society for Music Theory, 1987.
  • Organizer and contributor to Claude Debussy: Pelléas et Mélisande, catalog for Sibley Music Library exhibit in conjunction with “Festival Pelléas et Mélisande, ” 27 April – 8 May 1987.
  • Liner notes for recording of Debussy’s Chansons de Bilitis, his Fêtes galantes, series I and II, and Ravel’sHistoires naturelles. Jan DeGaetani, mezzo-soprano; Gilbert Kalish, piano. New York, Los Angeles: Nonesuch, Silver Series 78025, 1984.
  • Contributor to Music and Letters in Fin-de-siècle France, catalog for Sibley Music Library exhibit in conjunction with Memorial Art Gallery’s “Age of Dreams,” 1984.
  • “Workshop 6: Piano Trios.” Donald Grout (chairman), Marie Rolf (secretary). In Haydn Studies, ed. Jens Peter Larsen, Howard Serwer, and James Webster (New York: W. W. Norton & Company, 1981), 267-274.

Conference Papers

Professional Conferences

  • “Trills, Tra-las, and Manolas: Debussy’s ‘Séguidille’.” 2 November 2012, AMS/SMT joint session on “Five New Early Songs of Debussy: History, Style, Analysis, and Performance,” national meeting of the AMS, SEM, and SMT, New Orleans, Louisiana.
  • “The Literary and Musical Genesis of Debussy’s Fêtes Galantes, série 2.” 12 April 2012, “Debussy: Text and Idea,” Gresham College, London, England.
  • “Debussy Mélodiste” session Chair, 3 March 2012, “L’Héritage de Claude Debussy,” Université de Montréal, Montréal, Canada.
  • “Shattering the Myths Surrounding Debussy’s Marche écossaise.” 1 March 2012, “L’Héritage de Claude Debussy,” Université de Montréal, Montréal, Canada.
  • Pelléas et Mélisande” session, Chair, 5 February 2012, Colloque international Claude Debussy, Opéra Comique, Paris, France.
  • “Debussy’s Early Draft of ‘Colloque sentimental’.” 2 February 2012, Colloque international Claude Debussy, Cité de la musique, Paris, France.
  • “Debussy’s Musical Response to Verlaine’s ‘Colloque sentimental’.” 9 September 2010, Université de Franҫois Rabelais, Tours, France.
  • “Debussy’s Rites of Spring.” 8 November 2008, national meeting of the AMS and SMT, Nashville, Tennessee.
  • “Issues of Style and ‘Topic’” session, Chair, 29 March 2008, New York State/St. Lawrence Chapter meeting of the AMS.
  • “Debussy’s Printemps – A Harbinger of Works to Come.” 26 October 2006, International Debussy Congress, Austin, Texas.
  • “Musical Portrayal” session, Chair, 20 November 2005, national meeting of the SMT, Boston Massachusetts.
  • Lead speaker for Special Panel Session on “Preparing an Effective Tenure Case,” November 1999, national meeting of the SMT, Atlanta, Georgia.
  • “Missing Measures: Mozart’s Concert-Rondo for Horn and Orchestra, K. 371.” Including a performance with Johnny Pherigo, natural horn. 10 June 1997, International Horn Conference, Rochester, New York.
  • Organized special session on Music Theory Pedagogy, with guest speakers John Buccheri, Michael Rogers, Mary Wennerstrom, and Bruce Benward. Tribute to Robert Gauldin. 12 April 1997, 25th anniversary meeting of MTSNYS, Rochester, New York.
  • Analysis symposium on Bartók, Violin Sonata No. 1, Chair. Arranged for a performance by Sylvia Rosenberg and Barry Snyder in conjunction with the symposium. 13 April 1997, annual meeting of MTSNYS, Rochester, New York.
  • “Debussy” session, Chair. 6 November 1993, national meeting of the AMS/SMT, Montréal, Québec.
  • “Debussy’s Settings of Mallarmé’s ‘Apparition’ and ‘Soupir.” 30 September 1993, “Journées Claude Debussy,” Institut français, London, England.
  • Session moderator, 1 October 1993, “Journées Claude Debussy,” Institut français, London, England.
  • “Toward Musical Modernism” session, Chair. 16 October 1992, national meeting of the SMT, Kansas City, Missouri.
  • “A New Manuscript Source for Mozart’s Rondo in Eb for Horn, K.371.” 6 February 1991, International Mozart Congress, Salzburg, Austria.
  • “A Pedagogical Approach to Keyboard Skills through Processes of Diminution and Variation.” 5 October 1990, annual meeting of MTSNYS, Rochester, New York.
  • “Strauss, Debussy, and Reich” session, Chair. 28 October 1989, national meeting of the SMT, Austin, Texas.
  • “Des Ariettes (1888) aux Ariettes oubliées (1903).” 9 March 1989, Colloque International: “L’Œuvre de Claude Debussy: texte – interprétation – esthétique,” Geneva, Switzerland.
  • Session moderator, 10 March 1989, Colloque International: “L’Œuvre de Claude Debussy: texte – interprétation – esthétique,” Geneva, Switzerland.
  • “Table ronde” Participant. 11 March 1989, Colloque International: “L’Œuvre de Claude Debussy: texte – interprétation – esthétique,” Geneva, Switzerland.
  • “French Music and Music Theory” session, Chair. 7 October 1988, annual meeting of MTSNYS, Saratoga Springs, New York.
  • “Mauclair and Debussy – A Literary Model for La Mer?” 2 September 1988, Symposium of the International Musicological Society, Melbourne, Australia.
  • “En développant les «guidelines» pour l’édition Debussy.” 4 July 1986, international meeting of the Société française de musicologie, “L’édition critique musicologique en France: bilan et perspectives,” Villecroze, France.
  • “Structural Coherence in Act IV, Scene 4 of Debussy’s Pelléas et Mélisande. ” 10 November 1985, national meeting of the SMT, Vancouver, British Columbia.
  • “The Emergence of the Symbolist Aesthetic in ‘En sourdine’.” 7 November 1985, national meeting of the AMS, Vancouver, British Columbia.
  • “Turn-of-the-Century Europe” session, Chair. 27 October 1984, national meeting of the AMS/SMT, Philadelphia, Pennsylvania.
  • “Analysis and Performance: Bach’s WTC, Book I, C-Major Prelude and Fugue.” 27 June 1984, seminar on “The Future of Musical Education in America,” Rochester, New York.
  • “Debussy” session, panelist. 6 November 1982, national meeting of the AMS/SMT, Ann Arbor, Michigan.
  • “On Keyboard Improvisation.” 7 November 1981, New York State Music Teachers’ Association, Rochester, New York.
  • “Debussy’s Compositional Procedure: Evidence from Orchestral Manuscripts.” 7 November 1980, AMS/SMT joint session at the national meeting of the AMS/SMT/CMS, Denver, Colorado.
  • “On Teaching Integrated Theory/History,” panel discussion with Leo Kraft and Robert Washburn. 4 October 1980, joint meeting of MTSNYS and the New York State Chapter of the AMS, Rochester, New York.
  • “Stylistic Influence in the Early Haydn Piano Trios.” 9 October 1975, International Haydn Conference, Washington, D. C.

Universities

  • “Educating the Artist-Teacher: The DMA Degree.” 15 February 2016, McGill University. Montréal, Canada.
  • “Claude Debussy, an American Diplomat, and Rush Rhees Library,” University of Rochester Provost Lecture, Phelps Colloquium, 9 January 2014.
  • “Take Two: A Glimpse into Debussy’s Compositional Laboratory.” 28 February 2012, Université de Montréal, Montréal, Canada.
  • “Debussy’s Rites of Spring.” November 2008, Eastman School of Music, Theory/Musicology Colloquium, Rochester, New York.
  • “Impressionism and Symbolism: Correspondences in Music, Painting, and Literature.” February 2000, Trinity University, San Antonio, Texas.
  • Lecture-recital on Mozart’s Concert-Rondo in E-flat for Horn, KV 371. January 2000, University of North Texas, School of Music, Denton, Texas.
  • “Semantic and Structural Issues in Debussy’s Mallarmé Songs.” 3 November 1997, University of Texas at Austin, School of Music, Austin, Texas.
  • “Advanced Keyboard Skills at Eastman.” 29 October 1996, Visiting Committee, Rochester, New York.
  • Organizer and moderater for panel discussion on “Eastman Initiatives: Looking Forward.” 27 October 1996, Eastman School of Music (kickoff weekend for the 75th anniversary), Rochester, New York.
  • “Rediscovering Mozart.” 10 April 1991, University of Rochester, Provost’s Wednesday Evening Lecture Series, Rochester, New York.
  • “Mauclair and Debussy – A Literary Model for La Mer?” 20 April 1990, Columbia University, New York, New York.
  • “A Comparative Analysis of Debussy’s Two Settings of ‘En sourdine’.” 5 May 1986, San Francisco State University, San Francisco, California.
  • “Impressionism and Symbolism: A Cross-Fertilization of the Arts.” 8 May 1986, UC San Diego, La Jolla, California; 7 May 1986, UC Riverside, Riverside, California; 24 April 1986, Eastman School of Music, Rochester, New York.
  • “Structural Coherence in Act IV, Scene 4 of Debussy’s Pelléas et Mélisande.” 31 May 1988, Oxford University, Oxford, England; 9 May 1986, UCLA, Los Angeles, California; 5 May 1986, San Francisco State University, San Francisco, California; 2 May 1986, Stanford University, Stanford, California.
  • “Inks and Instruments: Debussy’s Orchestral Colors.” 26 April 1983, The City University of London, London, England; 22 March 1983, University of Texas at Austin, Austin, Texas; 10 March 1983, North Texas State University, Denton, Texas.
  • “A Structural Analysis of the First Movement of La Mer.” 26 April 1983, The City University of London, London, England.
  • “Debussy’s Compositional Procedure: Evidence from Orchestral Manuscripts.” 31 October 1980, Eastman School of Music, Rochester, New York.
  • “Debussy’s La Mer .” 1 July 1976, Eastman School of Music, Rochester, New York.

General Public

  • “Debussy’s Fascination with the Exotic – From China to Spain.” 16 November 2015, The Library of Congress, Washington, D.C.
  • “John Meredith Read” Essay for “Nurturing Inquiry: Exploring Special Collections Research” exhibit in Department of Rare Books and Special Collections, Rush Rhees Library, University of Rochester, 7 October 2013–28 February 2014.
  • “The World Will Change in His Sound.” Documentary film by Tony Tobin, interview with Rolf, Langham Smith, Howat, et al, 2012.
  • “Songs for Madame Vasnier.” 10 January 2012 broadcast, BBC Radio 4, London, England.
  • “The Sea.” Interview for 6 July 2005 broadcast, BBC Radio 3, Wales, United Kingdom.
  • “In the Works: Debussy’s La Mer.” 26 June 2002, interviews by Rolf, Boulez, House, Langham Smith et al, BBC, London, England.
  • “Stylistic Tensions in the Middle Years: Tradition and Innovation.” 18 August 2001, Bard College, Annandale–on Hudson, New York.
  • “Rediscovering Mozart.” January 2000, A. Mozart Fest, Austin, Texas.
  • Participant in the Speakers in the Humanities program, New York Council for the Humanities, 1996-1998.
  • “Rediscovering Mozart.” 9 March 1999, Warbasse, New York, New York. Doug Lundeen, assisting.
  • “Debussy’s La Mer.” 1 October 1993, interview with Roger Nichols, BBC, London, England; 4 November 1983, WXXI, Rochester, New York.
  • “Debussy, Verlaine, and the Symbolist Aesthetic.” 7 October 1991, Toscanini Lecture, The New York Public Library for the Performing Arts, New York, New York. Debra Vanderlinde, soprano, assisting.
  • “Missing Measures: The Rondo for Horn and Orchestra, K.371.” 14 May 1991, The Pierpont Morgan Library, New York, New York. Philip Myers, horn, assisting.
  • “Rediscovering Mozart.” 5 April 1991, Paul Baker Talk Show, WXXI AM/FM, Rochester, New York.
  • “A New Manuscript Source for Mozart’s Rondo in Eb for Horn, K.371.” 23 January 1991, Mozart Festival, Rochester, New York.
  • “Mystery at Sea.” Pre-concert lectures for the world première by the Rochester Philharmonic Orchestra of my critical edition of La Mer. 16 and 18 March 1989, Eastman Theatre, Rochester, New York.
  • “Symbolism and Impressionism: Correspondences in Music.” 3 May 1986, Symposium, “The New Painting: Impressionism 1874-1886,” M. H. deYoung Memorial Museum, Golden Gate Park, San Francisco, California.
  • “Collaboration in Symbolism: Debussy and Verlaine.” 4 April 1984, Wednesday Lecture Series, “Artists of La Revue Blanche,” Memorial Art Gallery, Rochester, New York.

Special Events

Artistic Director, The Prismatic Debussy festival, 13–27 October 2012, Rochester, New York:

  1. Performances included an opening gala concert featuring Eastman’s large ensembles, a concert of newly composed music inspired by Debussy; a PRISM concert based on transcriptions; and a novel presentation of Pelléas et Mélisande in cartoons, accompanied by an eclectic chamber ensemble.
  2. Symposium included lectures by guest and resident scholars, and premiere performances of five unknown early songs by Debussy.
  3. A special exhibit of rare Debussy manuscripts and printed music at the Sibley Music Library
  4. Nearly 20 related events, including studio recitals, interdisciplinary master classes, outreach performances, special topics courses offered, etc. took place. For details, see “Related events” at https://www.esm.rochester.edu/debussy

Washington, DC première of Debussy, “Les Papillons” and “Chanson espagnole,” Renée Fleming. Kennedy Center, Washington, DC, 2 February 2004. Based on the facsimile edition by Marie Rolf.

World première of the completed Mozart, Rondo for Horn in E-flat, KV371. Gibbs Chamber Orchestra, Shinik Ham, conductor; Peter Kurau, horn. Kilbourn Hall, Rochester, New York, 23 January 1991. Based on the manuscript discovered and researched by Marie Rolf.

CD recording of Wolfgang Amadeus Mozart, Rondo for Horn in E-flat, KV371. Philips Classics, Complete Mozart Edition, volume 45: Rarities & Surprises. Academy of Saint Martin-in-the-Fields, Timothy Brown, solo horn. Participated in orchestration and recording session with Erik Smith, Henry Wood Hall, London, England, November 1990.

World première of Rolf’s critical edition of Debussy’s La Mer . Rochester Philharmonic Orchestra, Mark Elder, conducting. Participated in preparation of score and parts as well as in rehearsals for performance in Eastman Theatre, Rochester, New York, 16 and 18 March 1989.

Director, “Festival Pelléas et Mélisande ,” 4-7 May 1987:

  1. Three-day symposium on the Production, Libretto, and Music of the opera, with guest musicians, scholars, et al.
  2. Performance of the opera in concert form, incorporating many of Debussy’s post-publication changes in the score – Eastman Opera Theatre and Eastman Philharmonia Orchestra, David Gilbert, conducting, Eastman Theatre.
  3. Exhibit and catalog of rare manuscripts, editions, and iconography relating to the opera – Sibley Music Library.

Courses

Teaching

Graduate courses

  • Pedagogy of Music Theory
  • Analysis and Performance
  • Advanced Keyboard Skills
  • Intermediate Keyboard Skills
  • Analysis and Performance of Debussy Songs (special topics seminar)
  • Debussy and Verlaine (doctoral seminar)
  • Debussy’s Poets (doctoral seminar)
  • French Poetry into Song (doctoral seminar)
  • Symbolism (PhD seminar)
  • The Early Compositions of Claude Debussy (PhD seminar)
  • 19th-Century French Art Song (special topics seminar)
  • Research and Bibliography (MA seminar)
  • Writing Music Theory
  • Analytical Techniques
  • Aural Review
  • Independent Research
  • Debussy seminar (MHS 590) for musicology department
  • Guest lectures for classes taught by other professors

Undergraduate courses

  • Advanced Keyboard Skills
  • Intermediate Keyboard Skills
  • Analysis and Performance (Junior Theory)
  • Advanced Sophomore Theory
  • Sophomore Theory, supervisor
  • Independent Study
  • Guest lectures for classes taught by other professors

Academic Advising

  • Advisor for DMA voice majors, 1995-present
  • Advisor for DMA woodwinds/brass/percussion majors, 1995
  • Advisor for all MM/PRL students, 1995-present
  • Mentor for theory MA and PhD students, 1994-present
  • Advisor for MA theory majors, 1985-1989
  • Advisor for DMA organ majors, 1983-1985
  • Advisor for BM theory majors, 1978-1982

Research Advising

  • “Jacques Nicolas Lemmens: Organist, Pedagogue, Composer.” Carol Weitner, DMA essay in Performance and Literature (Organ), 1991.
  • “Factors of Style in Improvised Music: An Analysis of Marcel Dupré’s Onze Versets. ” Richard Louis Elliott, DMA essay in Performance and Literature (Organ), 1990.
  • “An Analysis of ‘Aoua!’ from Ravel’s Chansons madécasses. ” Rebecca Leydon, MA Thesis in Music Theory, 1990.
  • “A Comparative Analysis of Dukas’s Ariane et Barbe-bleue and Bartók’s Duke Bluebeard’s Castle. ” Mary Joanne Renner Heath, PhD Dissertation in Music Theory, 1988.
  • “Beethoven’s Sonata in C Minor for Piano and Violin, Op. 30, No. 2: The Interaction of Phrase and Hypermeasure and its Relationship to Performance.” Cindy Moyer, MA Thesis in Music Theory, 1988.
  • “A Critical Survey of Sources on Keyboard Harmony and Improvisation.” Nancy Jeanne Bittner, MA Thesis in Music Theory, 1981.
  • “Samuel Coleridge-Taylor: The Development of His Compositional Style.” Jewel Taylor Thompson, PhD Dissertation in Music Theory, 1981. Published as a book by The Scarecrow Press, Inc. (Metuchen, N. J., & London, 1994).
  • “Debussy’s Estampes: An Analysis in View of its Nationalistic Origins.” Ralph Calhoun Brashier, Jr., MA Thesis in Music Theory, 1981.
  • Advisor for numerous DMA lecture-recitals
  • Advisor for numerous independent studies, graduate and undergraduate
  • Musical advisor and coach to Eastman Chorale, Gibbs Chamber Orchestra, and numerous students for their concerts and recitals

Media

Awards

  • Music Theory Special Research Award, 2012–2013
  • Research Leave, Eastman School of Music, 1993-1994, 2001-2002
  • ACLS Travel Grant, 1986
  • ACLS Grant-in-Aid, 1983
  • Mellon leave of absence, Eastman School of Music, l983
  • NEH Summer Stipend, 1982
  • Summer Faculty Fellowship, Indiana University, 1978
  • Phi Beta Kappa, Iota Chapter, University of Rochester, 1974
  • Graduate fellowships, University of Rochester, 1972-1976
  • Pi Kappa Lambda, University of Cincinnati, 1972
  • Mms Karin Dayas Award in Piano, University of Cincinnati, 1972
  • Winner, Concerto Contest, University of Cincinnati, 1972
  • Edgar Stillman Kelley Award, University of Cincinnati, 1970
  • Mu Phi Epsilon Prize, University of Cincinnati, 1969
  • Corbett scholarships, University of Cincinnati, 1968-1972

Engagements / Professional Activities

Service

Administrative Positions

  • Senior Associate Dean of Graduate Studies, 2014-present
  • Associate Dean of Graduate Studies, 1995-2014
  • Chair, Department of Music Theory, 1990-1995

Offices Held in Professional Societies

  • Œuvres complètes de Claude Debussy, Paris: Editions Durand
    Editorial board, 1982-present
  • Society for Music Theory, 1980–present
    Nominations Committee, Chair 2001-2002, Committee 2000-2001
    Executive Board, 1992-1995
  • Publications Committee (reviewer of submissions), Music Theory Spectrum, 1989-1992
  • Local Arrangements Committee, SMT national meeting in Rochester, New York, 5-8 November 1987
  • American Musicological Society, 1976–present
    Council Member, 1985-1988
  • Music Theory Society of New York State, 1974–present
    Chair, Program Committee, 1995-1996
    Board of Directors, 1987-1989
    Program Committees, 1987-1988, 1996-1997
  • Phi Beta Kappa, Iota Chapter
    President, 1997-1998
    Past-President, 1998-2000
    President-Elect, 1996-1997
    Executive Board, 1995-2000

Consulting

  • Board of Advisors, The Midori Foundation, New York, New York, 1994-1999
  • Advanced Placement Exam in Music Theory, Educational Testing Service, Princeton, New Jersey, 1987-1996
    Chief Faculty Consultant, 1991-1996
    Chief Reader Designate, 1990-1991
    Senior Reader, 1989
    Reader, 1987
  • Graduate Record Exam in Music, Educational Testing Service, Princeton, New Jersey, 1987-1990
    Reader, 1990
    Reader, pilot test, 1989
    Author of questions for exam, 1987, 1988
  • Consultant for new keyboard skills program, Oberlin College, Conservatory of Music, Oberlin, Ohio, March 1993
  • Member, External Review Committee for Graduate Division of Music Department at UC Riverside, Riverside, California, February 1991
  • Musicological and archival research for film, “The Loves of Emma Bardac,” Thomas Mowrey Productions Inc., 1990
  • Musical consultant for documentary film, “A Young Person’s Guide to the Orchestra,” Opus Films, Limited, 1989. Distributed by W. W. Norton & Company, 1989
  • Jury member for the final exams and concours in piano of the Conservatoire de Québec, 24-25 April 1991, 19-21 April 1989, Montréal, Canada
  • Reviewer of proposals for the National Endowment for the Humanities
  • Pre-publication reviews for the Journal of the American Musicological Society , the Journal of Music Theory , and for Random House, Yale University Press, and the University of Rochester Press

Search Committees

Supervised, chaired, and/or participated as a committee member on over 30 faculty and staff searches at Eastman

University of Rochester and Eastman School Committees

Chaired or participated as a member of well over 50 committees on academic policy, curriculum, initiatives, awards and prizes, Sibley Music Library, institutional advancement, and the like

Community Service

  • Overseer, Museum of Fine Arts, Boston, 2013-present
  • Chair, Visiting Committee, Musical Instruments Collection, Museum of Fine Arts, Boston, 2014- present
  • Visiting Committee, Music Department, The Pierpont Morgan Library, New York, New York, 2005–present
  • Trustee, Robert Lehman Foundation, New York, New York, 2004–present
  • Publications Committee, 2004–present
  • Trustee, The Harley School, Rochester, New York, 1999–2005
    • Vice-President of the Board, 2000–2005
    • Executive Board Committee, 2000–2005
    • Committee on Trustees, Co-chair, 2000–2001
    • Educational Policy Committee, 1999–2001
    • Chair, 2000–2001
    • Strategic Planning Committee, 1999–2001
  • Search Committees for Headmaster, The Harley School, Rochester, New York, 1998–1999, 2005
  • The New York Botanical Garden Benefit, Journal Committee, 1994, 1993
  • Search Committee, Director of Music, Lutheran Church of the Incarnate Word, 1992–1994
  • Judge, Annual Music Interpretation Competition, 21 March 1993, 8 March 1992, 10 March 1991, 13 March 1988, The Genesee Figure Skating Club, Rochester, New York

Affiliations

  • Society for Music Theory, 1980-present
  • American Musicological Society, 1976-present
  • Music Theory Society of New York State, 1974-present
  • Phi Beta Kappa
  • Pi Kappa Lambda