Jurgen Thym

Jurgen Thym

Professor Emeritus of Musicology

Affiliate Faculty, Organ, Sacred Music, & Historical Keyboards




Professor Emeritus of musicology. Abitur in classical languages, Athenaeum Stade, Germany; state examination in Schulmusik, Staatliche Hochschule für Musik, Berlin; state examination in history, Freie Universität, Berlin; PhD in musicology, Case Western Reserve. Specialties in 19th- and 20th-century music. Author of articles and reviews in MLA Notes, Comparative Literature, Aurora (Eichendorff Yearbook), Journal of Music Theory, Journal of Musicological Research, Fontes artis musicae, Theory and Practice, American Choral Review, Opera Quarterly, Mendelssohn and Schumann Essays, Music History through Sources, The German Lied (ed. Hallmark), and Essays for Charles Warren Fox; co-translator, The Art of Strict Musical Composition [1771-1779] by J.P. Kirnberger, and Schenker, Counterpoint; co-editor, four volumes in the Schoenberg Gesamtausgabe; editor, 100 Years of Eichendorff Songs. Several awards by the Music Library Association (1978, 1980); Deems Taylor Award, 1983; Special Citation, SMT, 1989; Rayburn Wright Award, 1994. Lectures in North America, Australia, Europe, and South Korea. Faculty member, Oberlin (1973), Eastman (1973-).

Works / Publications


  • Of Poetry and Song: Approaches to the Nineteenth-Century Lied.  Essays by Rufus Hallmark, Ann C. Fehn, Harry E. Seelig, and Jürgen Thym, ed. Jürgen Thym, (Rochester: University of Rochester Press, forthcoming).
  • Luca Lombardi, Construction of Freedom and Other Writings, trans. Thomas Donnan and Jürgen Thym, ed. Jürgen Thym (Baden-Baden: Valentin Koerner Verlag, 2006).
  • Heinrich Schenker, Counterpoint: A Translation of Kontrapunkt, trans. John Rothgeb and Jürgen Thym (New York: Schirmer, 1987).
  • Johann Philipp Kirnberger, The Art of Strict Musical Composition, trans. David Beach and Jürgen Thym (New Haven: Yale University Press, 1982).


  • “Schubert’s Strategies of Setting Free Verse,” in Word Music Studies 7, ed. Suzanne Lodato and Francis Urrows (Amsterdam, 2005), 81-102.
  • “Reconfiguring the Lied: Robert Schumann,” in The Cambridge Companion to the Lied, ed. James Parson (Cambridge: Cambridge University Press, 2004), 120-41.
  • “A Cycle in Flux: Schumann’s Eichendorff Liederkreis, Opus 39,” in Word Music Studies: Essays on the Song Cycle and on Defining the Field, ed. Walter Bernhart and Werner Wolf (Amsterdam, 2001), 165-181.
  • “Crosscurrents in Song: Five Distinctive Voices” [Carl Loewe, Fanny Hensel, Franz Liszt, Robert Franz, Peter Cornelius], in German Lieder in the Nineteenth Century, ed. Rufus Hallmark (New York, 1996), 153-185.
  • “The Enigma of Kurt Weill’s Whitman Settings,” in A Stranger Here Myself: Kurt Weill Studien, ed. Kim Kowalke and Horst Edler (Hildesheim, 1993), 285-96.
  • “Sonnet Structure and the German Lied: Shackles or Spurs?” with Ann C. Fehn,  Journal of the American Liszt Society 32 (1991): 3-15.
  • “Who is Speaking? Edward T. Cone’s Concept of Persona and Wolfgang von Schweinitz’s Settings of Poems by Sarah Kirsch,” with Ann C. Fehn, Journal of Musicological Research 11 (1991): 1-31.
  • “Repetition as Structure in the German Lied: The Ghazal and its Musical Settings,” with Ann C. Fehn, Comparative Literature 41 (Winter 1989): 33-52.
  • “Schumann in Brendel’s Neue Zeitschrift für Musik 1845-1856,” in Essays on Mendelssohn and Schumann, ed. Jon W. Finson and R. Larry Todd (Durham, 1984), 21-36 and 163-165.  Also in Italian: “Schumann e la critica al suo pensiero: La Neue Zeitschrift für Musik di Brendel, negli anni 1845-1856,”  Musica/Realtà IV, 11 (1983): 135-161.


  • Arnold Schoenberg, Theme and Variations, Band, op. 43, Sämtliche Werke A/13 (Mainz: Schott).
  • 100 Years of Eichendorff Songs, Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries 5 (Madison: A-R Editions, 1983).