Beginning his musical career as a composer and jazz pianist, Robert Wason studied music composition and piano at the Hartt School of the University of Hartford (BMus ’67; MMus ’69), joining the Hartt Faculty as an Instructor in Theory and Composition in 1969. During his Hartford years, he worked four to six nights a week playing various gigs, and accompanied many touring artists, such as Buck Clayton, Sammy Davis Jr., Bobby Vinton, and the Four Tops. In the mid 70s he went on to do work in music theory at Yale University (MPhil ’78; Ph.D. ’81), and also studied at the University of Vienna and the Hochschule (now Universität) für Musik und darstellende Kunst, Vienna (Fulbright Scholar, 1979-80). A recipient of grants from the Guggenheim Foundation, National Endowment for the Humanities, the Paul Sacher Foundation, and the German Academic Exchange (DAAD), he has also taught at Trinity College (Hartford), Clark University (Worcester, MA), the University of North Texas (Denton), and has been guest professor at the University of Basel (Switzerland), the University of British Columbia (Vancouver, BC), and SUNY Buffalo, where he was most recently the Slee Visiting Professor of Music Theory (spring, ’21). He is the author of a standard work on the history of music theory in the nineteenth century (Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg [Ann Arbor: 1985; reprint, Rochester: 1995]), and many articles and reviews on the history of music theory, twentieth-century music, and more recently, jazz, in numerous journals and collections published here and abroad. His most recent book, coauthored with Matthew Brown, is Heinrich Schenker’s Conception of Harmony. See his blog at https://boydellandbrewer.com/blog/music/heinrich-schenkers-conception-of-harmony-a-surprise/ for a brief and easily accessible overview of the work, which provides the most comprehensive study of Schenker’s first major work in music theory, his Harmonielehre (Vienna, 1906; English translation, Harmony [Chicago, 1954]).
While teaching, Wason also managed to keep two hands in performance, at least part time, through various projects as a vocal accompanist, including songs of Anton Webern, with soprano Elizabeth Marvin (Professor of Music Theory, ESM; Professor of Brain and Cognitive Sciences, The College, UR), and turn-of-the-(last)-century German Lieder from Munich, with soprano Valerie Errante (Associate Professor of Voice at the University of Wisconsin, Milwaukee, now Emerita). The collaboration with Prof. Errante also led to concerts of both ‘popular’ and ‘art’ songs by the Rochester composer, Alec Wilder (1909-1980), available on the Errante/Wason CD Songs of Alec Wilder (Albany Records; Troy 404) (and now as a download at Amazon and other venues). In 2010, A-R Editions (Middleton, WI) published Selected Songs of the Munich School 1870-1920, an anthology edited by Wason and Errante that contains fifty-six songs drawn from their repertoire, together with an extensive introduction and notes on the texts and music. Their whole collection of Lieder is now housed in the Sibley Music Library Special Collections. In retirement, Wason continues his active interest and publication in scholarship, in both jazz and history of theory. But, as well, he has returned to the career that started off his life-long journey in music, recording a CD (The Bridgeport Jazz Trio, “Out of the Past,” available on YouTube), and working as a jazz pianist in the late fall, winter and early spring months in Key West, FL, well-known as a vibrant arts environment at least since Ernest Hemingway’s residence there in the 1930s. The Duval St. area offers a plethora of restaurants and nightspots featuring popular music of all sorts, including some excellent blues and jazz.
Works / Publications
Papers and Lectures
“Bill Evans’s Entrée into Modal Jazz Composition (1962),” on SMT session, “From Modal Jazz to Post-Bop,” AMS/SMT National Conference, LA 11/2-5/06.
“From Harmonielehre to Harmony: Schenker’s Theory of Harmony and Its Americanization,” Invited lecture in special session,
“Celebrating the 100th Anniversary of [Schenker’s] Harmonielehre” 3/18/06, Fourth International Schenker Symposium, Mannes College The New School for Music, 3/17-19/06.
“The Subdominant Augmented-Sixth chord in Turn-of-the-Twentieth-Century Lieder of the ‘Munich School,’” University of Western Ontario Guest Lecture Series, 3/26/04.
“From Harmonielehre to Harmony: Schenker’s Theory of Harmony and Its American Reception,” International Conference :”Schenker Traditions,” Vienna, Austria, June 12- 14, 2003.
“Simon Sechter and Pedagogical Music Theory of the Nineteenth Century,” The Hartt School, Mar. 13, 2002.
“Frühe Lieder der Münchner Schule im Spiegel des Liedschaffens Ludwig Thuilles,” International Symposium on the 100th Anniversary of the death of Joseph Rheinberger, Munich, 2001.
“Constructing a Post-Modern-Jazz Pedagogy,” (written with Henry Martin) SMT National Meeting, Philadelphia, 2001.
“How I Did It,” SMT Panel on Professional Development, Combined National/International Meeting, Toronto, 2000.
“Analyse nach Schenker, Improvisation, und Mozarts K. 332,” Symposion Musiktheorie: Wahrnehmung und Begriff, Freiburger Musikhochschule, June 2-3, 2000.
“Two Bach Preludes/Two Chopin Etudes, or toujours travailler Bach–ce sera votre meilleur moyen de progresser,” Distinguished Lecture Series, UCSB (Santa Barbara), April, 1999; University of Colorado, Boulder, Sept. 1999.
“Hearing and Performing the Music of Anton Webern: the Early Songs” (with Elizabeth Marvin), International Conference entitled
“Austria: 996-1996,” Peabody Conservatory, April, 1998; Ottawa, January/1996; Mount Holyoke College, October/1995; Hartt School, October/1995.
“Brahms’s Im Herbst through the filter of Modal Counterpoint,” Triptych Symposium on the pedagogy of Brahms’s Im Herbst, SMT National Conference, NYC, November/1995.
“On Preparing Anton Webern’s Early Songs for Performance” (with Elizabeth Marvin), Special Invited Session, SMT National Conference, Tallahassee, Nov./1994.
“Josef Schalk and the Theory of Harmony at the End of the Nineteenth Century,” International Symposium on Anton Bruckner, Connecticut College, February/1994.
“A Pitch-Class Motive in Webern’s Op. 3 George Lieder ” LancMAC, British Society for Musical Analysis (Lancaster, England), September/1994; SUNY Buffalo, Spring/1994; UBC, Fall/1992; University of Maryland at College Park, Mar. 8, 1991.
“On Preparing Anton Webern’s Op. 3 Songs for Performance,” (with Elizabeth Marvin) Music Theory Society of New York State, NYC, October/1993.
“Manuscript Sources and Compositional Process in Stravinsky’s Symphonies of Wind Instruments : A Report from the Paul Sacher Foundation,” College Band Directors National Association (CBDNA) meeting, Rochester, spring/1992.
“The Evolution of Webern’s Op. 8,” (with Felix Meyer of the Paul Sacher Foundation), National Conference of AMS/STM/SEM, Oakland, Nov. 10, 1990.
“Der Werdegang von Weberns Op. 8,” (with Felix Meyer), Universität Freiburg, June, 1990.
“Webern’s Understanding of Row and Fixed Register in Op. 28,” Paul Sacher Foundation, June, 1990.
“Weberns Verständnis von der Reihe und fixerten Tonhöhen-Lage in Op. 28,” Freiburger Hochschule für Musik, June, 1990.
“Compositional Strategies in Webern’s Op. 3/1” SUNY, Buffalo, March/1989; University of Chicago, February/1989.
“Progressive Harmonic Theory in the Mid-Nineteenth Century,” Hartt Theory Forum (Hartt School of Music), Mar. 17, 1988.
“Tonality and Atonality in Frederic Rzewski’s ‘Variations on The People United Will Never Be Defeated!‘,’” University of Alberta at Edmonton, Oct. 8, 1987; includes my performance of selected Variations.
“Lecture/Recital on Bartók, Sonata for Two Pianos and Percussion “(lecture on first half of program, Sonata on second), University of North Texas, Apr. 13, 1987; U. of Texas, Austin, Apr. 14, 1987.
“Progressive Harmonic Theory…,” Columbia University, Mar. 20, 1987.
“Tonality and Atonality …” Columbia University, Mar. 18, 1987.
“The ‘Wrong Notes’ in Stravinsky’s Symphonies of Wind Instruments,” CBDNA biennial national conference, Evanston, 1987.
“Tonality and Atonality…,” AMS/CMS/SEM/SMT National Conference, AMS session, Vancouver, B.C.; Nov./85.
“Aspects of Analysis and Performance in Webern’s Variations, Op. 27,” (CMS/NASM National Conference, Dearborn/83); modified version given in ESM Conference on the Future of Music Education in America, Rochester/84); includes my performance of the Variations.
“An Introduction to Nineteenth-Century Theories of Harmony,” (ESM/83; University of Texas, Austin/82).
“Chopin’s Last Mazurka,” (University of Texas, Austin/83)
“Anton Bruckner’s Teaching of Harmony,” (AMS/SMT National Conference, Ann Arbor/82).
“A History of Non-Essential Harmonies,” (Texas Society for Music Theory/82).
“The Notion of ‘Non-Essential’ Harmonies: Towards a History of the Expanded Scale-Step Theory,” (AMS/SMT National Conference/79).
“An Analysis of My Theme with Variations for Solo Guitar,” (ASTA, Guitar Division, National Conference/78).
(coauthor, Valerie Errante), Selected Songs of the Munich School, 1870-1920. Madison WI: A-R Editions, 2010.
Translation of Wolf Burbat, Die Harmonik des Jazz (Kassel: Bärenreiter, 1994); unpublished.
Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg (Ann Arbor: UMI Research Press, 1985; reprinted by U of R Press, 1995). (reviews by William Caplin, Music Theory Spectrum 8 : 140-43; Manfred Wagner, Musiktheorie 2/2 : 197-98; Hellmut Federhofer, Die Musikforschung 41/4 : 381; Stephen E. Hefling, Journal of Music Theory 33.1 [spring/89]: 214-21.)
“From Harmonielehre to Harmony: Schenker’s Theory of Harmony and Its Americanization,” in Essays from the Fourth International Schenker Symposium, vol. 1, A. Cadwallader, ed., (Hildesheim: Olms, 2008): 213-58. (This updates the 2006 version, and uses different selections from the primary sources to illustrate its main points.)
“From Harmonielehre to Harmony: Schenker’s Theory of Harmony and Its Americanization,” in Schenker-Traditionen, Martin Eybl and Evelyn Fink-Mennel, ed., (Vienna: Böhlau Verlag, 2006): 171-201.
“Constructing a Post-Modern-Jazz Pedagogy,” (written with Henry Martin) Jazz Forschung/Jazz Research 37 (Dec., 2005): 163-77.
“Frühe Lieder der Münchner Schule im Spiegel des Liedschaffens Ludwig Thuilles,” in Josef Rheinberger; Werk und Wirkung, ed. Stephan Hörner and Hartmut Schick (Tutzing: Hans Schneider, 2004): 131-54.
“Interval Cycles and Inversional Axes in Frederick May’s Quartet in C Minor,” Irish Musical Studies 7, Gareth Cox and Axel Klein ed. (Dublin: Four Courts Press, 2003): 80-93.
“Two Bach Preludes/Two Chopin Etudes, or toujours travailler Bach–ce sera votre meilleur moyen de progresser,” Music Theory Spectrum 24.1 (Spring, 2002): 103-20.
“Musica Practica: Music Theory as Pedagogy,” Ch. 2 of The Cambridge History of Western Music Theory, T. Christensen, ed. Cambridge: Cambridge U. Press, 2002): 46-77.
“Alec Wilder and American Song,” (liner notes for Wilder CD, with appropriate editorial adjustment), introduction to Alec Wilder: 25 Songs for Solo voice (Milwaukee: TRO and Hal Leonard, 2002).
“Paul, Oscar,” New Grove Dictionary of Music and Musicians, 2nd Ed., 2001.
“Weitzmann, Carl Friedrich,” New Grove Dictionary of Music and Musicians, 2nd Ed., 2001.
“Analyse nach Schenker als Grundlage für Improvisation; Betrachtungen zu Mozarts Klaviersonate KV 332,” in Wahrnehmung und Begriff, Gruhn and Möller, ed. Regensburg: Gustav Bosse Verlag, 2000: 197-212.
“Signposts on Webern’s Path to Atonality: The Dehmel Lieder (1906-08),” in Music Theory in Concept and Practice, James Baker, David Beach and Jonathan Bernard, ed. Rochester: University of Rochester Press, 1997: 409-32.
“Josef Schalk and the Theory of Harmony at the End of the Nineteenth Century,” in Perspectives on Anton Bruckner, ed. Paul Hawkshaw and Timothy L. Jackson. Cambridge: Cambridge University Press, 1997: 122-39.
“A Pitch-Class Motive in Webern’s Op. 3 George Lieder ” in Webern Studies, ed., Kathryn Bailey. Cambridge: Cambridge University Press, 1996: 111-34.
“On Preparing Anton Webern’s Early Songs for Performance: A Collaborators’ Dialogue,” with Elizabeth Marvin.Theory and Practice, Vol. 20 (1995): 91-124.
“Richard Münnich’s Von Entwicklung der Riemannschen Harmonielehre und ihrem Verhältnis zu Oettingen und Stumpf,” tr, Robert Wason, et al. Indiana Theory Review :16 (spring-fall/1995): 197-222.
“Toward a Critical Edition of Stravinsky’s Symphonies of Wind Instruments” in The Wind Ensemble and its Repertoire, ed. Frank J. Cipolla and Donald Hunsberger. Rochester: U of R Press, 1994: 121-40.
“Hugo Riemann’s Ideen zu einer ‘Lehre von den Tonvorstellungen’: An Annotated Translation with Introduction,” with Elizabeth West Marvin, Journal of Music Theory 36.1 (spring, 1992):69-117.
“Remnants of Tonality in Webern’s Op. 3/2,” Mitteilungen der Paul Sacher Stiftung, vol. 4 (1991): 27-30.
“Progressive Harmonic Theory in the Mid-Nineteenth Century,” Journal of Musicological Research 8.1 (1988): 55-90.
“Tonality and Atonality in Frederic Rzewski’s Variations on ‘The People United Will Never Be Defeated!‘,” Perspectives of New Music 26.1 (1988): 108-43.
“Webern’s Variations, Op. 27: Musical Structure and the Performance Score,” Intégral, vol. I (1987): 57-103.
“Schenker’s Notion of Scale-Step in Historical Perspective:Non-Essential Harmonies in Viennese Fundamental Bass Theory,” Journal of Music Theory 27.1 (Spring/83): 49-73.
“Review of Henry Burnett and Roy Nitzberg, Composition, Chromaticism and the Developmental Process,” Journal of Musicology in Ireland (JSMI) 4 (2008-9): 11-17.
“Review of Johan Norrback, A Good and Passable Temperament, Svensk Tidschrift för Musikforskning (Swedish Journal of Musicology), vol. 85 (2003): 105-07.
“Review of Peter Pettinger, Bill Evans; How My Heart Sings” Annual Review of Jazz Studies 10 (1999): 309-14.
“Review of Schenker’s Kontrapunkt, Rothgeb and Thymn, tr.” (with Matthew Brown) Music Theory Spectrum 11.2 (1989): 232-39.
“Review of Renate Groth, Die französische Kompositionslehre des 19. Jahrhunderts (Wiesbaden: Steiner Verlag, 1983)” Journal of Music Theory 30.2 (Fall/86): 295-304.
“Review/article on Theory of Harmony by Arnold Schoenberg, translated by Roy E. Carter,” Journal of Music Theory 25.2 (Fall/81): 307-16.
Résumé of Teaching Positions
Chair, ESM Department of Music Theory, 2000-2; Co-Chair, ESM Department of Music Theory, 1999; Affiliate Faculty, ESM Department of Jazz and Contemporary Media, fall, 1998-; Professor of Music Theory, Eastman School of Music, 1997-; Visiting Professor, SUNY Buffalo, Spring, 1994; Visiting Professor, University of British Columbia (Vancouver, BC), Fall, 1992; Heinrich Strobel Foundation Visiting Professor, Universität Basel (Switzerland), Summer Term, 1991; Associate Professor of Music Theory (with lifetime tenure), ESM 1988-97; Associate Professor of Music Theory, ESM, 1986-88; Assistant Prof. of Music Theory, ESM, 1983-86; Assistant Prof. of Music, University of North Texas, 1981-83; Lecturer in Music, Clark University, fall, 1980; Instructor in Theory/Composition, Hartt School of Music, 1977-79; Teaching Assistant, Yale University, 1976-77; Instructor in Theory/Composition and participant in Hartt/Trinity College faculty exchange, Hartt, 1970-76 (part-time in 75-76); Piano Instructor, Hartt Community Ed., and Teaching Associate in Theory/Composition, Hartt, 1969-70; Teaching Assistant, Hartt,1967-69.
TH 202: Style Composition and Analysis (ESM 3rd-semester theory, 2001-05); Designer of model composition and analysis course for 4th-semester undergraduates (TH 203), fall 2002-10; Designer (with Matthew Brown) of new first-semester freshman theory (co-taught with Brown, fall/99-00); curriculum design and teaching of Advanced Freshman Theory (90-91, 94-95, 95-96); Development of course materials for ESM junior theory: analysis of music from mid-nineteenth century to present; coordinator of ESM junior theory, 1983-89.
“Advanced Keyboard Skills,” spring, ’11; “J.S. Bach’s ‘Well-Tempered Clavier.’” (spring, ’11, and earlier iterations), “Research Seminar in History of Music Theory at the Turn of the Twentieth Century” (ESM; spring, ’06); DMA Seminar on Bartók (ESM spring, ’06); “Advanced Harmony and Composition” (turn-of-the-20th-century tonal compositional practice) (fall, ’05); “Introduction to the History of Music Theory” (a one-semester distillation that is the product of 30 years of study of this field), every other year in the spring; Ph.D./DMA Seminar: “Bill Evans, “ (spring, ’04); Ph.D. Seminar: “Analysis of Jazz Improvisation,” ESM/spring/2000, spring/2003; DMA Seminar on Bartók, ESM/spring/2000; Seminar on Bill Evans, ESM/fall/’97; “Advanced Harmony and Composition,” ESM/fall/’97; One-semester Survey of Analytical Techniques, ESM/95-98; two-semester Survey of the History of Music Theory, from Pythagoras to Hindemith, ESM/93-94, 94-95, fall 96 (second term given in modified form at SUNY Buffalo, spring/94); Seminar in History of Theory in the 18th and 19th centuries/one-semester Survey of Analytical Techniques, UBC/fall, 1992; “Methodenfragen der musikalischen Analyse im 20. Jahrhundert” [“Questions of Method in Musical Analysis in the 20th Century”], Universität Basel/Summer Semester, 1991; Introduction to Research and Bibliography, ESM, fall/91; Ph.D. (Theory) Seminar on Webern, ESM, Spring/91; Seminar on Music of Webern (ESM/summer, 88; ESM/spring, 89); History of Theory from 1860 to the Present (ESM/spring, 84, 86, 88, 92); History of Theory before 1600 (ESM/85 and 87); Analysis and Performance (ESM/86, 88, 93); Tonal Counterpoint (ESM/91); Modal Counterpoint (ESM/85); Analysis of Twentieth-Century Music (ESM/summer, 84); Advanced Keyboard Skills (ESM/84); Theories of Harmony in the Nineteenth Century (UNT/82); Seminar in Schenkerian Analysis (UNT/82-83); Eighteenth-Century Counterpoint (Hartt/77-78); Schenkerian Analysis (Hartt/77-78). M.A. thesis and Ph.D. dissertation advisor (ESM/83-); Ph.D. dissertation advisor (UNT/81-83); Mus.M. thesis advisor (Hartt/77-78). Service on numerous Mus.M., M.A., Ph.D. and D.M.A. committees at ESM, UNT and Hartt. Advisor to numerous lecture/recitals at ESM.
Thesis and Dissertation Advisees:
Stefan Love, “On Phrase Rhythm in Jazz,” Ph.D. in Music Theory, ESM/UR, 2011.
Austin Gross, “Bill Evans and the Craft of Improvisation” (co-advised with Matthew Brown), Ph.D. in Music Theory, ESM/UR, 2011.
Michael Callahan, “Techniques of Keyboard Improvisation in the German Baroque and Their Implications for Today’s Pedagogy,” Ph.D. in Music Theory, ESM/UR, 2010.
Paul Child, essay on Brahms Lieder, BM in Music Theory, 2010.
John Koslovsky, “From Sinn und Wesen to Structural Hearing: The Development of Felix Salzer’s Ideas in Interwar Vienna and Their Transmission to Postwar United States” (co-advised with Matthew Brown), Ph.D. in Music Theory, ESM/UR, 2009.
Michael Stryker, DMA (JCM) “The Melodic-Minor Scale in Jazz,” DMA in Jazz Studies and
Contemporary Media, ESM, 2009.
Baljinder Sekhon, essay on Bartók, MA in composition, ESM, 2008.
Sheryl Hadeka, “The Two R. Strauss Horn Concerti,” BM in Music Theory, ESM, 2008.
James McGowan: “Dynamic Consonance in Tonal Jazz;” Ph.D. in Music Theory, ESM/UR, 2005.
Gavin Chuck: “Music, Meaning, and the Embodied Mind,” Ph.D. in Music Theory, ESM/UR, 2004.
André Redwood, “Shostokovich’s Hybrid Composition: the Preludes and Fugues, Op. 78,” BM in Music Theory, ESM, May, 2004.
Dariusz Terefenko, “Keith Jarrett’s Transformation of Standard Tunes” (co-advised with Matthew Brown), Ph.D. in Music Theory, ESM/UR, Oct. 2004
Jeff Myers, “On the Cusp of the Late Style: Compositional Techniques in Lutoslawski’s Double Concerto (1980),” MA in Composition, ESM, May, 2003.
“Opponent” (outside reader) in defense of Johan Norrback, “A Passable and Good Temperament: A New Methodology for Studying Tuning and Temperament in Organ Music,” University of Gothenburg (Sweden), 2002.
John Clevenger, “The Origins of Debussy’s Style,” Ph.D in Music Theory, ESM, May 2002.
Belinda Takahashi: Ph.D. comp. paper on Takemitsu; Ph.D. in composition, May, 2001
Margaret Henry, “Motivic Connections in Schumann’s Op. 39 Liederkreis” (research paper for Ph.D. in composition), ESM, 2000.
Catarina Domenici, “The Musical Language of Frederic Rzewski’s ‘The People United Will Never Be Defeated,” Doctoral Essay for D.M.A. in Piano, ESM, 2000.
David Milne, “The Improvisational Language of Stan Getz; 1945-55,” Doctoral Essay for D.M.A. in Saxophone, ESM, 2000.
Robert Eidschun, “Sergei Prokofiev’s Chose en soi b (op. 45b): Analysis, (research paper for Ph.D. in composition), ESM, 1998.
Sally Chen, “‘Sound Curtains’ in The Flute Concerto of Samuel Adler,” (research paper for Ph.D. in composition), ESM, 1998.
Deborah Rohr, “Brahms’s Metrical Dramas: Rhythm, Text Expression, and Form in the Solo Lieder,” Ph.D. in Music Theory, ESM, 1997.
Keith Waters, “Rhythmic Strategies in the Music of Arthur Honegger,” Ph.D. in Music Theory, ESM, 1997.
Maria Grenfell, “A Musical ‘Recomposition’: Carol to Saint Stephen (1975) by Jack Body,” M.A (Composition), ESM, 1995.
Steven Laitz, “The Submediant Complex in the Lieder of Schubert,” Ph.D. in Music Theory, ESM, 1992.
Michael DeMurga, “György Ligeti’s Etudes pour Piano (1895): Local-Level Materials and Large-Scale Visual Forms,” M.A in Composition, ESM, 1991.
Peter Kaminsky, “Formal Structure in Schumann’s Cyclic Dance Suites: Papillons, Carnival, and Davidsbündlertänze,” Ph.D. in Music Theory, ESM, 1990.
Penelope Peters, “The Harmonic Theories of François-Joseph Fétis: Their Sources and Their Effects,” Ph.D. in MusicTheory, ESM, 1990.
David Demsey, “Interval Cycles and the Compositions of John Coltrane,” (Doctoral Essay for D.M.A. in Saxophone), ESM, 1988.
Camille DiTusa, “Pitch Structure in Ravel’s Sonata for Violin and Violoncello,” M.A. in Music Theory, ESM, 1988.
Marcia Beach, “Compositional Process in Bartók’s String Quartet No. 5,” Ph.D. , Musicology, ESM, 1988.
Roger Knox, “A Neo-Romantic’s Tonal World: Pitch Organization in Jacques Hétu’s Ballade, Op. 30,” Ph.D. in composition, ESM, 1988.
Paul Hunt, “An Analysis of Three Serial Works for Solo Trombone,” Doctoral Essay for D.M.A. in Trombone, ESM, 1987.
Richard Anthony Williamson, “Linear and Motivic Connections in Two Brahms Motets,” M.A. in Music Theory, ESM, 1986.
Michael Rose, “An Analysis of Richard Wernick’s Visions of Terror and Wonder” (research paper for Ph.D. in composition), ESM, Ph.D., 1985.
Jean-Michel Boulay, “René Ouvard’s Secret pour Composer en Musique (1658): Translation and Commentary,” M.A. in Music Theory, ESM, 1985.
Barbara K. Wallace, “J.F. Daube’s Generalbaß in drey Accorden (1756): A Translation and Commentary,” Ph.D. in Music Theory, University of North Texas, 1983.
Lee Allen Rothfarb, “Ernst Kurth’s Requirements for a Theory of Harmony: An Annotated Translation with an Introductory Essay,” Mus.M. in Music Theory, Hartt School of Music/University of Hartford, 1979.
Education, Academic Honors, and Awards
Mannes Institute for Advanced Study in Music Theory: Jazz Meets Pop, Invited participant
Mannes Institute: Musical Form, Invited participant (June, 2004)
Mannes Institute: History of Music Theory (June, 2001); classes in ancient Greek theory with Thomas Mathiesen and Medieval theory with Sarah Fuller.
Piano Study with Rebecca Penneys (ESM), Adam Wodnicki (UNT), Victor Rosenbaum (NEC), and Watson Morrison (Hartt); saxophone with Ramon Ricker (ESM); Ancient Greek with Sion Honea (ESM); voice with Dale Moore (ESM).
Ph.D. (Music Theory), Yale University,1981; dissertation: “Fundamental Bass Theory in Nineteenth Century Vienna;” advisor: Allen Forte.
Fulbright Scholar, Vienna, Austria,1979-80; history of theory research at University of Vienna; studies in Schenkerian theory and analysis with Franz Eibner, Hochschule für Musik und darstellende Kunst.
M.Phil. (Music Theory), Yale University, 1978.
Mus.M. (composition), Hartt School of Music, University of Hartford, 1969; composition studies with Arnold Franchetti; thesis: “Four Poems of Michelangelo,” for chorus, soloists and chamber orchestra.
Mus.B. (composition), Hartt School of Music, 1967.
Honors and Awards
Research Leave awarded by UR for work on book on Bill Evans, fall 2005.
ASCAP Deems Taylor Award for liner-note essay on Henry Martin’s ”Preludes and Fugues” (Bridge Records 9140), 2005.
ASCAP Deems Taylor Award for liner-note essay “Alec Wilder and American Song” (see below), 2001.
DAAD (German Academic Exchange) Study Visit: support for 6-week research visit to Munich, Germany in May and June, 1997 (see Artistic Achievements, “Munich School”).
Special Opportunity Stipend from Arts and Cultural Council of Greater Rochester; travel money for concert in Kiel, Germany on 6/2/97 (see Artistic Achievements).
UR Bridging Fellowship (for study of turn-of-the-century German poetry and literature in UR Department of Modern Languages and Cultures, spring, 1997)
Guggenheim Fellowship, fall, 1990 (continued Webern research).
NEH Fellowship for University Teachers 1989-90 (year spent working on Webern research in Freiburg, West Germany and at the Paul Sacher Foundation, Basel, Switzerland).
Paul Sacher Foundation Stipend, 89-90.
One-term research leave awarded by UR, fall/87.
Fulbright Scholarship, 1979-80, spent in Vienna, Austria.
Engagements / Professional Activities
Composition Prizes and Commissions
Bronze Medal, Concours International de Guitare, Radio France, 1975.
Hartford Chamber Orchestra Commission, 1974.
Carmel (N.Y.) School System Commission, 1969.
List of Representative Compositions
“Concerto for Jazz Ensemble and Chamber Orchestra,” Hartford Chamber Orchestra Commission (1974).
“Theme with Variations,” for solo guitar (Radio France Bronze Medal Piece) (1974), several performances at ESM, and on tour, by Matthew James, 1994-95.
“Trio,” for clarinet, viola and piano (1974); performance in DMA recital by Eric Mandat, clarinet (R. Wason, piano), 1988.
“Sonata for Solo Oboe” (1973).
“Burns Songs,” settings of texts of Robert Burns for tenor and piano (1972).
“Prelude for Orchestra,” Carmel School Commission (1970).
“Four Poems of Michelangelo,” for chorus, vocal soloists and chamber orchestra (1969).
Jazz piano career of c. 15 years in southern New England; worked with performers such as Sammie Davis Jr., Bobby Vinton, Buck Clayton, and the Four Tops; two-piano performance with Harold Danko, ESM, 2/12/01.
Recent (and Upcoming) Activities as Pianist/Accompanist/Coach and Advocate for Turn-of-the-Century Lieder
Lecture-recitals of Lieder of the “Second Viennese School” with Elizabeth Marvin; Webern songs on ESM Musica Nova , fall, 1992 and fall, 1995 (my program notes for both concerts); see “lectures and papers,” above, for additional recital dates and locations.
Full-length recitals with soprano Valerie Errante of turn-of-the-century Lieder from Munich: Lieder aus der Münchner Schule IV, Chautauqua, Lenna Hall, 7/19/04; Milwaukee, 10/12/03; Kilbourn Hall, 7/17/03; NATS, Midwest, Madison, WI, 3/23/02; Carl Orff-Zentrum, Munich, Germany, Nov. 23, 2001 (Conference on the 100th Anniversary of the Death of Josef Gabriel Rheinberger); Lieder aus der Münchner Schule III, Milwaukee, Nov. ’01; Philadelphia, July, 2000 (National Conference of NATS) Lieder aus der Münchner Schule I: AMS National Conference, Boston, Oct./Nov., 1998; CMS National Conference San Juan, PR, Oct. 1998; University of Wisconsin/Milwaukee, Sept. 1998; Kiel, Germany, June 2, 1997; benefit for Opera Theater of Rochester, Jan/1996; Ithaca College, Jan. 30, 1996; Kilbourn Hall, ESM, August 2, 1995; Wyoming Arts Council, Wyoming, NY, May, 1995; Memorial Art Gallery, Rochester, April, 1995. Lieder aus der Münchner Schule II: University of Iowa, Feb. 3 and 10, 1997; Dickenson College, Nov. 10, 1996; Kilbourn Hall, ESM, July 1, 1996; Lieder aus der Münchner Schule III : Chautauqua, Aug. 8, 2000; ESM, July 31, 2000 Songs of Alec Wilder, University of Wisconsin/Milwaukee, Apr. 7, 2000; St. Peter’s Church (NYC), presented by Friends of Alec Wilder, 2/21/98; Kilbourn Hall, ESM, July 30, 1997.
ESM Virtuosi with Thomas Paul (Weill Festival): 11/14/98
Performances of Bartók, Gershwin, Schubert,Webern, etc. for the recordings that accompany Clendinning and Marvin, The Musician’s Guide to Theory and Analysis (NY: Norton, 2005)
Songs of Alec Wilder, with Valerie Errante, Aleck Brinkman and Ken Meyer; Albany Records (Troy 404, 2000); Eastman American Music Series, Vol. 10.
Berg, Op. 2, with Elizabeth Marvin, CD recording to accompany Robert Gauldin, Harmonic Practice in Tonal Music
Recording with Derrick Smith: Aaron Copland, arr. “Zion’s Walls,” on A Tribute to William Warfield (ESM, 1994)
Service to Schools, Universities and Scholarly Organizations
School and University Committee Service:
Chair, ESM Theory Dept., 2000-2; UR Budget Committee, 2000-09; ESM Search Committee for Accompanist/Coach, 2000; Co-chair, ESM Theory Dept., 1998-2000; UR Council on Graduate Studies, 1997-; ESM Search Committee for Conductor of Musica Nova , 1995-; Chair, ESM Faculty Advisory Council, 1994- 96; ESM Committee on Academic Policy, 1994-97; University of Rochester Committee on Tenure and Privileges, 1994-; Search Committee for Department of Jazz and Contemporary Media Positions in Piano and Trumpet, 1994-95; 1997; Search Committee for Keyboard Department position specializing in 20th-century music, 1993-94; Chair, ESM Theory Department, 1993-94; ESM Theory Department Committee on Undergraduate Studies, 1985- (Chair, 1985-89); University of Rochester Library Committee, 88-89; Faculty Senator, University of Rochester (86-89); Chairman, ESM Library Committee, 85-87 (Chair, 86-87); Chairman, Hartt School Committee on Academic Standing (71-75); Faculty Senator, University of Hartford (72-75).
Professional Advisory Activities:
Current Member of Editorial Boards: Eastman Studies in Music, U of R Press; Theoria ; Intégral; Former Member of Editorial Boards: Journal of the Arnold Schoenberg Institute (90-94); Music Theory Spectrum (1984-89; Chair, 1988-89); reviewer of manuscripts for the above publications as well as Journal of Music Theory, Schirmer Books, Yale University Press; reviewer of research proposals for Guggenheim Foundation; reviewer of Fulbright Professorship proposals for Council for International Exchange of Scholars.
National Program Committee for SMT, Minneapolis, 2011; Session Chair, “Jazz and Rock,” MTSNYS, 2007; “Twentieth Century Topics,” SMT National Conference, Nov/96; “Member at large” of SMT Executive Board, 1990-94; Session Chair, “Lingering Tradition in Twelve-Tone Music.” AMS/SMT National Conference, Montreal, 1993; member, Hartt School Advisory Board, 1993-; Program Committee, MTSNYS, 1996-97; Chair, History of theory Session, AMS/SMT/etc. meeting in Toronto, Nov., 2000 ; Outside “opponent” in defense of Johan Norrback, “A Good and Passable Temperament” (dissertation: Götteborg, 9/27/02); outside examiner in defense of Alan Dodson, “Interpreting the Performed Work: Studies in Methodology” (dissertation: Western Ontario, 5/26/03); conceived, designed and chaired special session: “Consonance and Dissonance in Jazz;” SMT National Conference, Madison, WI, 2003.