(Luneberg, Germany: Transcript Verlag, 2008). Michael Buchler, “Every Love but True Love: Unstable Relationships in Cole Porter’s ‘Love for Sale’” in PopMusicology, Christian Bielefeldt and Rolf Grossmann, eds.Michael Buchler, “Reconsidering Klumpenhouwer Networks,” Music Theory Online, vol.Michael Buchler, “Direct Stepwise Modulation and its Dramatic and Structural Roles in Frank Loesser’s Songs,” Music Theory Spectrum, vol.Randel, eds., A Cole Porter Companion (University of Illinois Press, 2016), pp. Michael Buchler, “Licentious Harmony and Counterpoint in Porter’s ‘Love for Sale’,” in S.Michael Buchler, “Are There Any Bad (or Good) Transformational Analyses?” Intégral 30 (2017): 41-51.Michael Buchler, “A Case Against Teaching Set Classes to Undergraduates,” in Engaging Students: Essays in Music Pedagogy vol.Michael Buchler, “Musical Structure, Dramatic Form, and Song Pairings in Cole Porter’s ‘Kiss Me, Kate’,” Journal of the Society for American Music 12/1 (2018): 37-54.Ottman, Music for Sight Singing, 9th Edition (Pearson, 2014). Evan Jones and Matthew Shaftel, with Juan Chattah, Aural Skills in Context: A Comprehensive Approach to Sight Singing, Ear Training, Harmony, and Improvisation (Oxford, 2013).Evan Jones, ed., Intimate Voices: The Twentieth-Century String Quartet (University of Rochester Press, 2009).Rachel Lumsden and Jeffrey Swinkin, eds., The Norton Guide to Teaching Music Theory (Norton, 2018).Douglass Green and Evan Jones, The Principles and Practice of Tonal Counterpoint (Routledge, 2015).Douglass Green and Evan Jones, The Principles and Practice of Modal Counterpoint (Routledge, 2010).Paul Murphy, Joel Phillips, Jane Piper Clendinning, and Elizabeth West Marvin, The Musician’s Guide to Aural Skills, Volume II: Ear Training and Contextual Listening, third edition, W.Paul Murphy, Joel Phillips, Jane Piper Clendinning, and Elizabeth West Marvin, The Musician’s Guide to Aural Skills: Sight Singing, third edition, W.Jane Piper Clendinning and Elizabeth West Marvin, The Musician’s Guide to Theory and Analysis, third edition, W.The Musician’s Guide to Fundamentals, third edition, W. Jane Piper Clendinning, Elizabeth West Marvin, and Joel Philips.This is a partial list of the faculty’s publications, recordings, and lectures. Members of our faculty have written many recent textbooks as well as numerous articles in our field’s major journals we are always well represented at the annual meetings of the Society for Music Theory and other major national and international scholarly organizations. Faculty Scholarly and Compositional ActivityįSU is home to one of the most productive music theory and composition areas in the world. Liliya is also a prizewinning pianist and is the founder and artistic director of Silenced Voices, a concert series that promotes the music of neglected Soviet composers. She was a prizewinner in the Molinari Quartet International Composition Competition, the Edvard Grieg International Composition Competition, the “Pre-Art” International Composition Competition in Zurich, and an international competition for young composers sponsored by the Moscow Conservatory. Her music has been featured at many festivals including Aspen, Norfolk, CULTIVATE, American Composers, New York Electroacoustic Music, June in Buffalo, and Darmstadt, as well as the 52nd Venice Biennale. Recipient of the 2016 Charles Ives Scholarship from the American Academy of Arts and Letters and the 2017 Horatio Parker Memorial Prize from Yale, she has collaborated with numerous symphony orchestras as well as prominent soloists and ensembles. Liliya Ugay recently completed her doctoral dissertation at Yale University and has had compositions performed around the world. He has presented papers at annual meetings of the Society for Music Theory, the European Music Analysis Conference (EuroMAC), the International Conference on Music Perception and Cognition, and various regional conferences including the Music Theory Society of New York State and the FSU Music Theory Forum. He has publications in Music Theory Online and the Journal of Music Theory, with others coming soon in Music Theory & Analysis, Theoria, and Engaging Students. His recent research re-evaluates Robert Gjerdingen’s model of galant schemata other interests include history of music theory, counterpoint, historical improvisation, and music cognition. in Composition in 2013, both from the Eastman School of Music. We are very pleased to announce the appointment of two new faculty members within our area as of Fall 2019…theorist Gilad Rabinovitch and composer Liliya Ugay. Currently an Assistant Professor of Music Theory at Georgia State University, Gilad Rabinovitch completed a Ph.D.
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