EDUCATION PUBLICATIONS

Transcription

1 JONATHAN GUEZ, PH.D. (713) W. Liberty St. APT A Wooster, OH EDUCATION Doctor of Philosophy, Music Theory Yale University Dissertation: Schubert s Recapitulation Scripts Co-Advisers: Patrick McCreless and James Hepokoski Master of Philosophy, Music Theory Yale University Master of Arts, Music Theory Yale University Qualifying Examination Areas, Passed with Distinction: Wagner s Parsifal Schenkerian Hermeneutics in Nineteenth-Century Chamber Music Master of Music Indiana University Bachelor of Arts, Music Texas Tech University Certificate, French Language and Literature La Sorbonne PUBLICATIONS Review of Lorraine Byrne Bodley and Julian Horton, eds., Rethinking Schubert Music Theory Online 23/3 Thematic Alterations and Narrative Time in Three Schubert Songs Forthcoming in Drama in the Music of Franz Schubert, James Sobaskie and Joe Davies, eds., Boydell & Brewer The Mono-Operational Recapitulation in Movements by Beethoven and Schubert Forthcoming in Music Theory Spectrum Review of Lauri Suurpää, Death in Winterreise: Musico-Poetic Associations in Schubert s Song Cycle Music Analysis 34/3, pp

2 You Hear What You Will, The Horns I Hear Them Still : Prolongation and Persistence in Act II Scene 1 of Tristan und Isolde Journal of Schenkerian Studies 7, pp Earlier version published in Teresa Malecka and Malgorzata Pawlowska, eds., Music: Function and Value: Proceedings of the 11 th International Congress on Musical Signification, vol. 2, MANUSCRIPTS UNDER REVIEW Process and Pendulum in Schubert s Expanded Type 1 Sonatas Under review at Music Theory & Analysis Recapitulatory Compressions and Musical Narrative in Some Vocal and Instrumental Works by Schubert Resubmitted to the Journal of Music Theory CONFERENCE PRESENTATIONS Pre-organized session: Quel futur pour la Formenlehre: challenging recapitulatory paradigms Proposed, organized, and chaired this pre-organized session of five papers at the 9 th European Music Analysis Conference. Participants: Poundie Burstein, Andrew Aziz, Rebecca Perry, Anne Hyland, and Jonathan Guez Musical Form and Visual Illusion in Two Songs from Winterreise Read at the annual meeting of Music Theory Midwest Ecstasy, Timelessness, and the Topic of Authentic Cancellation Read at the International Congress on Musical Signification A Contribution to the Theory of Tonal Alterations in Sonata Forms To be read at the annual meeting of the Society for Music Theory, Arlington Read at the annual meeting of the Texas Society for Music Theory Read at the Joint Meeting of Music Theory Southeast and the South Central Society of Music Theory Read at the annual meeting of Music Theory Midwest Poetic Form and Schubert s Instrumental Narratives Read at the annual meeting of the Music Theory Society of New York State Parsifal as Domestication Script: Semitones and Seventh Chords, Rejections and Redemptions Invited lecture, University of Helsinki 2016 Dass ich hier gewesen: The Notion of Double Correspondence Measures and Their Effects on Temporality in Schubert s Sonatas Read at the annual meeting of the Gesellschaft für Musiktheorie Read at the annual meeting of Music Theory Midwest

3 Read at the Yale Works-in-Progress Series Thematic Alterations and Narrative Time in Schubert s Songs and Sonatas Read at the Oxford Lieder Festival 2014 Recapitulatory Alterations and Time Distortions in Schubert, or What Expansions and Contractions in Poetry and Song Can Teach us about Drama in Instrumental Music Invited Lecture, The Hartt School at the University of Hartford Process and Symmetry in Schubert s Expanded Birotational Sonatas Read at the annual meeting of the Society for Music Theory Read at the annual meeting of the New England Conference of Music Theorists Read at the Yale Works-in-Progress Series You Hear What You Will, The Horns I Hear Them Still : Prolongation and Persistence in Act II Scene 1 of Tristan und Isolde Read at the Yale Works-in-Progress Series and the Indiana University Graduate Theory Association s Music Symposium Multivalent Formal Strategies and Echoes of Wagner in Puccini s Suor Angelica Read at a workshop on operatic form at the New England Conference of Music Theorists 2011 UNPUBLISHED WRITINGS AND SEMINAR PAPERS Cyclic versus Linear Modeling in Reich s Electric Counterpoint Presence Versus Meaning? A Reevaluation of the Place of Phenomenology in Music Analysis The Single Bond of a Single Breath or Floating in Sublime Bliss?: Tonality Types in Tristan Structural Counterpoint in the Vatican Organum Treatise: An Analytical Inquiry Metrical Dissonance as Musical Philosophy: An Instance of Sublation in Brahms s Second Symphony Tonality, Sonata Form, and Socialist Realist Aesthetics in Prokofiev s Cello Sonata Tonality and Form in Shostakovich s Piano Concerto No. 2 Prokofiev and Shostakovich as Socialist Realist Composers?: The Curious Case of (Neo-) Tonality Under the Zhdanov Regime Intensification as a Script in Mozart s Fugue for Flötenuhr, K. 608 Combined Subject Paradigms in Contrapunctus 9 (Alla Duodecima) from Die Kunst der Fuge A Philosophical Hermeneutics (of Suspicion?): Dahlhaus, Gadamer, and the Foundations of Music History 3

4 On the Concept of Unity in Music Analysis The Birth of Systematic Aesthetics out of the Spirit of Philosophy: Foundations, History, and Impact on Modern Philosophy of Art Art as Language: An Examination of the Formation and Ramifications of our Artistic Cultural Identities From Sketch to Score: An Analytical Inquiry into Mozart s Compositional Process The Poetics of a Method: Approaching the First Movement of Hadyn s Surprise Through Sonata Theory EDITORIAL AND SERVICE WORK (MUSIC) Reviewed manuscript submissions for Music Theory and Analysis Reviewed manuscript submissions for Music Theory Online Session chair, International Congress on Musical Signification, Session titles: Sacred Signs 1 (in French) and Sacred Signs 2 Member of the program committee, New England Conference of Music Theorists 2015 Session chair and member of the program committee at the Yale Graduate Music Symposium, session title: Music and Narratives Wrote program notes for Yale Schola Cantorum 2012 Wrote program notes for Yale Camerata Co-translator, Richard Cohn, The Overdetermined Triad and the Convertible Tonnetz into French for publication in France Session chair at the Yale Graduate Music Symposium, session title: Formal Issues Engraved musical examples and created audio CDs for Craig Wright, Listening to Music 6 th ed. Editorial staff, Indiana Theory Review 27/2 and 27/ Member of editorial board and editorial assistant, Indiana Theory Review Member of the Graduate Theory Association, Indiana University SERVICE AND VOLUNTEER (OTHER) Faculty Adviser for the European Student Association, The College of Wooster Faculty Adviser for Don t Throw Shoes, an Improv Comedy Group at The College of Wooster Faculty Supervisor for the Recording Studio, The College of Wooster Fighting Scots Partners Program: Faculty Partner for Men s and Women s Tennis Faculty Supervisor for the Student Ushering Crew

5 SCHOLARSHIPS, TRAVEL GRANTS, AND AWARDS The College of Wooster Strategic Priorities Fund For EuroMac 9, Strasbourg Faculty Travel Benefit For TSMT, Houston Faculty Development Fund For MTMW, Iowa City Faculty Travel Benefit For ICMS 13, Canterbury Faculty Development Fund For GMTH 16, Berlin Yale University Allen Forte Graduate Student Endowed Fund Four-time recipient Yale University Conference Travel Fellowship Two-time recipient Louis K. and Marie L. Kofsky Scholarship Fund University Dissertation Fellowship Comprehensive Exam Distinction Teaching Fellowship (Rank: Part-Time Acting Instructor) Florence L. Pond Memorial Scholarship Fund Indiana University Indiana University Dean s Award Mr. and Mrs. David R. Jacobs Scholarship WORKSHOPS New Ontologies of Music, led by Benjamin Piekut CUNY Graduate Students in Music Conference: Music and Philosophy Fundamentals of Teaching Music Seminar Yale University Graduate Teaching Center Opera Analysis, led by Deborah Burton and William Rothstein New England Conference of Music Theorists Graduate Student Workshop Sonata Theory, let by James Hepokoski and Warren Darcy Society of Music Theory Graduate Student Workshop and

6 CLASSES TAUGHT The College of Wooster (Assistant Professor, 2015 to present) Is the West in a Period of Decline?: First Year Seminar in Critical Inquiry Have social media, smart phones, entertainment news outlets, and other twenty-first-century phenomena impacted our ability to read, write, be politically involved, find an authentic voice? We ll confront sources on both sides of the debate ranging from newspaper articles to films to pop science to media theory to philosophy to polemics. Our goal is not so much to try to stake out a position in this contested field, but to use the question as a springboard for pedagogy in research methods, prose crafting, and critical thinking. Junior Independent Study Adviser Advised two Junior I.S. projects in music theory. The first is on musical meaning in Walt Disney s Fantasia (1940). The second is on the role technological developments in synthesized sound played in the emergence of Disco and House music. Music 302: Form and Analysis Designed and led this course dedicated to the study of musical form and advanced analysis. Music 304: Counterpoint Tutorial Designed and led this course on modal and tonal counterpoint. The tonal component was taught from eighteenth-century partimenti. Projects included an imitative two-voice motet and a threevoice fugue. Music 101 Designed and led this five-day-a-week course that combines theoretical concepts with musicianship (sight singing, dictation, keyboard skills, and a performance component). The course moves from fundamentals to diatonic triads, four-part writing, and the principles of harmonic progression. Music 102 Designed and led this second-semester sibling of Music 101. It rounds off the introduction to diatonic harmony (all seventh chords, sequences) and introduces small (8- and 16-measure) forms. Music 201 Designed and led this third installment of the core curriculum. Secondary functions (including deceptive resolutions and sequences), modulation, and larger forms (binary, ternary, theme and variations, sonata, and rondo). The final project of this course is the composition of a Minuet and Trio movement for String Quartet. Music 202 Designed and led this final component of the core curriculum, dedicated to later nineteenthcentury chromaticisms, including equal divisions of the octave. The final project of this course is the composition of an art song in Schubert s, Schumann s, Brahms s, or Wolf s style. Yale University (Associates in Teaching, with Patrick McCreless, Fall 2013) 6

7 Music 455: Schubert s Compositional Practice Designed and proposed a senior seminar on Schubert s songs and sonatas. The proposal won Yale s Associates in Teaching Award, and I co-taught it with Patrick McCreless. Yale University (Part-time Acting Instructor, -2015) Music 205: Tonal Harmony and Form Designed the syllabus for and lead taught this analysis-based survey course on music theory for non-music majors. Music 210: Elementary Studies in Analysis & Composition I Designed the syllabus for and lead taught this first core course for music majors on harmony, voice leading, and form; graded assignments and; coached two model compositions (a set of keyboard variations and a Minuet and Trio for string quartet), performed during finals week by professional musicians. Music 211: Elementary Studies in Analysis & Composition II Designed the syllabus for and lead taught this second core course for music majors on harmony, voice leading, and form. Included units on the pitch-class motive, semitonal voice leading, the augmented triad and other symmetrical harmonies, hexatonic systems, solita forma conventions in Italian opera, Wagner and Leitmotiv, and non-diatonic scalar collections; graded assignments; coached two model compositions, performed during finals week by professional musicians. Music 219: Elementary Musicianship II (and keyboard component of same) Designed materials for and lead taught this second aural skills, sight singing, and keyboard course for music majors which focused on chromaticism and music of the early twentiethcentury; ran a keyboard lab component outside class time to develop skills in keyboard harmony and thoroughbass reading. Indiana University (Associate Instructor) MUS T252: Music Theory and Literature IV Spring 2008 MUS T151: Music Theory and Literature I Fall 2007 MUS T152: Music Theory and Literature II Spring 2007 Indiana University (Grader) MUS T508: Written Music Theory Review for Graduate Students Fall 2006 The Emery/Wiener School Jewish History, (High-School Seniors) Fall 2005 PERFORMANCE [Tenor] Contemporary Vocal Ensemble, Indiana University [Tenor] Premiered Miserere Mei by Matthew Peterson at Indiana University 2006 [Piano] Premiered The Tale of the Storyteller by James Edmonds at Texas 2005 Tech University 7

8 [Piano] Public Recitals, Schola Cantorum Paris, France 2004 [Piano] Winner of the Texas Tech University Concerto Competition 2003 Performance with the Texas Tech University Symphony Orchestra MEMBERSHIPS Society for Music Theory American Musicological Society LANGUAGES Reading, writing, conversational proficiency in French Reading proficiency in German Conversational proficiency in Spanish REFERENCES Patrick McCreless, Professor of Music, Yale University James Hepokoski, Henry L. and Lucy G. Moses Professor of Music, Yale University Richard Cohn, Battell Professor of Music, Yale University 8