Timothy L. Jackson (born 1958) is an American professor of music theory who has spent most of his career at the University of North Texas and specializes in music of the eighteenth through twentieth centuries, Schenkerian theory, politics and music. He is the co-founder of the Journal of Schenkerian Studies . In 2020, he became controversial for editing a special issue of that journal containing articles criticizing Philip Ewell's plenary talk "Music Theory's White Racial Frame". [1] [2]
Jackson was born in Ottawa, Ontario, Canada, in 1958. Jackson received his B.A. in music in 1979 from McGill University in Montreal, Canada, his masters in music from Queens College, City University of New York; and his PhD in 1988 from the Graduate Center of the City University of New York in music theory. His dissertation, chaired by Professor Carl Schachter, was on "The Last Strauss: Studies of the Letzte Lieder ". [3]
Jackson was an assistant professor at Connecticut College from 1990 to 1997. He then became an assistant professor at the University of North Texas (UNT) in 1998 and was promoted to associate professor in 2001, full professor in 2005, and distinguished University research professor in 2011. [4] He is one of the founding editors of the Journal of Schenkerian Studies, [5] and has extensively published on late Romantic music, particularly on Bruckner, Brahms, and Sibelius.
In 2020-2021 Jackson was involved in a controversy in relation to issue 12 of the Journal of Schenkerian Studies , a special issue responding to a plenary talk at the Society for Music Theory (SMT) by Philip Ewell. The special issue was repudiated by the SMT's board of trustees, [6] and drew mainstream press coverage. [7] Jackson's management of the journal was criticized by graduate students for "platforming racist sentiments," as well as a "lack of peer review, publication of an anonymous response, and clear lack of academic rigor". [8]
Heinrich Schenker was an Austrian music theorist whose writings have had a profound influence on subsequent musical analysis. His approach, now termed Schenkerian analysis, was most fully explained in a three-volume series, Neue musikalische Theorien und Phantasien, which included Harmony (1906), Counterpoint, and Free Composition (1935).
Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to demonstrate the organic coherence of the work by showing how the "foreground" relates to an abstracted deep structure, the Ursatz. This primal structure is roughly the same for any tonal work, but a Schenkerian analysis shows how, in each individual case, that structure develops into a unique work at the foreground. A key theoretical concept is "tonal space". The intervals between the notes of the tonic triad in the background form a tonal space that is filled with passing and neighbour tones, producing new triads and new tonal spaces that are open for further elaborations until the "surface" of the work is reached.
Allen Forte was an American music theorist and musicologist. He was Battell Professor Emeritus of the Theory of Music at Yale University and specialized in 20th-century atonal music and music analysis.
Voice leading is the linear progression of individual melodic lines and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint.
Felix Salzer was an Austrian-American music theorist, musicologist and pedagogue. He was one of the principal followers of Heinrich Schenker, and did much to refine and explain Schenkerian analysis after Schenker's death.
In music theory, prolongation is the process in tonal music through which a pitch, interval, or consonant triad is considered to govern spans of music when not physically sounding. It is a central principle in the music-analytic methodology of Schenkerian analysis, conceived by Austrian theorist Heinrich Schenker. The English term usually translates Schenker's Auskomponierung. According to Fred Lerdahl, "The term 'prolongation' [...] usually means 'composing out' ."
The Mannes School of Music, originally called the David Mannes Music School and later the Mannes Music School, Mannes College of Music, the Chatham Square Music School, and Mannes College: The New School for Music, is a music conservatory in The New School, a private research university in New York City. In the fall of 2015, Mannes moved from its previous location on Manhattan's Upper West Side to join the rest of the New School campus in Arnhold Hall at 55 W. 13th Street.
At the end of his study period in form and orchestration by Otto Kitzler, Anton Bruckner made on 7 January 1863 sketches for a Symphony in D minor, WAB add 244.
Bruckner did not go on with this project, but composed later in the same year the Symphony in F minor, WAB 99.
The Symphony No. 4 in A minor, Op. 63, is a four-movement work for orchestra written from 1909 to 1911 by the Finnish composer Jean Sibelius.
Carl E. Schachter is an American music theorist noted for his expertise in Schenkerian analysis.
Progressive tonality is the music compositional practice whereby a piece of music does not finish in the key in which it began, but instead 'progresses' to an ending in a different key or tonality. In this connection 'different key' means a different tonic, rather than merely a change to a different mode : Gustav Mahler's Second Symphony (1888–94), for example, which moves from a C minor start to an E-flat major conclusion, exhibits 'progressive tonality'—whereas Ludwig van Beethoven's Fifth Symphony (1804–08), which begins in C minor and ends in C major, does not. A work which ends in the key in which it began may be described as exhibiting 'concentric tonality'. The terms 'progressive' and 'concentric' were both introduced into musicology by Dika Newlin in her book Bruckner, Mahler, Schoenberg (1947).
James Webster is a musicologist, specializing in the music of Joseph Haydn and other composers of the classical era. His professional position is as the Goldwin Smith Professor of Music at Cornell University.
Joseph Schalk was an Austrian conductor, musicologist and pianist. His name is often given as Josef Schalk.
According to some music therapists, the use of Music in the therapeutic environment has an affinity with psychoanalysis in that it addresses obstructions in the mind that might be causing stress, psychic tension, and even physical illness. Music has been used, in conjunction with a psychoanalytic approach, to address symptoms of a variety of mental disorders, as well as forms of emotional distress, such as grief, loss, mourning, and trauma.
The Journal of Schenkerian Studies is a peer-reviewed academic journal specializing in music theory and analysis, with a particular focus on Schenkerian analysis based on the ideas of Heinrich Schenker. It is published by the Center for Schenkerian Studies at the University of North Texas College of Music. Its first issue was published in 2005, under editor-in-chief Jennifer Sadoff. As of 2020, it has a paid circulation of approximately 30 copies per issue.
Martin Eybl is an Austrian musicologist.
Charles Burkhart is an American musicologist, theorist, composer, and pianist. He holds the title of Professor Emeritus in the Aaron Copland School of Music, Queens College, and the Graduate Center, City University of New York. He is known especially as a scholar in Schenkerian analysis and as a successful lecturer and master class presenter.
Ernst Oster was a German pianist, musicologist, and music theorist. A specialist in the use of Schenkerian Analysis, he was the English translator of Heinrich Schenker's final work, Free Composition.
Philip Adrian Ewell is an American professor of music theory at Hunter College and the CUNY Graduate Center. He specializes in Russian and twentieth century music, as well as rap and hip hop. In 2019, he sparked controversy with his conference talk, "Music Theory's White Racial Frame," leading to a debate on the racial politics of music theory and resulting in his 2023 book, "On Music Theory And Making Music More Welcoming for Everyone."
Matthew G. Brown is a British-American music theorist, musicologist, educator, and artistic director. He is Professor of Music Theory at Eastman School of Music.
