Faculty

Elliott Antokoletz, Professor of Musicology at the University of Texas at Austin, held the Alice Mackie Scott Tacquard Endowed Centennial Chair and E.W. Doty Professorship in Fine Arts. His books include: The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music (Berkeley and Los Angeles, 1984; also in Spanish translation); Béla Bartók, A Guide To Research  (Garland, 1988; 2nd ed. rev. 1997; 3rd ed. rev., 2011); Twentieth Century Music (Prentice Hall, 1992; also in Polish and Chinese translation); Musical Symbolism in the Operas of Debussy and Bartók:Trauma, Gender, and the Unfolding of the Unconscious (Oxford, 2004); The Musical Language of the Twentieth Century, The Discovery of a Missing Link; The Music of Georg von Albrecht (Peter Lang Verlag, 2012); and A History of Twentieth-Century Music in a Theoretic-Analytical Context (New York: Routledge, 2014). His co-authoredbooks include: Music and Twentieth-Century Tonality: Harmonic Progression Based on Modality and the Interval Cycles (New York: Routledge, 2012); and Manuel de Falla’s Cuatro Piezas Españolas: Combinations and Transformations of the Spanish Folk Modes (Saarbrücken: VDM Publishing House Ltd., 2009). He is book author/editor of Bartók Perspectives: Man, Composer, and Ethnomusicologist (Oxford, 2000); and Re-Thinking Debussy (Oxford, 2011). He was editor of Georg von Albrecht: From Musical Folklore to Twelve-Tone Technique: Memoirs of a Musician Between East and West (Scarecrow Press, 2004); International Journal of Musicology (Frankfurt, Berlin, Paris, Bern, Wien, New York: Verlag Peter Lang, annual since 1992); and book series Sources and Studies in Music History from Antiquity to the Present (Frankfurt: Verlag Peter Lang, since 2014). He contributed to the New Grove Dictionary of Music and Musicians II. He published more than 75 articles in most of the major music journals and to book compilations such as: The Bartók Companion (Faber, 1993); Sibelius Studies (Cambridge University Press, 2001); Encomium Musicae: Essays in Honor of Robert J. Snow (Pendragon, 2002) on 20th-century composers from Spain; Copland and His Times (Princeton, 2005); and Unmasking Ravel: New Perspectives on the Music (Rochester, 2011). In 1982 he served as scholarly evaluator for the Harry Ransom Center (HRC) at the University of Texas for acquisition of the Stravinsky Archive as well as archival collections of Ravel, Dukas, Roussel, Fauré, and Debussy. The “Elliott Antokoletz Bartókiana Collection” is housed, together with the “Benjamin Suchoff Bartókiana Collection” (Former Trustee of the Béla Bartók Estate and Head of the New York Bartók Archive), at the University of South Florida at Tampa. Antokoletz lectured in Hungary, Germany, Poland, Switzerland, England, Spain, Mexico, Brazil, Australia, and throughout the United States. His honors and awards include: the Béla Bartók Memorial Plaque and Diploma from the Hungarian Government (1981); two subventions from the National Endowment for the Humanities (1980 and 1982); a Teaching Excellence Award from the University of Texas (1981); and the Ph.D. Alumni Award from the City University of New York (1987). In March 2000 he was the Director of the Bartók International Congress and in 2006 the Debussy International Congress at the University of Texas. Antokoletz majored in Violin Performance under Dorothy Delay and Ivan Galamian at the Juilliard School of Music (B.S., 1960-1964), Historical Musicology at Hunter College (M.A. 1970) and Graduate Center of the City University of New York (Ph.D., 1975). From 1973 to 1976, he taught theory and chamber music at Queens College, where he was a member of the Faculty String Quartet, concertmaster of the New Repertory Ensemble of New York and also concertmaster and soloist with the Bronx Symphony. He passed away in December 2017. 

Charles Carson is a musicologist whose interests are African-American/American expressive cultures, Popular Music, Jazz, Film Music, and music and culture. A graduate of the Moores School of Music at the University of Houston, Charles is a former Howard Mayer Brown Fellow for the American Musicological Society. He received his PhD in Music History from the University of Pennsylvania, with a dissertation entitled “Broad and Market: At the Crossroads of Race and Class in Philadelphia Jazz, 1956-1980.” He has presented and published in a number of venues, on topics ranging from theme park music to smooth jazz.

Andrew Dell’Antonio (PhD, University of California at Berkeley, 1991), University Distinguished Teaching Professor, specializes in musical repertories of early modern Europe, with a focus on seventeenth-century Italy. His research interests include musical historiography, reception history, and disability studies. Partly spurred by his personal experience of neurodivergence, he has recently turned his focus to Universal Design for Learning and related critical approaches to anti-racism, anti-ableism, and intersectional equity / inclusion in higher education music pedagogy.

He blogs at The Avid Listener, is co-author of the textbook The Enjoyment of Music, and co-editor of the Michigan University Press series Music and Social Justice. His monograph Listening as Spiritual Practice in Early Modern Italy (University of California Press, 2011) addresses musical styles and aesthetics in early seventeenth century Italy, with particular focus on the spiritual and gender implications of changing listening practices. Earlier publications included investigations of contemporary popular music and the fashioning of a postmodern critical stance, resulting in his editing and contributing to the collection of essays Beyond Structural Listening? Postmodern Modes of Hearing (University of California Press, 2004). He has also published widely in leading music and interdisciplinary journals, encyclopedias, and scholarly collections; please see his professional site for details.

Professor Dell’Antonio served as Associate Dean for Undergraduate Studies in the College of Fine Arts from 2012 to 2020; he is the recipient of numerous teaching awards, including the inaugural University of Texas Regents’ Outstanding Teaching Award (2009); the William David Blunk Professorship; and the Award for Distinction in Teaching by Phi Beta Kappa for the Alpha of Texas Chapter. He is a former Mellon Fellow at the Harvard-Villa I Tatti Center for Italian Renaissance Studies in Florence, Italy.

Veit Erlmann holds the Endowed Chair of Music History. He studied musicology, sociology, anthropology and philosophy in Berlin and Cologne, where he obtained a Dr.phil. in 1978 and did a Habilitation in musicology in 1989 and in anthropology in 1994. He has done fieldwork in Ecuador and in several African countries such as Cameroon, Niger, Ghana, South Africa and Lesotho. He also writes on sound, law and the history of science. Dr. Erlmann has been on the faculties of the University of Natal, the University of Chicago, the University of the Witwatersrand in Johannesburg, and the Free University of Berlin. In adddition, he also taught at Humboldt University in Berlin and the University of Cape Town. He has published seven books, numerous articles, and three CDs one of which was nominated for a Grammy Award. A new book titled Lion’s Share. Remaking South African Copyright is forthcoming from Duke University Press. Professor Erlmann is also the recipient of several prestigious awards and fellowships, including the Alan P.Merriam Prize for the best English-language monograph in ethnomusicology, the Heisenberg Fellowship and the Meractor Prize given by the German Research Foundation, and a Fulbright Scholar Award. Since 2015 he has served as editor of the journal Sound Studies. An Interdisciplinary Journal. For more information see Professor Erlmann’s Web Page.

Hannah Lewis specializes in music for film and visual media, early twentieth-century French music, American avant-garde and experimental music, and musical theater. Her book, French Musical Culture and the Coming of Sound Cinema, was published in 2018 as part of the Oxford University Press Music and Media series. Her work has also appeared in the Journal of the American Musicological Society, Journal of the Society for American Music, Journal of Musicological Research, Musical Quarterly, and The Cambridge Companion to Film Music, and she was the 2014 recipient of the Society for American Music’s Mark Tucker Award. She is currently editing a volume with Jim Buhler, titled Voicing the Cinema: Film Music and the Integrated Soundtrack, and working on a second book, Rodgers and Hammerstein on Screen. She received her PhD in Historical Musicology from Harvard University in 2014, and she taught at Tufts University before joining the faculty at UT.

Alison Maggart’s research focuses on twentieth-century music and culture in the United States. She is particularly interested in serial aesthetics, musical borrowing, and identity. She received her PhD in 2017 from the University of Southern California, where she was named the Outstanding Doctoral Student of the Thornton School of Music for her work on Milton Babbitt’s aesthetics and reception. Before coming to UT, she taught at The Colburn School, California State University Northridge, Mount Saint Mary’s University, and KM Music Conservatory in India, where she also orchestrated Bollywood film scores. Outside of academia, she has worked as the archival musicologist for the Piatigorsky Archives and research-musicologist for the Los Angeles Philharmonic’s “Inside the Music” concert series. She continues to write program notes for the Sacramento Philharmonic & Opera. She has presented her work at the American Musicological Society’s national and regional meetings (receiving the Ingolf Dahl Award in 2016), European Music Analysis Conference, and others. She is published in Current Musicology and has an article forthcoming in Contemporary Music Review. She is currently writing a book on Milton Babbitt and beginning research on the use of “sound baths” in meditation.

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Robin Moore (PhD, The University of Texas at Austin, 1995), Professor of Ethnomusicology, has received awards including fellowships from the ACLS, the Rockfeller Foundation, the MacArthur Foundation, and the National Humanities Center. His research interests include music and race, music curriculum reform, and music of Cuba and Latin America more generally. Dr. Moore’s book publications include Nationalizing Blackness: afrocubanismo and artistic revolution in Havana, 1920-1940 (University of Pittsburgh Press, 1998), Music and Revolution Cultural Change in Socialist Cuba (The University of California Press, 2006), Music in the Hispanic Caribbean (Oxford University Press, 2010), Musics of Latin America (W.W. Norton, 2012), Danzón: Circum-Caribbean Dialogues in Music and Dance (Oxford University Press, co-authored with Alejandro Madrid, 2013), College Music Curricula for a New Century (Oxford Press, 2017), and Fernando Ortiz on Music (Temple University Press, 2018). His recent awards include the Robert Stevenson Award from the American Musicological Society the Bela Bartok Award for outstanding ethnomusicology publication from ASCAP, both from 2013. Since 2005, he has served as editor of the Latin American Music Review.

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Ph.D. in Musicology, Università degli Studi “La Sapienza”, Rome, Italy; LMS-Postdoctoral License in Mediaeval Studies, Pontifical Institute of Mediaeval Studies, Toronto, Canada; Diploma in Piano Performance, Conservatorio Statale, Benevento, Italy

Luisa Nardini is a medievalist with special interests in the later development of chant repertories in Western Europe. Her works on Gregorian chant, medieval music theory, music and visual art, manuscript studies, and oral and written transmission of liturgical chant had been presented at scholarly forums in North America and Europe. She has published essays and reviews in Acta Musicologica, Mediaeval Studies, Speculum, Plainsong and Medieval Music, Rivista Italiana di Musicologia, Nuova Rivista Musicale Italiana, Cantus Planus, and in miscellaneous volumes. Her forthcoming book, Neo-Gregorian Chant in Beneventan Manuscripts: The Proper of the Mass, will be published with the Pontifical Institute of Mediaeval Studies—The University of Toronto Press. It focuses on an extended repertory of liturgical music that circulated in southern Italy after the diffusion of Gregorian chant (8th-9th cent.). This repertory reflects the multi-cultural context of southern Italy in the Middle Ages and sheds new light on some of the most controversial problems related to the earliest history of western music and the interrelationships between Roman, Gallican, Byzantine, and Beneventan chants. She is presently working on a second book on the prosulas copied in Beneventan manuscripts for the Proper of the Mass.

Before coming to UT, Luisa Nardini served on the faculty of the University of California Santa Barbara as a lecturer in musicology. The first musicologist to be awarded an A.W. Mellon postdoctoral fellowship at the Pontifical Institute of Mediaeval Studies in Toronto, she has been an Associate Research Scholar at the Italian Academy for Advanced Studies in America at Columbia University and the recipient of research grants from the Universities of Naples, Rome, Italy, the University of California Santa Barbara, and The University of Texas, Austin. She serves as an honorary faculty member of the doctorate in musicology at the University of Rome “Tor Vergata” and is regularly invited as a lecturer at the school of specialization on the Ars Nova in Certaldo, Italy. In 2012 she was awarded the “Gladiatore d’Oro,” the highest honorific prize of the Province of Benevento (Italy) for “having contributed with her sophisticated, extraordinary, and passionate studies to the development of the scholarship in the field of medieval music and chant” and holds a Grace Hill Milam Centennial Fellowship in Fine Arts for 2012-2013.

Books:

Neo-Gregorian Chant in Beneventan Lands: The Proper of the Mass (Pontifical Institute of Mediaeval Studies, University of Toronto, forthcoming).Prosulas for the Proper of the Mass in Beneventan Manuscripts: Edition and Study (in preparation)

“The St Peter Connection and the Acquisition of a Roman Offertory in Bologna and Benevento,” Mediaeval Studies 72 (2010): 39-74.“Old-Roman Intruders in non-Roman Manuscripts,” Acta Musicologica 82 (2010): 1-20.“Aliens in Disguise: Byzantine and Gallican Chants in the Latin Liturgy,” Plainsong and Medieval Music 16 (2007): 145-172.“Il repertorio neo-gregoriano nei manoscritti di area beneventana,” Il Saggiatore Musicale 6 (1999): 377-378.“Notizie sugli strumenti da tasto all’inizio del ‘700 a Napoli,” Quaderni dell’Archivio Storico del Banco di Napoli 2 (1998): 69-77, co-authored with Guido Olivieri. “Una prosula per san Nicola in un codice della Biblioteca Capitolare di Benevento,” Nicolaus. Studi storici 8 (1997): 481-488. “Il canto gregoriano: una tradizione millenaria,” Worldmusic 25.7 (1997): 17-20. “Transmissions of Repertories/Contamination of Styles: The Case of Liturgical Music in Souther Italy (9th – 13th cent.),” featured on the Website of the Italian Academy for Advanced Studies in America at Columbia University: www.italianacademy.columbia.edu/publications/working_papers/2004_2005/paper_fa04_Nardini.pdf

Book chapters: “The Circulation of Gregorian Chant and the Cult of St Michael in Medieval Southern Italy,” in The Oxford Handbook of Music and World Christianities, eds. Suzel Reily and Jonathan Dueck (Oxford: Oxford University Press, forthcoming). “Riconsiderando i manoscritti musicali della Biblioteca Nazionale di Napoli. Il caso dell’Innario VI G 29,” in Proceedings of the Conference of the International Association of Music Libraries (IAML), Naples, Italy, July 2008, Lucca, (LIM, Libreria Musicale Italiana, forthcoming). “Idee per un progetto di edizione delle prosule del Proprium Missae,” submitted for the Proceedings of the Conference for the centennial anniversary of the Pontificio Istituto di Musica Sacra, Rome, May-June 2011, ed. Francesco Luisi. “In the Quest of Gallican Remnants in Gregorian Manuscripts,” submitted for the collection Music and Censorship, ed. Patricia Hall (Oxford: Oxford University Press, forthcoming). “The Masses for the Holy Cross in Some Medieval Manuscripts,” in “Qui musicam in se habet”: Essays in Honor of Alejandro Planchart, eds. Stanley Boorman and Anna Zayaruznaya (American Institute of Musicology, likely date of publication 2012), submitted, refereed. “La messa Vir Dei Benedictus nei manoscritti liturgici beneventani e non beneventani,” in Proceedings of the International Symposium “Musica e liturgia a Montecassino nel Medioevo,” University of Cassino, Italy, December 2010, ed. Nicola Tangari (Rome, La Viella, “Scritture e libri del Medioevo”, 2012), 115-131. “The Mass for the Octave of the Epiphany in some Beneventan Manuscripts,” in Classica et Beneventana. Essays Presented to Virginia Brown on the Occasion of her 65th Birthday, eds. F.T. Coulson et A.A. Grotans (Brepols: Turnhout, 2008), 391-405. “Montecassino, Archivio della Badia, ms 318: Observations on the Second Tonary Mass Repertory,” in “…Et facciam dolçi canti.” Studi in onore di Agostino Ziino in occasione del suo 65 compleanno, eds. Bianca Maria Antolini, Teresa Maria Gialdroni, and Annunziato Pugliese (Lucca: LIM, 2004), 47-61. “Liturgy as Historiography: Historical, Narrative, and Evocative Values of Eleventh-Century Masses,” in Early Music: Context and Ideas II: Proceedings of he International Conference in Musicology (Krakow, Poland: Jagellonian University—Institute of Musicology, 2008), 27-38. Available on the Jagellonian University website: www.muzykologia.uj.edu.pl/conference/PDF/12Nardini.pdf. “Non-standard Introits in Beneventan Manuscripts: Compositional Strategies and Transmission in the Sources,” inCantus Planus. Papers Read at the Twelfth Meeting Lillafüred, 23-28 August 2004 (Budapest: Hungarian Academy of Sciences, Institute for Musicology, 2007), 345-369.

Guido Olivieri (Ph.D. in Musicology- University of California, Santa Barbara; DMA in violin – Conservatory of Salerno, Italy) teaches courses on 18th-century Music History, History of Renaissance Music, History of Instrumental Music, Performance Practice, and Research Methods. He is also the director of the UT Early Music Ensemble “Austinato.”
Olivieri’s research has focused on the developments of the string repertory in Europe, looked at aspects of musical patronage, performance practice and reconstructed the artistic and circulation of music and musicians and cultural relationship in 18th-century Europe. He has presented papers at several international conferences (AMS, IMS, SECM, Biennial International Conference on Baroque Music, Italian Musicological Society), and published articles in scholarly journals (Basler Jahrbuch für Historische Musikpraxis, Analecta Musicologica, Notes, Studi Musicali, Pergolesi Studies) and collective volumes (Performance Practice: Issues and Approaches, Steglein 2009; Sleuthing the Muse: Essays in Honor of William F. Prizer, Pendragon 2012). He has also contributed new entries to The New Grove Dictionary of Music, Die Musik in Geschichte und Gegenwart, and the Dizionario Biografico degli Italiani. A Research Fellow at the University of Liverpool (UK) and at The Italian Academy for Advanced Studies in America at Columbia University, Dr. Olivieri was awarded a Mellon Postdoctoral Fellowship at the University of Michigan, where he also was a Visiting Assistant Professor. He is also the recipient of The Walter and Gina Ducloux Fine Arts Faculty Fellow Endowment (2015) and the Services for Students with Disabilities Appreciation Award (Spring 2016).
Among his most recent publications is the volume Arcomelo 2013. Studi in occasione del terzo centenario della nascita di Arcangelo Corelli (Lucca, Libreria Musicale Italiana, 2015), and the critical and facsimile edition of A. Corelli’s Sonate da camera di Assisi (Lucca, Libreria Musicale Italiana, 2015).
Dr. Olivieri’s recent projects include a study on 18th-century teaching at the Neapolitan Conservatories, and the critical edition of D. Cimarosa’s Il matrimonio segreto for Bärenreiter, in collaboration with the University of Vienna.
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Sonia Seeman

Associate Professor of Ethnomusicology
stseeman@austin.utexas.edu

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Stephen Slawek

Professor of Ethnomusicology
slawek@austin.utexas.edu

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Michael Tusa

Professor of Musicology
mctusa@austin.utexas.edu

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