Elliott Antokoletz (in memoriam)
IN MEMORIAM: Elliott Antokoletz
Professor of Musicology
MRH 3.714 512-471-0698
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.
Associate Professor of Musicology
University Distinguished Teaching Professor of Musicology
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.
Professor of Ethnomusicology
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.
Assistant Professor of Practice in Mariachi and Ethnomusicology
Mónica Fogelquist is a lifelong mariachi musician, student, and instructor. She began studying the violin when she was seven, and began learning and performing mariachi music when she was 11. When she graduated from high school in 2001, she was invited by José Hernández to join his prestigious all-female Mariachi Reyna de Los Ángeles. While a member of Mariachi Reyna, she attended Whittier College where she obtained a Bachelor’s Degree in Spanish. Upon graduating, she began teaching mariachi music for the Sweetwater Union High School District in Chula Vista, California. In 2008, Monica decided to pursue a teaching degree at San Diego State University where she focused on Spanish, ELD, and elementary education, expanding her teaching experience beyond music. In 2013, she joined Mariachi Aztlán at the University of Texas-Pan American (now UTRGV). She completed her Master’s Degree in ethnomusicology from UTRGV in 2017. She is currently the director of Mariachi Paredes and teaches courses on the history of mariachi music and regional styles of Mexican music and border music at the University of Texas at Austin.
Assistant Professor of Musicology and Ethnomusicology
Education: PhD, University of Cambridge; MPhil, University of Cambridge; BA, University of the Philippines Diliman
Research Areas: Popular music and media culture; digital technologies
James Gabrillo is a popular music researcher of global culture industries and digital technologies. He was previously a lecturer at The New School and a postdoctoral fellow at Princeton University. He earned his PhD at the University of Cambridge.
His research has been published in the Journal of Popular Music Studies, Musical Quarterly, and Rock Music Studies. His current book project, Sounds of Where We Are, examines Manila’s musical cultures during the 1990s and onwards.
Prior to pursuing graduate studies, he worked as a journalist and editor for various publications, including The National, Al Jazeera English, and The Japan Times.
Courses: MUS 342 Pop Music Criticism & JournalismMUS 303P Global Popular Music
- “Rak en Rol: The Influence of Psychedelic Culture in Philippine Music,” Rock Music Studies, special issue on Global Psychedelia and Counterculture, edited by Kevin Moist, 5/3 (Sep 2018), 257-274.
- “The Sound and Spectacle of Philippine Presidential Elections, 1953-1998,” Musical Quarterly, 100/3-4 (Jul 2018), 297-339.
- “The Rapper Is Present: Sound Art, Liveness, and the Negotiation of Identity in Jay Z’s ‘Picasso Baby’,” Journal of Popular Music Studies, 29/1 (Mar 2017).
Associate Professor of Musicology
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.
Assistant Professor of Instruction in Musicology
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.
Professor of Ethnomusicology
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.
Associate Professor of Musicology
Senior Lecturer in Musicology
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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Associate Professor of Ethnomusicology
Professor of Ethnomusicology
Professor of Musicology
Michael C. Tusa (PhD Princeton University, 1983), Professor, has been a member of the Musicology faculty since 1981. His interests include nineteenth-century opera, the music of Beethoven, the compositional process, and piano music. His publications include a monograph, “Euryanthe” and Carl Maria von Weber’s Dramaturgy of German Opera(1991) and a volume in the Ashgate Library of Essays in Opera Studies, National Traditions in Nineteenth-Century Opera II: Central and Eastern Europe (2010). His essays have appeared in 19th-Century Music, Archiv für Musikwissenschaft, The Music Review, Journal of the American Musicological Society, Beethoven Forum, Journal of the American Liszt Society, Journal of Musicology, International Journal of Musicology, Journal of Interdisciplinary History, Cambridge Opera Journal and Bonner Beethoven-Studien. He wrote the entry on Weber in the New Grove Dictionary of Music and Musicians (revised edition) and has contributed essays to theCambridge Companion to Beethoven, the Cambridge Opera Handbook Ludwig van Beethoven. “Fidelio,” and Nineteenth-Century Piano Music. He has twice received teaching awards from the Butler School of Music and was the recipient of the College of Fine Arts Distinguished Teaching Award for 2013-14. He has served as Acting Director and Associate Director of the Butler School of Music; he is currently Secretary of the American Musicological Society.