MHTE Lecture Series


Upcoming Lectures

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Past Lectures

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Lynne Rogers

Becoming Stravinsky: Tales of a Compositional Habit
Fall 2019

Robert S. Hatten

A Theory of Virtual Agency for Western Art Music
Fall 2019

Matthias Brzoska

Meyerbeer's Grand Opera Le Prophète (1849) – The Concept of the New Critical Edition
Spring 2019

Thomas Christensen

Scales, Skulls, and Sanskrit: The Search for the Origins of Musical Tonality in France, c. 1860
Spring 2019

Gillian Robertson

Past, Yearning, and Fantasy: Interpreting Musical Nostalgia
Spring 2019

Jennifer Saltzstein

Power, Privacy, and Performance: The Gendered Song-Space of the Medieval Garden
Spring 2019

Graham H. Phipps

MUSIC FROM VIENNA'S "BEAUTIFUL MOUNTAIN" STANDS HIGH ABOVE C-LEVEL: Pitch Notation and its Consequences in Schoenberg's Opus 33a
Spring 2019

Hettie Malcomson

Negotiating Violence and Creative Agency in Commissioned Mexican Narco-Rap
Fall 2018

Janet Schmalfeldt

Domenico Scarlatti, Escape Artist: Sightings of His 'Mixed Style' Towards the End of the Eighteenth Century.
Fall 2018

David Locke

“The ‘Rhythm Section’ of an African Drum Ensemble: the Case of Agbadza (Ewe, Ghana/Togo)”
Spring 2018

Jann Pasler

Deconstructing Colonial and Postcolonial Interculturality
Spring 2018

UNT Residency: Jack Boss

Musical Idea in Schoenberg’s Piano Piece Op. 33a
Spring 2018

Matthew Rahaim

Circuits of Voice: Vocal Situations and Practices of Listening in South Asia
Fall 2017

Mark Spicer

"Sowing (Sewing?) the Seeds of Love": The 1967 Beatles' Influence on Tears for Fears
Fall 2017

William Rothstein

Aspects of Rhythm and Meter in Italian Opera from Mozart to Verdi
Fall 2017

Deborah Vargas

“Brown Soul”
Spring 2017

Barry Wiener

Stefan Wolpe's Compositional Pedagogy
Spring 2017

Matildie Thom Wium

Arnold van Wyk's Van Liefde en Verlatenheid: Love and Others in 1950s South Africa
Fall 2016

Francesca Brittan

Electricity, Magic, and the Birth of the Podium Conductor
Fall 2016

Deborah Kapchan

Listening to Disintegration: Between Secular and Sacred Worlds in France
Fall 2016

Mark Spicer

The Question of Tonality in Pop and Rock Songs
Spring 2016

Frank Samarotto

What's the Use of Outmoded Theories? Rehearing Brahm's Third Symphony
Spring 2016

Janette Tilley

An Uneasy Eros: Secularization and the Changing Musical Expression of Mystical Love in Early Modern Germany
Spring 2016

Barbara Willi

Series Basso Continuo versus Counterpoint: An Intellectual and Musical Fight during the 17th and 18th Centuries
Fall 2015

Álvaro Torrente

A la recherche du bal perdu: Erotic Dance-Songs in Early-Modern Spain
Fall 2015

Louise Meintjes

Singing Violence: Zulu Ngoma During South Africa's Transition
Fall 2015

Jonathan Kregor

"I Have Prayed It Rather than Composed It": On Franz Liszt's Religious Programs, 1857-1865
Fall 2015

Paul Dworak

Vowel Set Transformations and Vowel Harmonies in Claude Debussy's Proses lyriques
Spring 2015

Amanda Minks

Mapping Culture across Borders: Music Research and U.S.-Mexico Relations in the 1930s and 40s
Spring 2015