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Mark Anson-Cartwright

Aaron Copland School of Music


Queens College, City University of New York
65-30 Kissena Blvd.
Flushing, NY 11367
(718) 997-3852
Mark.AnsonCartwright@qc.cuny.edu

EDUCATION

Ph.D., Music Theory, City University of New York, 1998


Dissertation: “The Development Section in Haydn’s Late Instrumental Works”

B.Mus., University of Toronto (concentration: Music History and Literature), 1991

TEACHING EXPERIENCE (since 1997)

Queens College, CUNY, 2004 to present (Assistant Professor)

Mus 173, Theory I


Mus 174, Theory II
Mus 273, Theory III
Mus 274, Theory IV
Mus 373, Theory V
Mus 277 and 377, Analysis I and II
Mus 271, Intermediate Sight Singing
Mus 762, Master’s Theory Seminar

Graduate Center, CUNY, 2005 to present (Assistant Professor)

Mus 74500, Schenkerian Analysis I (Fall 2006)


Mus 85400, Schenkerian Analysis II: Analysis of Music with Text (Spring 2008)
Served as reader for five Ph.D. and D.M.A. dissertations.

Hofstra University, 1997–2004 (Assistant Professor)

Mus 61 through 64, Sight Singing and Ear-training


Mus 69 (and 69A), Fundamentals and Species Counterpoint
Mus 70A, 71, and 72 Harmony and Analysis
Mus 154, Form Analysis
Mus 151, Schenkerian Analysis
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Yale University, Fall 1999 (Visiting Assistant Professor)

Music 315, Introduction to Schenkerian Analysis

PUBLICATIONS

A. Refereed journal articles (Items listed above the line appeared, or will have
appeared, after my appointment to Queens College in September 2004.)

“Temporal Spaces and Thematic Development in Beethoven’s Music,” Tijdschrift voor


Muziektheorie / Dutch Journal of Music Theory (forthcoming, 2009)

“Elision and the Embellished Final Cadence in J.S. Bach’s Preludes,” Music Analysis
26.3 (2007): 267–288.

“Concepts of Closure in Tonal Music: A Critical Study,” Theory and Practice 32 (2007):
1–17.

“Chasing Rainbows: Wolf’s ‘Phänomen’ and Ideas of Coherence,” Journal of Music


Theory 45.2 (2001): 233–61.

“Haydn’s Hidden Homage to Mozart: Echoes of ‘Voi che sapete’ in Opus 64 No. 3,”
Intégral 14/15 (2000–2001): 121–36.

“Chromatic Features of E-Major Works of the Classical Period,” Music Theory Spectrum
22.2 (2000): 177–204.

“Chord as Motive: The Augmented-Triad Matrix in Wagner’s Siegfried Idyll,” Music


Analysis 15.1 (March 1996): 57–71.

B. Chapters in books (Both items appeared, or will have appeared, after my


appointment to Queens College.)

“Beethoven: Structural Principles and Narrative Strategies,” in The Cambridge


Companion to the Symphony, ed. Julian Horton (Cambridge: Cambridge University
Press, forthcoming).

“Tonal Conflicts in Haydn’s Development Sections: The Role of C Major in Symphonies


Nos. 93 and 102,” in Structure and Meaning in Tonal Music; A Festschrift in Honor of
Carl Schachter, ed. Poundie Burstein and David Gagné (Rochester, NY: Pendragon
Press, 2006), pp. 227–235.
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C. Book reviews

Review of Explaining Tonality, by Matthew Brown, Journal of Schenkerian Studies 2


(2007): 141–148.

Review of Unfoldings, by Carl Schachter, Music Theory Spectrum 23.2 (2001): 242–47.

CONFERENCE PRESENTATIONS (Items listed above the line were presented


after my appointment to Queens College.)

“Modulation to the Minor Dominant in Major: Three Examples by Bach.”


Read at Society for Music Theory, Annual Meeting, 16 November 2007, Baltimore,
Maryland. Also read at Music Theory Society of New York State, 14 April 2007, New
York City.

“Opening Motions to the Submediant in Mozart.” Read at Music Theory Society of


New York State, 8 April 2006, in Saratoga Springs, New York.

“Beethoven’s Art of ‘Leaving Room’ for Development: The Slow Movement of the
‘Ghost’ Trio, Op. 70, No. 1.” Read at the Dublin International Music Analysis
Conference, 23 June 2005, in Dublin, Ireland.

“Musical and Textual Imagery in ‘Blumengruss.’” Read at the International Hugo


Wolf Conference, 24 November, 2003 in Ottawa, Canada.

“Illumination and Resonance in Carl Schachter’s Musical Thought.” Read at Carl


Schachter Retirement Symposium, 2 May 1999, in New York City.

“Tonal Conflicts in Haydn’s Development Sections: The Role of C Major in Symphonies


Nos. 93 and 102.” Read at the Third International Schenker Symposium, 13 March 1999,
in New York City.

“Chromatic Features of E-Major Works of the Classic Period.” Read at the Society for
Music Theory, Annual Meeting, 5 December 1998, in Chapel Hill, North Carolina.

“Cyclic Integration in Haydn’s Drum Roll Symphony.” Read at the Society for Music
Theory, Annual Meeting, 30 October 1997, in Phoenix, Arizona.

“Haydn’s Hidden Homage to Mozart: Echoes of ‘Voi che sapete’ in Opus 64 No. 3.”
Read at Cambridge University Music Analysis Conference, 8 August 1997, at the
University of Cambridge, Cambridge, England.
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CONFERENCE PRESENTATIONS (continued)

“Chord as Motive: The Augmented-Triad Matrix in Wagner’s Siegfried Idyll.”


Read at the New England Conference of Music Theorists, 9 April 1995, at Wellesley
College, Wellesley, Massachusetts.

INVITED LECTURES & WORKSHOPS

Lectures in musical analysis at the Orpheus Institute, Ghent, Belgium. 15–19 May 2006.

Participation at the Mannes Institute for Advanced Studies in Musical Analysis, Yale
University, New Haven, June 2006. (Admission to the Institute is limited to scholars with
a strong record of published research.)

WORK-IN-PROGRESS

The Tonal Architecture of Bach. A monograph, currently at the proposal stage.

SERVICE TO AARON COPLAND SCHOOL OF MUSIC

Theory Coordinator (Undergraduate Program), 2006 to present


Curricular Liasion, 2005 to present
Mentor to GTFs, 2005 to present
Served on the Search Committee for Lecturer in Music Theory, Spring 2008
Served on the Search Committee for HEA Administrative Assistant, Summer 2008
Member (substitute) of Music Personnel and Budget Committee, 2006
Graduate Open House, 11 October 2006

SERVICE TO QUEENS COLLEGE

College-Wide At-Large Delegate, Academic Senate, 2005–2007


Music Delegate, Academic Senata, 2007–present

AWARDS, GRANTS

PSC-CUNY 36 Research Grant, 2005–2006


Lawrence Stessin Prize for Outstanding Scholarship, awarded by Hofstra University,
2000–2001
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OTHER PROFESSIONAL ACTIVITIES

Chair of the Program Committee, Music Theory Society of New York State, 2008

Anonymous reader for Music Analysis, 2005–2006

Anonymous reader for Journal of Music Theory, 2008

Member of the Editorial Board of the Journal of Schenkerian Studies, 2004 to present

Member of the Program Committee for the Third International Schenker Symposium,
2006

Editor, Theory and Practice, 1999–2002 (volumes 24–27)

Vice President, Music Theory Society of New York State, 1999–2003

Board member, Music Theory Society of New York State, 1997–1999

Member of Program Committee, Music Theory Society of New York State, 1997

Editorial work for RILM Abstracts of Music Literature, volumes 26–28.

MEMBERSHIP IN PROFESSIONAL ORGANIZATIONS

Society for Music Theory

Music Theory Society of New York State

College Music Society