Robert Wason

Introduction

Beginning his musical career as a composer and jazz pianist, Robert Wason studied music composition and piano at the Hartt School of the University of Hartford (BMus '67; MMus '69), joining the Hartt Faculty as an Instructor in Theory and Composition in 1969. During his Hartford years, he worked four to six nights a week playing various gigs, and accompanied many touring artists, such as Buck Clayton, Sammy Davis Jr., Bobby Vinton, and the Four Tops. In the mid 70s he went on to do work in music theory at Yale University (MPhil '78; Ph.D. '81), and also studied at the University of Vienna and the Hochschule fŸr Musik in Vienna (Fulbright Scholar, 1979-80). A recipient of grants from the Guggenheim Foundation, National Endowment for the Humanities, Paul Sacher Foundation, and the German Academic Exchange (DAAD), he has also taught at Trinity College (Hartford), Clark University, the University of North Texas, and has been guest professor at the University of Basel (Switzerland), the University of British Columbia (Vancouver), and SUNY Buffalo. He is the author of a standard work on the history of music theory in the nineteenth century (Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg [Ann Arbor: 1985; reprint, Rochester:1995), and more than twenty-five articles and reviews on the history of music theory, twentieth-century music, and more recently, jazz, in many journals and collections published here and abroad. He has also managed to keep two hands in performance, at least part time, through various projects as a vocal accompanist, including songs of Anton Webern (with soprano Elizabeth Marvin, currently Associate Director and Dean of Eastman), and turn-of-the-(last)-century German Lieder from Munich, with soprano Valerie Errante, Associate Professor of Voice at the University of Wisconsin, Milwaukee. The collaboration with Prof. Errante also led to concerts of both 'popular' and 'art' songs by the Rochester composer, Alec Wilder (1909-1980), available on the Errante/Wason CD Songs of Alec Wilder (Albany Records ; Troy 404).

Books

Robert Wason and Valerie Errante, Anthology of Lieder of the Munich School. Madison WI: A and R Editions, forthcoming.

Burbat, Wolf. R. Wason, tr. Die Harmonik des Jazz. Kassel, Basel, London, NY: BŠrenreiter, 1994; Lanham, MD: Scarecrow Press, forthcoming.

Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg (Ann Arbor: UMI Research Press, 1985; reprinted by U of R Press, 1995). (reviews by William Caplin, Music Theory Spectrum 8 [1986]: 140-43; Manfred Wagner, Musiktheorie 2/2 [1987]: 197-98; Hellmut Federhofer, Die Musikforschung 41/4 [1988]: 381; Stephen E. Hefling, Journal of Music Theory 33.1 [spring/89]: 214-21.)

ARTICLES

"Constructing a Post-Modern-Jazz Pedagogy, " (written with Henry Martin) Jazz Forschung/Jazz Research 37 (scheduled for Dec., 2005).

"From Harmonielehre to Harmony: Schenker's Theory of Harmony and Its Americanization," in Proceedings of the Conference "Schenker-Traditions" (in press at Peter Lang).

"Frühe Lieder der Münchner Schule im Spiegel des Liedschaffens Ludwig Thuilles," Proceedings of the International Conference on Gabriel Josef Rheinberger (in press).

"Interval Cycles and Inversional Axes in Frederick May's Quartet in C Minor," Irish Musical Studies 7, Gareth Cox and Axel Klein ed. (Dublin: Four Courts Press, 2003): 80-93.

"Two Bach Preludes/Two Chopin Etudes, or toujours travailler BachÐce sera votre meilleur moyen de progresser," Music Theory Spectrum 24.1 (Spring, 2002): 103-20.

"Musica Practica: Music Theory as Pedagogy," Ch. 2 of The Cambridge History of Western Music Theory, T. Christensen, ed. Cambridge: Cambridge U. Press, 2002): 46-77.

"Analyse nach Schenker als Grundlage für Improvisation; Betrachtungen zu Mozarts Klaviersonate KV 332," in Wahrnehmung und Begriff, Gruhn and Mšller, ed. Regensburg: Gustav Bosse Verlag, 2000: 197-212.

"Paul, Oscar," revised New Grove.

"Weitzmann, Carl Friedrich," revised New Grove .

"Signposts on Webern's Path to Atonality: The Dehmel Lieder (1906-08)," in Music Theory in Concept and Practice, James Baker, David Beach and Jonathan Bernard, ed. Rochester: University of Rochester Press, 1997: 409-32.

"Josef Schalk and the Theory of Harmony at the End of the Nineteenth Century," in Perspectives on Anton Bruckner, ed. Paul Hawkshaw and Timothy L. Jackson. Cambridge: Cambridge University Press, 1997: 122-39.

"A Pitch-Class Motive in Webern's Op. 3 George Lieder" in Webern Studies, ed., Kathryn Bailey. Cambridge: Cambridge University Press, 1996: 111-34.

"On Preparing Anton Webern's Early Songs for Performance: A Collaborators' Dialogue," with Elizabeth Marvin. Theory and Practice, Vol. 20 (1995): 91-124.

"Richard Münnich's Von Entwicklung der Riemannschen Harmonielehre und ihrem VerhŠltnis zu Oettingen und Stumpf," tr, Robert Wason, et al. Indiana Theory Review :16 (spring-fall/1995): 197-222.

"Toward a Critical Edition of Stravinsky's Symphonies of Wind Instruments" in The Wind Ensemble and its Repertoire, ed. Frank J. Cipolla and Donald Hunsberger. Rochester: U of R Press, 1994: 121-40.

"Hugo Riemann's Ideen zu einer 'Lehre von den Tonvorstellungen': An Annotated Translation with Introduction," with Elizabeth West Marvin, Journal of Music Theory 36.1 (spring, 1992):69-117.

"Remnants of Tonality in Webern's Op. 3/2," Mitteilungen der Paul Sacher Stiftung, vol. 4 (1991): 27-30.

"Progressive Harmonic Theory in the Mid-Nineteenth Century," Journal of Musicological Research 8.1 (1988): 55-90.

"Tonality and Atonality in Frederic Rzewski's Variations on 'The People United Will Never Be Defeated!'," Perspectives of New Music 26.1 (1988): 108-43.

"Webern's Variations, Op. 27: Musical Structure and the Performance Score," Intégral, vol. I (1987): 57-103.

"Schenker's Notion of Scale-Step in Historical Perspective:Non-Essential Harmonies in Viennese Fundamental Bass Theory," Journal of Music Theory 27.1 (Spring/83): 49-73.

REVIEWS

"Review of Johan Norrback, A Good and Passable Temperament," Swedish Journal of Musicology (in press; to appear, 5/03).

"Review of Peter Pettinger, Bill Evans; How My Heart Sings" Annual Review of Jazz Studies 10 (1999): 309-14.

"Review of Schenker's Kontrapunkt, Rothgeb and Thymn, tr." (with Matthew Brown) Music Theory Spectrum 11.2 (1989): 232-39.

"Review of Renate Groth, Die französische Kompositionslehre des 19. Jahrhunderts (Wiesbaden: Steiner Verlag, 1983)" Journal of Music Theory 30.2 (Fall/86): 295-304.

"Review/article on Theory of Harmony by Arnold Schoenberg, translated by Roy E.Carter," Journal of Music Theory 25.2 (Fall/81): 307-16.

OTHER PUBLICATIONS

Liner-note Essay, "Alec Wilder and American Song" (winner of Deems Taylor award, 2001) for CD, Songs of Alec Wilder (Albany Records, 2000; Troy 404).

"Alec Wilder and American Song" reprinted as introduction to Alec Wilder: 25 Songs for Solo Voice (TRO/Hal Leonard, 2003)

LECTURES

"From Harmonielehre to Harmony: Schenker's Theory of Harmony and Its American Reception," International Conference :"Schenker Traditions," Vienna, Austria, June 12-14, 2003.

"Simon Sechter and Pedagogical Music Theory of the Nineteenth Century," The Hartt School, Mar. 13, 2002.

"Frühe Lieder der MŸnchner Schule im Spiegel des Liedschaffens Ludwig Thuilles," International Symposium on the 100th Anniversary of the death of Joseph Rheinberger, Munich, 2001.

"Constructing a Post-Modern-Jazz Pedagogy," (written with Henry Martin) SMT National Meeting, Philadelphia, 2001.

"How I Did It," SMT Panel on Professional Development, Combined National/International Meeting, Toronto, 2000.

"Analyse nach Schenker, Improvisation, und Mozarts K. 332," Symposion Musiktheorie: Wahrnehmung und Begriff, Freiburger Musikhochschule, June 2-3, 2000.

"Two Bach Preludes/Two Chopin Etudes, or toujours travailler BachÐce sera votre meilleur moyen de progresser," Distinguished Lecture Series, UCSB (Santa Barbara), April, 1999; University of Colorado, Boulder, Sept. 1999.

"Hearing and Performing the Music of Anton Webern: the Early Songs" (with Elizabeth Marvin), International Conference entitled "Austria: 996-1996," Peabody Conservatory, April, 1998; Ottawa, January/1996; Mount Holyoke College, October/1995; Hartt School, October/1995.

"Brahms's Im Herbst through the filter of Modal Counterpoint," Triptych Symposium on the pedagogy of Brahms's Im Herbst, SMT National Conference, NYC, November/1995.

"On Preparing Anton Webern's Early Songs for Performance" (with Elizabeth Marvin), Special Invited Session, SMT National Conference, Tallahassee, Nov./1994.

"Josef Schalk and the Theory of Harmony at the End of the Nineteenth Century," International Symposium on Anton Bruckner, Connecticut College, February/1994.

"A Pitch-Class Motive in Webern's Op. 3 George Lieder" LancMAC, British Society for Musical Analysis (Lancaster, England), September/1994; SUNY Buffalo, Spring/1994; UBC, Fall/1992; University of Maryland at College Park, Mar. 8, 1991.

"On Preparing Anton Webern's Op. 3 Songs for Performance," (with Elizabeth Marvin) Music Theory Society of New York State, NYC, October/1993.

"Manuscript Sources and Compositional Process in Stravinsky's Symphonies of Wind Instruments : A Report from the Paul Sacher Foundation," College Band Directors National Association (CBDNA) meeting, Rochester, spring/1992.

"The Evolution of Webern's Op. 8," (with Felix Meyer of the Paul Sacher Foundation), National Conference of AMS/STM/SEM, Oakland, Nov. 10, 1990.

"Der Werdegang von Weberns Op. 8," (with Felix Meyer), Universität Freiburg, June, 1990.

"Webern's Understanding of Row and Fixed Register in Op. 28," Paul Sacher Foundation, June, 1990.

"Weberns Verständnis von der Reihe und fixerten Tonhšhen-Lage in Op. 28," Freiburger Hochschule fŸr Musik, June, 1990.

"Compositional Strategies in Webern's Op. 3/1" SUNY, Buffalo, March/1989; University of Chicago, February/1989.

"Progressive Harmonic Theory in the Mid-Nineteenth Century," Hartt Theory Forum (Hartt School of Music), Mar. 17, 1988.

"Tonality and Atonality in Frederic Rzewski's 'Variations on The People United Will Never Be Defeated!'," University of Alberta at Edmonton, Oct. 8, 1987; includes my performance of selected Variations.

"Lecture/Recital on Bartök, Sonata for Two Pianos and Percussion" (lecture on first half of program, Sonata on second), University of North Texas, Apr. 13, 1987; U. of Texas, Austin, Apr. 14, 1987.

"Progressive Harmonic Theory...," Columbia University, Mar. 20, 1987.

"Tonality and Atonality ..." Columbia University, Mar. 18, 1987.

"The 'Wrong Notes' in Stravinsky's Symphonies of Wind Instruments," CBDNA biennial national conference, Evanston, 1987.

"Tonality and Atonality...," AMS/CMS/SEM/SMT National Conference, AMS session, Vancouver, B.C.; Nov./85.

"Aspects of Analysis and Performance in Webern's Variations, Op. 27," (CMS/NASM National Conference, Dearborn/83); modified version given in ESM Conference on the Future of Music Education in America, Rochester/84); includes my performance of the Variations.

"An Introduction to Nineteenth-Century Theories of Harmony," (ESM/83; University of Texas, Austin/82).

"Chopin's Last Mazurka," (University of Texas, Austin/83)

"Anton Bruckner's Teaching of Harmony," (AMS/SMT National Conference, Ann Arbor/82).

"A History of Non-Essential Harmonies," (Texas Society for Music Theory/82).

"The Notion of 'Non-Essential' Harmonies: Towards a History of the Expanded Scale-Step Theory," (AMS/SMT National Conference/79).

"An Analysis of My Theme with Variations for Solo Guitar," (ASTA, Guitar Division, National Conference/78).

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Jazz Performance

Jazz piano career of c. 15 years in southern New England; worked with performers such as Sammie Davis Jr., Bobby Vinton, Buck Clayton, and the Four Tops; two-piano performance with Harold Danko, ESM, 2/12/01.

RECENT ACTIVITIES AS PIANIST AND ACCOMPANIST

Lecture-recitals of Lieder of the "Second Viennese School" with Elizabeth Marvin; Webern songs on ESM Musica Nova , fall, 1992 and fall, 1995 (my program notes for both concerts); see "lectures and papers," above, for additional recital dates and locations.

Full-length recitals with soprano Valerie Errante of turn-of-the-century Lieder from Munich (4 complete programs): Milwaukee, 10/12/03; NATS, Midwest, Madison, WI, Mar. 23, '02; Munich, Germany, Nov. 23, 2001 (Conference on the 100th Anniversary of the Death of Josef Gabriel Rheinberger); Lieder aus der M&uum;:nchner Schule III, Milwaukee, Nov. '01; Philadelphia, July, 2000 (National Conference of NATS) Lieder aus der MŸnchner Schule I: AMS National Conference, Boston, Oct./Nov., 1998; CMS National Conference San Juan, PR, Oct. 1998; University of Wisconsin/Milwaukee, Sept. 1998; Kiel, Germany, June 2, 1997; benefit for Opera Theater of Rochester, Jan/1996; Ithacca College, Jan. 30, 1996; Kilbourn Hall, ESM, August 2, 1995; Wyoming Arts Council, Wyoming, NY, May, 1995; Memorial Art Gallery, Rochester, April, 1995. Lieder aus der Münchner Schule II: University of Iowa, Feb. 3 and 10, 1997; Dickenson College, Nov. 10, 1996; Kilbourn Hall, ESM, July 1, 1996; Lieder aus der Münchner Schule III : Chautauqua, Aug. 8, 2000; ESM, July 31, 2000 Songs of Alec Wilder, University of Wisconsin/Milwaukee, Apr. 7, 2000; St. Peter's Church (NYC), presented by Friends of Alec Wilder, 2/21/98; Kilbourn Hall, ESM, July 30, 1997.

ESM Virtuosi with Thomas Paul (Weill Festival): 11/14/98

RECORDINGS

Songs of Alec Wilder, with Valerie Errante, Aleck Brinkman and Ken Meyer; Albany Records (Troy 404, 2000); Eastman American Music Series, Vol. 10.

Berg, Op. 2, with Elizabeth Marvin, CD recording to accompany Robert Gauldin, Harmonic Practice in Tonal Music.

Recording with Derrick Smith: Aaron Copland, arr. "Zion's Walls," on A Tribute to William Warfield (ESM, 1994).

Composition Prizes and Commissions

Bronze Medal, Concours International de Guitare, Radio France, 1975. Hartford Chamber Orchestra Commission, 1974. Carmel (N.Y.) School System Commission, 1969.

List of Representative Compositions

"Concerto for Jazz Ensemble and Chamber Orchestra," Hartford Chamber Orchestra Commission (1974).

"Theme with Variations," for solo guitar (Radio France Bronze Medal Piece) (1974), several performances at ESM, and on tour, by Matthew James, 1994-95.

"Trio," for clarinet, viola and piano (1974); performance in DMA recital by Eric Mandat, clarinet (R. Wason, piano), 1988.

"Sonata for Solo Oboe" (1973).

"Burns Songs," settings of texts of Robert Burns for tenor and piano (1972).

"Prelude for Orchestra," Carmel School Commission (1970).

"Four Poems of Michelangelo," for chorus, vocal solists and chamber orchestra (1969).

PROGRESS

Finishing anthology of turn-of-the-century Lieder for A and R Editions.

Initial stages of a book entitled "Introduction to the History of Western Music Theory," a series of topical chapters derived from materials I have developed for the one-semester history-of-theory survey in our Ph.D. curriculum.

"Chromatic Harmony in Lieder of the Munich School," for a lecture at Western Ontario in spring, 2004. The talk further develops analyses that I first presented at the Munich Rheinberger Conference (fall, 2002).

Awards

ASCAP Deems Taylor Award for essay 'Alec Wilder and American Song' (2001).

DAAD (German Academic Exchange) Study Visit: support for 6-week research visit to Munich, Germany in May and June, 1997.

Special Opportunity Stipend from Arts and Cultural Council of Greater Rochester; travel money for concert in Kiel, Germany on 6/2/97 (see V, below).

UR Bridging Fellowship (for study of turn-of-the-century German poetry and literature in UR Department of Modern Languages and Cultures, spring, 1997).

Guggenheim Fellowship, fall, 1990 (continued Webern research).

NEH Fellowship for University Teachers 1989-90 (year spent working on Webern research in Freiburg, West Germany and at the Paul Sacher Foundation, Basel, Switzerland).

Paul Sacher Foundation Stipend, 89-90.

One-term research leave awarded by UR, fall/87.

Fulbright Scholarship, 1979-80, spent in Vienna, Austria.

TEACHING POSITIONS

Chair, ESM Department of Music Theory, 2000-2; Co-Chair, ESM Department of Music Theory, 1999; Affiliate Faculty, ESM Department of Jazz and Contemporary Media, fall, 1998-; Professor of Music Theory, Eastman School of Music, 1997-; Visiting Professor, SUNY Buffalo, Spring, 1994; Visiting Professor, University of British Columbia (Vancouver, BC), Fall, 1992; Heinrich Strobel Foundation Visiting Professor, Universität Basel (Switzerland), Summer Term, 1991; Associate Professor of Music Theory (with lifetime tenure), ESM 1988-97; Associate Professor of Music Theory, ESM, 1986-88; Assistant Prof. of Music Theory, ESM, 1983-86; Assistant Prof. of Music, University of North Texas, 1981-83; Lecturer in Music, Clark University, fall, 1980; Instructor in Theory/Composition, Hartt School of Music, 1977-79; Teaching Assistant, Yale University, 1976-77; Instructor in Theory/Composition and participant in Hartt/Trinity College faculty exchange, Hartt, 1970-76 (part-time in 75-76); Piano Instructor, Hartt Community Ed., and Teaching Associate in Theory/Composition, Hartt, 1969-70; Teaching Assistant, Hartt,1967-69.

UNDERGRADUATE TEACHING

Designer of 4th semester of 5-semester core: later tonal practice: mid 19th century through early 20th centrury; designer of model composition course for undergraduates (TH 203), fall 2002; designer (with Matthew Brown) of new first-semester freshman theory (co-taught with Brown, fall/99-00); curriculum design and teaching of Advanced Freshman Theory (90-91, 94-95, 95-96); Development of course materials for ESM junior theory: analysis of music from mid-nineteenth century to present; coordinator of ESM junior theory, 1983-89.

GRADUATE TEACHING

"Introduction to the History of Music Theory" (a one-semester distillation that is the product of 30 years of study of this field), ESM/spring, 2001; Ph.D. Seminar: "Analysis of Jazz Improvisation," ESM/spring/2000, spring/2003; DMA Seminar on Bartók, ESM/spring/2000; Seminar on Bill Evans, ESM/fall/'97; "Advanced Harmony and Composition" (turn-of-the-century tonal compositional practice), ESM/fall/'97; One-semester Survey of Analytical Techniques, ESM/95-98; two-semester Survey of the History of Music Theory, from Pythagoras to Hindemith, ESM/93-94, 94-95, fall 96 (second term given in modified form at SUNY Buffalo, spring/94); Seminar in History of Theory in the 18th and 19th centuries/one-semester Survey of Analytical Techniques, UBC/fall, 1992; "Methodenfragen der musikalischen Analyse im 20. Jahrhundert" ["Questions of Method in Musical Analysis in the 20th Century"], Universität Basel/Summer Semester, 1991; Introduction to Research and Bibliography, ESM, fall/91; Ph.D. (Theory) Seminar on Webern, ESM, Spring/91; Seminar on Music of Webern (ESM/summer, 88; ESM/spring, 89); History of Theory from 1860 to the Present (ESM/spring, 84, 86, 88, 92); History of Theory before 1600 (ESM/85 and 87); Analysis and Performance (ESM/86, 88, 93); Tonal Counterpoint (ESM/91); Modal Counterpoint (ESM/85); Analysis of Twentieth-Century Music (ESM/summer, 84); Advanced Keyboard Skills (ESM/84); Theories of Harmony in the Nineteenth Century (UNT/82); Seminar in Schenkerian Analysis (UNT/82-83); Eighteenth-Century Counterpoint (Hartt/77-78); Schenkerian Analysis (Hartt/77-78). M.A. thesis and Ph.D. dissertation advisor (ESM/83-); Ph.D. dissertation advisor (UNT/81-83); Mus.M. thesis advisor (Hartt/77-78). Service on numerous Mus.M., M.A., Ph.D. and D.M.A. committees at ESM, UNT and Hartt. Advisor to numerous lecture/recitals at ESM.

Mannes Institute for Advanced Study in Music Theory (June, 2001); classes in ancient Greek theory with Thomas Mathiesen, and Medieval theory with Sarah Fuller.

Piano Study with Rebecca Penneys (ESM), Adam Wodnicki (UNT), Victor Rosenbaum (NEC), and Watson Morrison (Hartt); saxophone with Ramon Ricker (ESM); Ancient Greek with Sion Honea (ESM); voice with Dale Moore (ESM).

Ph.D. (Music Theory), Yale University,1981; dissertation: "Fundamental Bass Theory in Nineteenth Century Vienna;" advisor: Allen Forte.

Fulbright Scholar, Vienna, Austria,1979-80; history of theory research at University of Vienna; studies in Schenkerian theory and analysis with Franz Eibner, Hochschule für Musik und darstellende Kunst.

M.Phil. (Music Theory), Yale University, 1978.

Mus.M. (composition), Hartt School of Music, University of Hartford, 1969; composition studies with Arnold Franchetti; thesis: "Four Poems of Michelangelo," for chorus, soloists and chamber orchestra.

Mus.B. (composition), Hartt School of Music, 1967.

ACTIVITIES

Current Member of Editorial Boards: Eastman Studies in Music, U of R Press; Theoria ; Intégral; Former Member of Editorial Boards: Journal of the Arnold Schoenberg Institute (90-94); Music Theory Spectrum (1984-89; Chair, 1988-89); reviewer of manuscripts for the above publications as well as Journal of Music Theory, Schirmer Books, Yale University Press; reviewer of research proposals for Guggenheim Foundation; reviewer of Fulbright Professorship proposals for Council for International Exchange of Scholars. Session Chair, "Twentieth Century Topics," SMT National Conference, Nov/96; "Member at large" of SMT Executive Board, 1990-94; Session Chair, "Lingering Tradition in Twelve-Tone Music." AMS/SMT National Conference, Montreal, 1993; member, Hartt School Advisory Board, 1993-; Program Committee, MTSNYS, 1996-97; Chair, History of theory Session, AMS/SMT/etc. meeting in Toronto, Nov., 2000 ; Outside "opponent" in defense of Johan Norrback, "A Good and Passable Temperament" (dissertation: Gštteborg, 9/27/02); outside examiner in defense of Alan Dodson, "Interpreting the Performed Work: Studies in Methodology" (dissertation: Western Ontario, 5/26/03); conceived, designed and will chair special session: 'Consonance and Dissonance in Jazz;' SMT National Conference, Madison, 2003.