Performance, language and scholarship in collaboration with Utrecht University
The objective of the collaboration between the Conservatorium van Amsterdam and Utrecht University is to further the exchange between musicological research on the one hand and professional music education and artistic research on the other. As a part of this collaboration John Koslovsky, coordinator and teacher of music-theoretical subjects, carries out research at the Institute for Cultural Inquiry of Utrecht University, with a focus on the interaction between the analytical, historiographical and cultural research traditions in the field of twentieth-century music. This involves bringing both institutes together by organising lectures, workshops and symposiums for students as well as teachers.
Symposium 'Researching Performance, Performance Research'
John Koslovsky studied music theory at McGill University (BM 2003) and at the Eastman School of Music, University of Rochester (MA 2006; PhD 2010). He teaches on the music theory faculty at the Conservatorium van Amsterdam and is a research affiliate in the humanities at Utrecht University. He has previously taught at the Eastman School of Music (2003-2009) and at the Oberlin Conservatory of Music (2009-2010).
Broadly, his research has engaged the history of music ideas in the first half of the twentieth century. His dissertation, From Sinn und Wesen to Structural Hearing: The Development of Felix Salzer's Ideas in Interwar Vienna and their Transmission in Postwar United States (University of Rochester, 2010), examined the work of the Viennese musicologist and theorist Felix Salzer. As part of this research project he catalogued the Felix Salzer Papers of the New York Public Library (2007) and was awarded a Fulbright scholarship to undertake archival research in Vienna, Austria (2007-2008). He has published numerous articles related to Schenkerian history and analytical studies of composers from across the European art tradition, including Guillaume de Machaut, Johannes Ockeghem, Franz Schubert, Béla Bartók, Paul Dukas, and Claude Debussy.
He is currently engaged in three projects. The first of these is a book project that traces Salzer's impact on the development of Schenkerian theory and education since the Second World War. The second is a study of Richard Wagner's opera Tristan und Isolde in the history of analysis from the late nineteenth century to the present day. The third and latest project embarks on a new area of interdisciplinary research, combining studies in performance theory, linguistics ("multimodal analysis"), and music analysis. It aims to bring the worlds of academic research in closer contact with the artistic and praxis-oriented outlook of conservatory culture, using musical analysis (broadly and narrowly construed) as the linking element.
Among his many activities as a scholar, John is also a member of Schenker Documents Online, a project that seeks to digitize all the personal documents of Heinrich Schenker. Since 2011 John has been on the board of the Dutch-Flemish Society of Music Theory, and since 2015 has served as president. He has served on the board of the Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (2012-15), and has served on various scientific committees and international boards, including the journal Music Theory & Analysis (2014-present) and the European Music Analysis Conference (2014-present).
In process / forthcoming
Felix Salzer and the Making of American Music Theory. Book manuscript in process.
Researching Performance, Performing Research, co-editor (with Michiel Schuijer). Edited book volume in process.
"Schenkerizing Tristan, Past and Present." Article manuscript in process.
"Wagner's Tristan and the Boundaries of Music-Analytical Language: Historiographical and Intertextual Perspectives." Forthcoming.
Critical introduction to "Der wahre Vortrag," by Heinrich Schenker. Lexikon Musiktheorie/ Musikästhetik, Band 2. Stuttgart: Bärenreiter. Forthcoming.
"Neo-Schenkerism and the Past: Recovering a Plurality of Critical Contexts." In Postmodernity's Musical Pasts, ed. by Tina Früauf (Suffolk, UK: Boydell and Brewer). Forthcoming 2019.
Book review, Explorations in Schenkerian Analysis, ed. by David Beach and Su-Yin Mak. Music & Letters 99/1 (2018): 130-133.
"Heinrich Schenker, Walter Dahms, and the Music of the South." Journal of Musicology 34/3 (2017): 391-431.
"Mendelssohn, Venetianisches Gondellied, Op. 30, No. 6: Perceptual Transparency, Layers of Ambiguity." Theoria 17/8 (2016): 11-24.
"The Contrapuntal Legacy of the French fin‐de‐siècle: A Look at Dukas's Piano Sonata in E-flat Minor." Intégral 30 (2016): 129-52.
Review of Essays from the Fourth International Schenker Symposium, ed. by L. Poundie Burstein, Lynne Rogers, and Karen M. Bottge. Music Theory and Analysis 2/2.
"Schenker, the Schenkerians, and the 'Concept of Tonality.'" GAMUT 7/1 (2014): 147-77.
"Timeless Reflections: Form, Cadence, and Tonal Structure in the Scherzo and Finale of Schubert's Quintet." Music Analysis 33/2 (2014): 168-93.
"Johannes Messchaert and Performance." In Heinrich Schenker: Selected Correspondence, ed. by Ian Bent, David Bretherton, and William Drabkin (Woodbridge, Suffolk UK: Boydell Press, 2014), 44-52.
"Fighting the Propaganda War: Walter Dahms." In Heinrich Schenker: Selected Correspondence, ed. by Ian Bent, David Bretherton, and William Drabkin (Woodbridge, Suffolk UK: Boydell Press, 2014), 326-349.
"Tonal Prolongations in Bartók's Hungarian Folktunes for violin and piano." Theory and Practice 37/38 (2013): 1-45.
"Conference Report: Fifth International Schenker Symposium." Music Theory Online 19/2 (2013).
"History and Tonal Coherence in Debussy's La Fille aux Cheveux de Lin and Bruyères." Revista di Analisi e Teoria Musicale 18/2 (2012): 35-53. Co-authored with Matthew Brown.
"Hold that Note! Teaching the Pedal Point." Dutch Journal of Music Theory 17/1: 38-45. Translated as "Drži taj ton! Poučavanje pedalnog tona." Theoria [Croatia] 14: 30-34.
Review of Harmony in Schubert, by David Damschroder. Dutch Journal of Music Theory 17/3: 181-189.
"Tracing the Improvisatory Impulse in Early Schenkerian Theory." Intégral 24 (2010): 57-79.
"Primäre Klangformen, Linearität, oder Auskomponierung?: The analysis of medieval polyphony and the critique of musicology in the early work of Felix Salzer." Journal of Schenkerian Studies 4 (2010): 187-206.
"Historic Proportions: A look at Felix Salzer's historical narrative and two analyses of Ockeghem's Je n'ay dueil." Dutch Journal of Music Theory 15/1: 59-67.
"Muziektheorie en Integratie." Maastricht, The Netherlands. Meeting of the Dutch-Flemish Society for Music Theory (March 2018).
"Researching Performance, Performing Research: Collaborations and Confrontations." Amsterdam, The Netherlands. International symposium organized in collaboration with the Conservatorium van Amsterdam, Cambridge University, Universiteit Utrecht, and Universiteit van Amsterdam (October 2017).
"Musik und Sprache." Leipzig, Germany (March). Joint conference of the Gesellschaft für Musiktheorie (Germany) and the Dutch-Flemish Society for Music Theory (March 2017).
"Catching up with Richard Taruskin." Amsterdam, The Netherlands (December). Symposium organized in collaboration with the Conservatorium van Amsterdam, Universiteit Utrecht, Universiteit van Amsterdam, VU Amsterdam, and the Orgelpark, with Richard Taruskin as invited guest (December 2014).
"History, Theory, and Analysis: Interactions, Conflicts, Resolutions." The Hague, Netherlands: Joint Meeting of the Dutch-Flemish Society for Music Theory, the Royal Society for Music History of the Netherlands, and the Royal Society for Music History of Belgium (February 2014).
"The Music Theorist in Residence." Yearly program organized to invite an international specialist in music theory and analysis to give week-long lectures and workshops to the music theory and musicology community. In collaboration with the Conservatorium van Amsterdam, The Universiteit van Amsterdam, KU Leuven, and the Dutch-Flemish Society for Music Theory. Previous guests have included:
Suzannah Clark: "The History of Tonal Space" (March 2019)
Nicholas Baragwanath: "Solfeggio in the Eighteenth Century" (March 2018)
Laurent Feneyrou: "Post-War Musical Serialism" (March 2017)
Julian Horton: Analyzing Bruckner and Brahms (May 2016)
Mark Butler: "Analyzing Electronic Dance Music" (March 2015)
Robert Wason: "The Songs of the Munich School / The Music of Bill Evans (May 2014)
William Caplin: "Analyzing Form in Haydn" (March 2013)