Onderzoek in samenwerking met de Universiteit Utrecht

Het Conservatorium van Amsterdam en de Universiteit Utrecht hebben een samenwerking die moet leiden tot meer uitwisseling tussen muziekwetenschappelijk onderwijs en onderzoek enerzijds, en muziekvakonderwijs en artistiek onderzoek anderzijds. Als onderdeel van deze samenwerking vervult John Koslovsky, coördinator en docent muziektheoretische vakken, een gastonderzoekschap aan het Instituut voor Cultuurwetenschappelijk Onderzoek van de Universiteit Utrecht, met als focus de interactie tussen de analytische, historiografische en culturele onderzoekstradities op het gebied van de muziek in de twintigste eeuw. In praktische zin brengt hij beide instituten bij elkaar door lezingen, workshops en symposia te organiseren voor zowel studenten als docenten.

Projectperiode: 2013-2018

KOSLOVSKY, John (2014)
‘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, pp. 326-349.

KOSLOVSKY, John (2014)
‘Johannes Messchaert and Performance,’ in Heinrich Schenker: Selected Correspondence, ed. by Ian Bent, David Bretherton, and William Drabkin. Woodbridge, Suffolk UK: Boydell Press, pp. 44-52.

KOSLOVSKY, John (2014)
‘Timeless Reflections: Form, Cadence, and Tonal Structure in the Scherzo and Finale of Schubert’s Quintet.’ Music Analysis 33/2, pp. 168-193.

KOSLOVSKY, John (forthcoming)
[Review] ‘Essays from the fourth international Schenker symposium’, ed. by L. Poundie Burstein, Lynne Rogers, and Karen M. Bottge. Music Theory and Analysis

‘History, Theory, Analysis: Interactions, Conflicts, Resolutions.’ Gezamenlijk congres van de Vereniging voor Muziektheorie, the Koninklijke Vereniging voor Nederlandse Muziekgechiedenis en de Belgische Vereniging voor Muziekwetenschap (Koninklijk Conservatorium Den Haag, 28 februari-1 maart, 2014)

‘The Songs of the Munich School / The Music of Bill Evans.’ Guest: Robert W. Wason, Eastman School of Music (Conservatorium van Amsterdam, May 27-28, 2014)

‘Catching up with Richard Taruskin.’ Gast: Richard Taruskin, University of California, Berkeley (Conservatorium van Amsterdam / Universiteit Utrecht / Universiteit Amsterdam / Vrije Universiteity / Orgelpark, 15-19 december 2014)

‘Analyzing Electronic Dance Music’ Gast: Mark Butler, Northwestern University (Conservatorium van Amsterdam, 23-24 maart 2015)

John Koslovsky

A music theorist and musicologist, John Koslovsky serves on the faculty of the Conservatorium van Amsterdam and holds an affiliate researcher position in the humanities at the Universiteit Utrecht. He has a Ph.D. in music theory from the Eastman School of Music (University of Rochester, NY, USA), a M.A. from the Eastman School of Music, and a B.A. from McGill University (Montréal, Canada). He has worked on the faculty of the Oberlin Conservatory of Music (Oberlin, OH, USA), and he currently serves on the boards of the Dutch-Flemish Society for Music Theory and the Royal Society for Music History of the Netherlands.

A specialist in the history of music theory, Dr. Koslovsky’s research explores the interactions between analytical, historiographical, and cultural modes of inquiry in the twentieth century. In 2010 he completed his doctoral thesis with a study of the work of Felix Salzer (1904-1986), one of the most influential music theorists in the second half of the twentieth century. The thesis examined the backdrop of interwar Vienna to Salzer’s musical, theoretical, and musicological training and his dissemination of his Viennese world in the United States following the Second World War. A number of related projects have resulted from this research, including studies of form and tonality in the late chamber music of Franz Schubert; of “post-tonal” prolongation in Béla Bartók; of history and tonal coherence in Claude Debussy’s music; and most recently of nineteenth-century French counterpoint training in the music of Paul Dukas. At present, Dr. Koslovsky is preparing a book manuscript on Salzer and his broader impact on the development of music theory and musicology over the past seventy years ('Felix Salzer and the Making of American Music Theory').

Dr. Koslovsky also plays an active role in the Schenker Documents Online project, which seeks to transcribe and translate the correspondence, diaries, and lesson plans of the Viennese music theorist Heinrich Schenker (1868-1935). As part of this project he has transcribed and translated the complete correspondence of the Dutch baritone Johannes Messchaert (1857-1922) and of the German music critic Walter Dahms (1887-1973). He is currently completing a expanded study of Dahms’s work in connection with Schenker, Friedrich Nietzsche, and the First World War.

Publications a.o.
2010 ‘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, pp. 187-206.

2010 ‘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, pp. 59-67.

2010 ‘Tracing the Improvisatory Impulse in Early Schenkerian Theory.’ Intégral 24, pp. 57-79.

2012 ‘Hold that Note! Teaching the Pedal Point.’ Dutch Journal of Music Theory 17/1, pp. 38-45. Translated as ‘Drži taj ton! Poučavanje pedalnog tona.’ Theoria [Croatia] 14, pp. 30-34.

2012 ‘History and Tonal Coherence in Debussy’s “La Fille aux Cheveux de Lin” and “Bruyères”.’ Revista di Analisi e Teoria Musicale 18/2, pp. 35-53 [co-authored with Matthew Brown].

2012-13 ‘Tonal Prolongations in Bartók’s Hungarian Folktunes for violin and piano.’ Theory and Practice 37/38, pp. 1-45.

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