university of north texas, program of jewish studies, jackson curriculum vita

Vita and Biographical data sheet of Timothy L. Jackson
Department: College of Music, University of North Texas, Denton, Texas 76203 Home Address: 18777 Midway Road, Apt. 604, Denton, Texas 75287 Phone: Office: 940-565-3748 Home: 972-662-0334
EDUCATION (Highest Degree First) Year Degree Major Institution 1988 Ph.D. Music Graduate Center of the City, University of New York 1982 M.A. Music Queens College of the City, University of New York 1979 B.A. Music McGill University, Montreal, Canada
PROFESSIONAL ACTIVITIES Membership in Professional Organizations: Texas Society for Music Theory American Musicological Society, Southwest Chapter Society for Music Theory American Musicological Society Additional Responsibilities and Other Activities: While at UNT With Graham Phipps (Professor of Music Theory, UNT), co-organizing conference “The Music of Richard Strauss” at the College of Music, February 3-4, 2000. While at Connecticut College: Co-organized three conferences, two of which were international: Perspectives on Anton Bruckner 2. Co-organized with A. C. Howie. Department of Music, University of Manchester, April 1-4, 1996. Perspectives on Bruckner as Composer, Theorist, Teacher, and Performer. Co-organized with Paul Hawkshaw (Yale University). Connecticut College, February 22-23, 1994. Conference reviewed by Edward Rothstein in the New York Times. New England Conference of Music Theorists. Connecticut College, April 9-10, 1994.
Consulting: While at UNT (1998-2001) Participated as a Strauss “expert” in a BBC Radio documentary on Richard Strauss made to commemorate the 50th anniversary of his death. Wrote program notes for Nimbus CD of the Berlin Philharmonic Strings performing Richard Strauss’s Metamorphosen and Arnold Schoenberg’s Verklaerte Nacht due to be released in 2000. Delivered pre-concert lectures on Bruckner’s Ninth Symphony and Mahler’s Fourth Symphony and Mahler’s Fourth Symphony for the Dallas Symphony Orchestra pre-concert lecture series. Invited to lecture in the context of an International Course on the music of Johannes Brahms in Barcelona, Spain (20 November, 1999). At the Aula de Musica, Madrid (Spain’s oldest university), I have been invited to lead four three-hour master classes on “Symphonic Form and Structure in Schumann, Bruckner, and Brahms, and Their Contemporaries (13-14 November, 1999). While at Connecticut College (1991-98) I served as the primary consultant and “expert” witness for the following radio documentaries and programs, which were broadcast nationally in Canada by CBC Radio Canada. (CBC, the Canadian Broadcasting Corporation, is the equivalent to the BBC in Britain, and NPR in the US.) CBC, memorial program on the life and music of Alfred Schnittke (August 1998) CBC, 6-part documentary on the life and music of Sergei Rachmaninov (April 1998) CBC, “Who was Richard Strauss?” 5-part documentary on the life and music of Richard Strauss (October 1996). CBC, “The Case for Bruckner,” 6-part documentary on the life and music of Anton Bruckner (September 1995) CBC, Individual programs on Max Reger, Karl Amadeus Hartmann, and Erwin Schulhoff for "Critic's Choice." BBC, Interviewed on Bruckner Documentary (aired nationally in Britain in Fall 1996). Interviewed about Strauss and Bruckner research on NPR (“The Arts Today”), CBC (“As It Happens”), and BBC (“Music Matters”).
GRANTS AND CONTRACTS Begin Date-End Date, Title, Agency, Amount 2001, Grant from the Hans Schaeuble Foundation, Zurich, $65, 000. 1999-2000, Faculty Research Grant, University of North Texas, $3800. 1999, Junior Faculty Summer Research Grant, University of North Texas, $3500. 1999, Faculty Research Grant, University of North Texas, $2000. 1996-1997, Fellowship for College Professors from the National Endowment for the Humanities (NEH), $30,000. 1995, Intercountry Award from the Finnish Fulbright Commission, $3000. 1994, Intercountry Award from the British Fulbright Commission, $2000. 1994-1995, Senior Fulbright Teaching and Research Award to Germany, J. William Fulbright Commission, $36,000. 1991, Fellow of the Arnold Schoenberg Institute Vienna-Berlin-Los Angeles Conference, $700. 1989-91, Two-year Canada Research Grant, Social Sciences and Humanities Research Council of Canada (SSHRCC), $65,000 over two years. 1987-89, Post-doctoral Fellowships (SSHRCC), $46,000 over two years. 1988, Österreichischer Akademischer Austauschdienst (OAD), $10,000. 1985-87, Doctoral Fellowships (SSHRCC), $23,000 over two years. 1985, Deutscher Akademischer Austauschdienst (DAAD), $8500. University Fellowship (The Graduate Center CUNY), 1982-83. 1982, The Graduate Award at Queens College, 1982 (the highest award to graduating masters in all faculties at Queens College CUNY), $1000. 1982, Nova Scotia Talent Trust. 1978-79, Scholarships from McGill University: Magor Scholarship 1978/ Laliberte Prize 1978-79/ Faculty of Music Scholarship 1978-79/ University Scholarship 1978-79.
Areas of Expertise: Timothy L. Jackson’s primary interests center on the music of the nineteenth and twentieth centuries, and Schenkerian theory. He is well-known for his work on the music of Richard Strauss, on which he wrote his doctoral dissertation (Ph.D. in Music Theory, 1988, the Graduate Center of the City University of New York). Since completing the doctorate under Carl Schachter, Jackson’s interests have branched out from German music to encompass the Russian and Finnish traditions. He authored the monograph on Tchaikovsky’s Sixth Symphony (Pathetique) for the Cambridge Handbooks Series (1999) in addition to co-editing Bruckner Studies (Cambridge, 1997), Sibelius Studies (Cambridge, 2001) and Perspectives on Anton Bruckner (Ashgate, 2001). With Paul Hawkshaw (Yale), he wrote the composer article on Bruckner for the Revised New Groves Dictionary of Music and Musicians ( 2001). Currently, he is editing a volume of Richard Strauss Studies, also for Cambridge. Jackson has published on a wide range of topics, especially on theories of form and large-scale tonal structure, in such theory journals as The Journal of Music Theory, Music Analysis, In Theory Only, and Theory and Practice. His research on twentieth-century composers such as Schoenberg and Shostakovich, has been published in an array of journals including 19th-century Music, The Musical Quarterly, Music and Letters, Journal of Musicological Research, and the International Journal of Musicology, and also books published by Cambridge, Duke, and Princeton University Presses.
UNIVERSITY COMMITTEES AND COUNCILS At UNT Fall 1998-present Committee on the Status of Women Fall 1998-present Academic Affairs Committee
COLLEGE COMMITTEES AND COUNCILS At UNT Fall 1998-present Ph.D. Committee (Chair, 2001-)
PUBLICATIONS AND CREATIVE ACTIVITIES Books: Bruckner Studies, eds. Timothy L. Jackson and Paul Hawkshaw (Cambridge: Cambridge University Press, 1997). (refereed) Cambridge Handbook on Tchaikovsky’s Sixth Symphony (Pathétique) (Cambridge: Cambridge University Press, 1999). (refereed) Perspectives on Anton Bruckner, eds. Timothy L. Jackson, Paul Hawkshaw (Yale), and Crawford Howie (Manchester), (London: Ashgate Press, 2001). (refereed) Sibelius Studies, eds. Timothy L. Jackson and Veijo Murtomäki (Sibelius Academy), (Cambridge: Cambridge University Press, 2001). (refereed) Articles: “Richard Strauss’s Winterweihe — An Analysis and Study of the Sketches.” Richard Strauss-Blätter XVII (1987), pp. 28-69. (invited) “Compositional Revisions in Richard Strauss’sWaldseligkeit and a New Source.” Richard Strauss-Blätter XXI (1989), pp. 55-84. (invited) “Mozart’s Little Gigue in G major — A Study in Rhythmic Shift, A Reminiscence of the Competition with Haessler?” Mitteilungen der internationalen Mozart-Gesellschaft XXXVII (1989), pp. 70-80. (refereed) Comment on Steven Parkany’s “Kurth’s Bruckner and the Adagio of the Seventh Symphony.” Nineteenth Century Music XIII/1 (1989), pp. 74-75. (refereed) “The Enharmonics of Faith: Enharmonic Symbolism in Bruckner’s Christus factus est (1884).” Bruckner Jahrbuch 1987-88, Austrian Academy of Sciences, Linz, 1990, pp. 4-20. (invited) “‘Schubert as John the Baptist to Wagner-Jesus’ — Large-scale Enharmonicism in Bruckner and his Models,” in Bruckner Jahrbuch 1991-93, Austrian Academy of Sciences, Linz, 1995, pp. 61-108. (invited) “Gabriel Fauré’s Expansions of Non-Duple Hypermeter in La Fleur qui va sur l’eau Op. 85, No. 2.” In Theory Only XII (November 1991), pp. 1-24. (refereed) “Schoenberg’s Op. 14 Songs: Textual Sources and Analytical Perception,” Theory and Practice XIV (1989/90 double issue), pp. 35-58. (refereed) “Bruckner’s Metrical Numbers,” Nineteenth Century Music XIV/2 (Fall 1990), pp. 101-31. (refereed) “Schubert’s Revisions of Der Jüngling und der Tod D 545a-b and Meeres Stille D 216a-b,” The Musical Quarterly LXXV/3 (1991), pp. 335-60 (American Oxford). (refereed) “The Metamorphosis of Richard Strauss’s Metamorphosen — New Analytical and Source Critical Discoveries,” in Richard Strauss: His Life and Work, ed. Bryan Gilliam, Duke University Press, 1992, pp. 193-241. (refereed) “Current Issues in Schenkerian Analysis.” Feature review-article on Trends in Schenkerian Research, ed. Allen Cadwallader (Schirmer Books, 1990) and Schenker Studies, 1990, ed. Hedi Siegel (Cambridge University Press) for The Musical Quarterly LXXVI/2 (1992), pp. 242-63 (American Oxford). (invited) “Ruhe, meine Seele! and the Letzte Orchesterlieder,” in Richard Strauss and His World, ed. Bryan Gilliam, Princeton University Press (1992), pp. 90-138. (refereed) Review of Arnold Schoenberg, the Composer as Jew by Alexander Ringer, Theory and Practice 18 (1993), pp. 171-78. (invited) “Bruckner’s Rhythm: Syncopated Hyperrhythm and Diachronic Transformation in the Second Symphony,” in Anton Bruckner — Persönlichkeit und Werk, Austrian Academy of Sciences, Linz, 1995, pp. 93-106. (invited) “Hearing Schoenberg,” review-article on Silvina Milstein, Arnold Schoenberg. Notes Sets Forms, Cambridge: Cambridge University Press, 1992, for the Journal of Musicological Research 15/4 (1995) pp. 285-311 (Gordon Breach, UK). (invited) “Aspects of Sexuality and Structure in the Later Symphonies of Tchaikovsky,” Music Analysis 14/1 (1995), pp. 3-25 (Oxford). (refereed) “The Tragic Reversed Recapitulation in the German Classical Tradition,” Journal of Music Theory 40.1 (1996), pp. 23-72 (Yale University Press). (refereed) “The Finale of Bruckner’s Seventh Symphony and Tragic Reversed Sonata Form,” in Perspectives on Anton Bruckner, eds. Timothy L. Jackson and Paul Hawkshaw, Cambridge University Press, 1997, pp. 140-208. (refereed) “‘Your Songs Proclaim God’s Return’ — Arnold Schoenberg, the Composer and His Jewish Faith,” International Journal of Musicology VI (1997), pp. 277-315. (invited) “Bruckner’s Oktaven,” Music and Letters 86 (1997), pp. 391-409 (British Oxford University Press). (refereed) “Dmitri Shostakovich, the Composer as Jew,” in Shostakovich Reconsidered, eds. Dmitri Feofanov and Allan Ho, (New York, London, Paris: Toccata Press, 1998), pp.597-642. (invited) “‘A Heart of Ice:’ Crystallization in Sibelius’s Pohjola’s Daughter and Other Works.” Conference Report of the Second International Sibelius Conference in Helsinki, November 1995, ed. Eero Taarasti, 1998, pp. 100-123. (invited) “Diachronic Transformation in a Schenkerian Context. A Study of the Brahms Haydn Variations Op. 56a-b,” in Schenker Studies 2, eds. Hedi Siegel and Carl Schachter, Cambridge University Press (1999), pp. 195-237. (refereed) “Diachronische Transformation im Schenkerschen Kontext: Brahms’ Haydn-Variationen,” in Johannes Brahms. Quellen – Text – Rezeption – Interpretation. Internationaler Brahms-Kongress Hamburg 1997, eds. Friedhelm Krummacher and Michael Struck (Munich: Henle Verlag, 1999), pp. 453-92. (invited) “The Adagio of Bruckner's Sixth Symphony: The Anticipatory Tonic Recapitulation in Bruckner, Brahms, and Dvorak.” In Perspectives on Anton Bruckner, eds. Timothy L. Jackson, Paul Hawkshaw, and Crawford Howie, (London: Ashgate Press, in press and forthcoming June 2001). (refereed) “Die Wagnersche Umarmungs-Metapher bei Bruckner und Mahler” (“The Wagnerian ‘Embrace’ Metaphor in Bruckner and Mahler,”), in Bruckner-Probleme, Beiheft zum Archiv für Musikwissenschaft, ed. Albrecht Riethmüller (Stuttgart: Franz Steiner Verlag, 1999), pp. 134-52. (invited) “The Schenker-Oppel Exchange: Schenker as Composition Teacher,” Music Analysis 20/1 (2001) (Oxford), pp. 1-116. (refereed) “Observations on crystallization and entropy in the music of Sibelius and other composers,” in Sibelius Studies, eds. Timothy L. Jackson and Veijo Murtomaki (Cambridge: Cambridge University Press, 2001), pp. 175-275. (refereed) PAPERS PRESENTED “Richard Strauss’s Winterweihe — An Analysis and Study of the Sketches.” Read in Richard Strauss-Arbeitsgruppe, Ludwig Maximilians Universität, Munich, 1986. (Invited) “The Enharmonics of Faith: Enharmonic Symbolism in Bruckner’s Christus factus est (1884).” Read at the Eastman School of Music and University of Western Ontario, 1989. (Invited) “Schoenberg’s Op. 14 Songs: Textual Sources and Analytical Perception.” Read at Music Theory Society of New York State, 20th Anniversary Meeting, Eastman School of Music, 1990. (Refereed) “The Metamorphosis of Richard Strauss’s Metamorphosen — New Analytical and Source Critical Discoveries.” Read at the N.Y.-St. Lawrence American Musicological Society Chapter Meeting, Hobart and William Smith Colleges, Geneva, New York, October 1991. (Refereed) “Schubert’s Revisions of Der Jüngling und der Tod D 545a-b and Meeres Stille D 216a-b.” Read at American Musicological Society Chapter Meeting, New York-St. Lawrence Chapter, Syracuse, 1990. (Refereed) Read at Canadian Society for Eighteenth Century Studies, Queen’s University, 1990. (Refereed) “Bruckner’s Metrical Numbers.” Read at Music Theory Canada 1990 Conference, University of Western Ontario. (Refereed) “Mahler, Strauss, and Bruckner’s Wagner-Rezeption,” in Bruckner Studies 2. Read at the Music Theory Midwest Conference in May 1991. (Refereed) “Bruckner’s Rhythm: Syncopated Hyperrhythm and Diachronic Transformation in the Second Symphony.” Read at the 1992 Bruckner Symposion in Linz. (Invited) “Linear Counterpoint as Redemption Metaphor.” Read at the National Meeting of the Society for Music Theory, Kansas City, October 1992. (Refereed) “Diachronic Transformation in a Schenkerian Context. A Study of the Brahms Haydn Variations Op. 56a-b.” Read at the Second International Schenker Conference, the Mannes School of Music, New York City, March 1992. (Refereed) Revised version read at the International Brahms Symposium, Harvard University, April 1997. (Refereed) “The Tragic Reversed Recapitulation in the German Classical Tradition.” Read at the New England Conference of Music Theorists at Tufts University, Boston, in March 1993. (Refereed) “Aspects of Sexuality and Structure in the Later Symphonies of Tchaikovsky.” Read at the National Meeting of the American Musicological Society, Minneapolis, October 1994. (Refereed) “The Finale of Bruckner’s Seventh Symphony and Tragic Reversed Sonata Form.” Read at the International Symposium Perspectives on Anton Bruckner at Connecticut College in February 1994. (Invited) “Bruckner’s Oktaven.” Read at the National Meeting of the American Musicological Society, Pittsburgh, November 1992. (Refereed) Read at the International Bruckner Conference in Manchester, April 1996. (Refereed) “‘A Heart of Ice:’ Crystallization in Sibelius’s Pohjola’s Daughter and Other Works.” Read at the Second International Sibelius Conference in Helsinki, November 1995. (Invited) “The Wagnerian ‘Embrace’ Metaphor in Bruckner and Mahler.” Read at "Das Bruckner-Problem" Conference, Freie Universität, Berlin, October 1996. (Invited) “Dmitri Shostakovich, the Composer as Jew.” Read at the Israel Festival, Jerusalem, June 10, 1996. (Invited) Read as a ‘University Lecture’ at Oxford University, 22 October 1997. (Invited) “Diachronische Transformation in Brahms Haydn-Variationen.” Read at the International Brahms Symposium at the University of Hamburg, April 1997. (Refereed) “The Schenker-Oppel Exchange: Schenker as Composition Teacher.” Read at the National Meeting of the Society for Music Theory, Chapel Hill, December 1998. (Refereed) “Shostakovich’s ‘Jewish’ Bach and Mussorgsky.” Read at the National Meeting of the American Musicological Society, Boston, October 1998. (Refereed) “Reinhard Oppel’s Freie Satz: the Kleine Klavierstueck No. 3 and Bach’s Sinfonia in E minor.” Read at the Third International Schenker Symposium, Mannes College of Music, March 1999. (Refereed) “The ‘Healing’ Metaphor in Schumann and Pfitzner.” Read at the International Hans Pfitzner Symposium in Turnau, Germany, June 1999. (Invited) “The ‘Pseudo-Einsatz’ in Two Handel Fugues: Heinrich Schenker’s Analytical Work with Reinhard Oppel.” Read at the National Meeting of the Society for Music Theory in Toronto, November 2000. (Refereed) “Sibelius’s Brucknerian Models.” Read at the Fourth International Sibelius Symposium in Helsinki, December 2000. (Invited) “Brahms’s Auxiliary Cadence Sonata Forms.” Read at the Third International Music Analysis Symposium in Tallinn, Estonia, March 2001. (Invited)

Vita and Biographical data sheet of Timothy L. Jackson