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Home , Heinrich Marschner

CURRICULUM VITAE

FRANK MICHAEL HEIDLBERGER

UPDATED: September 15, 2018

WORK ADDRESS University of North Texas HOME ADDRESS 1011 Coit Street College of Music Denton, TX 76201 1155 Union Circle #311367 U.S.A. Denton, Texas 76203

PHONE Office (940) 369-7542 E-MAIL [email protected] Home (940) 231-9433

PROFESSIONAL EXPERIENCE

BEGINNING DATE- POSITION ORGANIZATION LOCATION ENDING DATE 2012-2018 Chair of the Division of University of North Denton, TX Music History, Theory and Texas Ethnomusicology since 2006 Professor of Music University of North Denton, TX Texas 2004-2006 Associate Professor with University of North Denton, TX tenure Texas 2001-2004 Associate Professor, tenure University of North Denton, TX track Texas 2000-2001 Heisenberg Scholarship German Research Various national Research Fellow Council (Germany) and international (US, Canada, Austria) 2000 Professor (adjunct) Hochschule für Musik Würzburg (Germany) (Conservatory) 1994-1995 Lecturer (adjunct) Hochschule für Musik Würzburg (Conservatory) 1993-1999 Assistant Professor (full-time, University Würzburg non-tenure track) 1988-1993 Lecturer/Research Fellow University Würzburg

FRANK HEIDLBERGER – CURRICULUM VITAE 2

AREAS OF PROFESSIONAL EXPERTISE

ACADEMIC LEADERSHIP: Chair of the Division of Music History, Theory, and Ethnomusicology school year 2012/13 through the end of school year 2017/18. This is the second largest division of the UNT College of Music. The Division consists of three academic areas, with 20 full-time faculty, 5 part-time faculty, and a large number of Teaching Assistants and Teaching Fellows for general undergraduate instruction (60+ half positions). Degree plans: BA in Music History and Literature, BM in Music Theory, MA in Music, with concentrations in each of the respective areas, PhD in Music, with concentrations in each of the respective areas. Chair responsibilities include: General supervision, operational and strategic leadership of the division, fiscal management, reporting and accreditation, faculty and student evaluation, curricular planning, supervision, and cooperation with the three area coordinators that report to me. One directly reporting Administrative Assistant. Faculty hiring, professional development, merit, tenure and promotion evaluation, mentoring and support of faculty according to the strategic plan. Suggesting division faculty for UNT awards (teaching, research, service). Resolution of grievance and appeal cases. Student recruiting, evaluation, and professional mentoring before and after graduation. Resolving student complaints and appeals. Curricular planning, degree plan review and development, class planning, scheduling and class- development, including non-traditional/cross-disciplinary topics, and new media in the classroom, development and implementation of online courses. Representation of the Division within and outside the College and University, national and international partnerships, media and online representation of the Division. Representation of the Division at national and international professional conferences, community outreach initiatives. Fundraising, development of scholarships. Review and implementation of fundraising initiatives, support of faculty research grant applications. Development of New Media-initiatives for instructional and research purposes. Ongoing review and revision of division and area policies, within the framework of University and College guidelines and policies. Leadership initiatives and accomplishments as Division Chair: Hiring of eight new faculty as replacements, and two faculty in newly created positions since 2012 in order to realign the academic trajectory of the division toward 21st-century academic music instruction. Of these ten hires, seven belong to diversity groups (two non-white males, five women) Substantial reorganization of the core curriculum in Music Theory in order to serve the needs of approx. 1000 undergraduate music majors at the College of Music more efficiently. Reorganization of the Graduate Proficiency Exams for all incoming Graduate music majors at the College of Music. Implementation of a new degree plan: PhD-concentration in Ethnomusicology, along with faculty and curricular development in that area, and NASM accreditation of this new degree. FRANK HEIDLBERGER – CURRICULUM VITAE 3

Development and ongoing review of recruitment strategies for the major Undergraduate and Graduate degrees of the Division. 50% increase of Graduate recruitments in the course of three years. Strong increase of successful degree completion in PhD concentrations (Music History, Music Theory) Development and implementation of an alternative MA degree plan in Music Theory (“in lieu of thesis”). Support and implementation of a new undergraduate “Music Appreciation” course, run by the Music History area, but with interdisciplinary connotations. Development of the Ethnomusicology area by reassigning a music-theory position to this area, focusing on “World Music Analysis” and thus strengthening the cross-disciplinary instruction and research of the Division. Creation of a new position for non-music major instruction (Senior Lecturer for Music in General Studies) in order to strengthen the already high enrollment in this instructional field, which is a main strategic goal of the UNT College of Music. Successful tenure and promotion procedures for four faculty members, currently supervising a total of four ongoing tenure and promotion cases. Successful nomination of a faculty member for the University Distinguished Teaching Professorship. Suggestion and facilitation of an innovative course in “Video Game Music” for the new business campus of UNT in Frisco, TX (“New College”). Creation and development of a $100k Endowment for MHTE Division student scholarships. Creation and development of small Division-level scholarships for students to receive in-state tuition. Support and oversight over graduate student initiatives for professional development. Reorganization and development of the Division website, and ongoing updates on public relation/advertisements/division news and achievements. Support and representation of the division at professional conferences. Regular participation in academic leadership development initiatives (conferences, UNT-chair development initiatives, UNT “Leadership Fellow” program). Participation in conferences by the National Association for Schools of Music (NASM), for the purpose of new program approvals and accreditation.

RESEARCH AND PUBLICATIONS: Historical musicology and music theory in Western art music, in particular: analytical techniques and systems of Western art music since the Middle Ages, history of music theory. Studies in music history, in particular: instrumental music of the late Italian Renaissance and early Baroque, music, musical form and aesthetics of the Classical and Romantic eras, late 18th, 19th and 20th centuries studies, music criticism, compositional techniques and theory in 20th century music. FRANK HEIDLBERGER – CURRICULUM VITAE 4

Interdisciplinary studies: theory and application of historically informed performance practice, music and media (opera and film), opera dramaturgy and staging, applications, concepts and theory of electronic music, music and literature (German, French, 19th and early 20th centuries), history of reception, cultural studies, musical editing, source studies. Studies on Georg Friedrich Händel, , , , , , Paul Hindemith, Ernst Krenek. Publications in these fields: 2 authored books (Weber and Berlioz, Italian Instrumental Music around 1600); and numerous book editions (most notably Berlioz, Memoirs in a new German translation, with extensive commentaries), all published by major German publishers. Editor of the journal “Theoria – Historical Aspects of Music Theory,” ensured regular publication of one volume per year, since 2003. Critical Music Editions: Weber, Mendelssohn works, published by German music publishers (Schott, Henle), including book-length commentaries, and chapters on the history, context and performance practice. A total of 37 articles published in the following categories: Journals, book chapters, conference proceedings. Among them major German-language journals, and American book series (Eastman Studies in Music). Presentations at professional meetings, and as guest lecturer at academic institutions on regional, national and international levels in the US, and Canada, many European Countries including Russia, in Asia and Australia. To date a total of more than 40 presentations since 2001.

TEACHING EXPERIENCE: Music History: the entire canon of Western music: survey classes, seminars on genres, composers, and historical periods including their cultural and historical contexts. Western History of Music Theory in its entirety, 4-semester sequence, beginning with Classical Greek Theory and ending with 21st-century concepts and methodologies of Music Theory. Advanced chromatic and post-tonal music theory and analysis, form analysis of the common-practice eras. Interdisciplinary studies (music history and performance practice, cultural studies, music history and literature, philosophy, text criticism, methodologies of historiographic inquiry).

PERFORMANCE EXPERIENCE: Clarinet, Saxophone, (Classical Chamber and Orchestral Music, Experimental/Electroacoustic Music, Jazz)

FOREIGN LANGUAGES: German is my native language; English is my common language. Conversation-level: French, Italian. Reading-level: Latin. Knowledge of basic Greek terminology.

ACADEMIC (COLLEGE) EDUCATION

YEAR DEGREE MAJOR INSTITUTION

1999 Dr. phil. habil. Musicology Universität Würzburg (German second (Germany) dissertation) FRANK HEIDLBERGER – CURRICULUM VITAE 5

1993 Dr. phil. Musicology, Universität Würzburg Philosophy, German Literature 1987 Magister Artium Musicology, Universität Würzburg Philosophy, German Literature Music Theory Music Hochschule für Musik, 1985-87 Practicum (no Theory Würzburg degree) 1981-83 Professional Clarinet Hochschule für Musik, Training (no degree) Detmold (Germany)

GRANTS AND AWARDS

BEGINNING DATE- TITLE AGENCY AMOUNT ENDING DATE 2012/13 Leadership Fellow UNT 2012 Research and Creativity UNT (Berlioz, cultural studies $ 11,500 Enhancement Award in music history and biography) 2010 Small Grant UNT, student wages for $ 1000 typesetting of an early opera by Giacomo Meyerbeer 2010 Pursuit of Extramural UNT (Meeting with president $ 1250 Support (PEST) Grant of the Meyerbeer Institute, Vienna) 2009 Research and Creativity UNT (Berlioz, cultural studies $ 11,000 Enhancement Award in music history and biography) 2009 Pursuit of Extramural UNT (Weber-Edition, meeting $ 1000 Support (PEST) Grant with publisher) 2007-2008 Faculty Research Grant UNT (Weber, edition and $ 5000 analysis) 2006-2007 Faculty Research Grant UNT (Krenek, serial Music) $ 5000 2005-2006 Faculty Research Grant UNT (Weber) $ 4000 2003-2004 Faculty Research Grant UNT (Meyerbeer) $ 3000 2002-2003 Faculty Research Grant UNT (Studies on Hindemith) $ 3000 2000 Book Publishing Grant German Research Council $ 5000 2001-2002 Musical Advisor Schott Music International approx. $ 5000 2000-2001 Musical Advisor Schott Music International approx. $ 5000 FRANK HEIDLBERGER – CURRICULUM VITAE 6

2000-2001 Heisenberg Scholarship German Research Council approx (various research projects and $ 30,000/year travel) 1999 Travel Grant German Research Council approx. $1000 (lecture tour to Canada) 1996 University 400th University of Würzburg (source approx. $3700 Anniversary Grant studies in Italy) 1989 German West-East Department of External Affairs approx. $2000 Cultural Exchange (West Germany Cultural Program Department (East Germany)

PUBLICATIONS

(R = refereed; I = invited)

MONOGRAPHS AND EDITED BOOKS 8 - Hector Berlioz: Memoirs, a new German translation by Dagmar Kreher, edited with commentaries and introduction by Frank Heidlberger, Kassel: Bärenreiter 2007. (I) 7 - Weber-Studien, Vol. 8, edited by Manuel Gervink, Frank Heidlberger and Frank Ziegler, Mainz: Schott Music International 2007. (I) 6 - Hector Berlioz: Schriften – Bekenntnisse eines musikalischen Enthusiasten. Ed. by Frank Heidlberger, Kassel etc. 2002. (I) 5 - Carl Maria von Webers Klavierwerk im Kontext des 19. Jahrhunderts, Symposium Weimar, 21. Oktober 2001, ed. Frank Heidlberger, Tutzing 2001. (I) 4 - „Canzon da sonar“. Studien zu Terminologie, Gattungsproblematik und Stilwandel in der Instrumentalmusik Oberitaliens um 1600. 2 vols., Tutzing: Schneider 2000. (R) 3 - Dossier de presse parisienne. Hector Berlioz: Les Troyens à Carthage, Heilbronn: Edition Galland 1995 (Critiques de l'opéra français du XIXème siècle, volume IV). (I) 2 - Carl Maria von Weber und Hector Berlioz. Studien zur französischen Weber-Rezeption, Tutzing: Schneider 1994 (Würzburger Musikhistorische Beiträge; 14, PhD, Universität Würzburg 1993). (R) 1 - Von Isaac bis Bach. Studien zur älteren deutschen Musikgeschichte. Festschrift Martin Just zum 60. Geburtstag (ed. by Frank Heidlberger, Wolfgang Osthoff and Reinhard Wiesend), Kassel u.a.: Bärenreiter 1991. (I)

JOURNAL EDITORSHIP THEORIA – Historical Aspects of Music Theory. Editor of Vol. 10/2003, Vol. 11/2004, Vol. 12/2005, Vol. 13/2006, Vol. 14/2007, Vol. 15/2008, Vol. 16/2009, Vol. 17/2010, Vol. 18/2011, Vol. 19/2012, Vol. 20/2013, Vol. 21/2014, Vol. 22/2015, Vol. 23/2016, and forthcoming (University of North Texas Press). FRANK HEIDLBERGER – CURRICULUM VITAE 7

EDITIONS OF MUSIC 9 - Carl Maria von Weber: Concerto for Clarinet and Orchestra, No. 2, Eb-Major, Pocket Score, based on the Critical Edition, London: Eulenburg 2016. (I) 8- Carl Maria von Weber: Concerto for Clarinet and Orchestra, No. 1, f-Minor, Pocket Score, based on the Critical Edition, London: Eulenburg 2016. (I) 7 - Bartholdy, Concert Piece No. 1, op 113 for Clarinet, Bassethorn and Piano in f- Minor, „Urtext“ (critical) Edition, Munich: Henle 2015. (I) 6 - Felix Mendelssohn Bartholdy, Concert Piece No. 2, op 114 for Clarinet, Bassethorn and Piano in d- Minor, „Urtext“ (critical) Edition, Munich: Henle 2015. (I) 5 - Carl Maria von Weber: Concerto for Clarinet and Orchestra No 2, Eb-Major, critical edition of the clarinet part, with a piano reduction by FH. Mainz: Schott 2012. (I) 4 - Carl Maria von Weber: Concerto for Clarinet and Orchestra No 1, f-Minor, critical edition of the clarinet part, with a piano reduction by FH. Mainz: Schott 2012. (I) 3 - Carl Maria von Weber: Complete Critical Edition, Series V, Vol.7: Werke für Klarinette und Orchester. Works for Clarinet and Orchestra. Mainz, Schott 2011. (I) 2 - Carl Maria von Weber: Momento Capriccioso for piano solo, J. 56, WeV S.4, Critical Edition after the First Print, in: Carl Maria von Webers Klavierwerk im Kontext des 19. Jahrhunderts, ed. by Frank Heidlberger, Tutzing 2001, p. 135-145. (I) 1 - Carl Maria von Weber: Concertino für Klarinette und Orchester, Klavierauszug, kritische Edition [Piano Reduction, Critical Edition], Mainz u.a.: Schott 2000. (I)

ARTICLES IN JOURNALS AND YEARBOOKS 8 - “Was heisst Geschichte der Musiktheorie” – Dahlhaus’s Essay and Its Methodological Impact, in: Theoria – Historical Aspects of Music Theory 24 (2017), 109-126. 7 - Von der Utopie des musikalischen Ethos: Hindemiths späte Vokalwerke, in: Musik-Konzepte (Vol. 125/126): Der späte Hindemith, 2004, p. 101-121. (I) 6 - Visionen des Jüngsten Gerichts. Das religiöse Werk von Hector Berlioz zwischen politischer Utopie und romantischer Melancholie, in: Der Tagesspiegel, Dec. 2003. (I) 5 - Die frohe Botschaft aus gebrochener Perspektive. Berlioz’ Oratorium „L’Enfance du Christ“ zwischen Historismus und Musikdrama, in: Musik und Kirche 73 (2003), p.384-390. (I) 4 - Von der Quelle zur historisch-kritischen Edition – Carl Maria von Webers Werke für Klarinette und Orchester, in: rohrblatt 18 (2003), p. 50-56 (part I), p. 202-207 (part 2). (I) 3 - Edition und musikalische Praxis: Carl Maria von Webers Werke für Klarinette und Orchester, in: Musikedition. Mittler zwischen Wissenschaft und musikalischer Praxis, in: Beihefte zu Editio, Tübingen 2002, p. 277-291. (R) 2 - Carl Maria von Weber’s Clarinet Concertos – A Challenge for the Editor and the Clarinetist, in: The Clarinet, Vol.30, No.1, December 2002, p. 50-61. (I) 1 - Carl Maria von Webers "Euryanthe" im Spiegel der Cosima-Tagebücher. Eine Studie zu Richard Wagners Weber-Rezeption, in: Studien zur Musikwissenschaft 40/1991, p.75-96. (R)

FRANK HEIDLBERGER – CURRICULUM VITAE 8

CHAPTERS IN BOOKS AND ANTHOLOGIES 14 - Zwischen Berlin und Italien – Anmerkungen zu Giacomo Meyerbeers Frühwerk [Between Berlin and Italy – Annotations on Giacomo Meyerbeer’s Early Compositions], in: „Ei, dem alten Herrn zoll’ ich Achting gern.“ Festschrift für Joachim Veit zum 60. Geburtstag, ed. by Kristina Richts and Peter Stadler, München/Munich: Allitera 2016, p. 331-352. 13 – Der „unumschränkte Herrscher über das Theater” – Hector Berlioz’ Les Troyens im ideologischen Spannungsfeld des Second Empire, in: Von Gluck zu Berlioz – Antikenrezeption und Monumentalität in der französischen Oper [“The Total Leader of the Theatre” – Hector Berlioz’ Les Troyens and its Ideological Context within the Second Empire], Würzburg: Königshausen & Neumann 2015, p. 253- 263. 12 - Artistic Religiosity: Berlioz From the Te Deum to L’Enfance du Christ, in: Berlioz. Scenes from the Life and Work, ed. Peter Bloom, Rochester: University of Rochester Press 2008 (Eastman Music Studies, vol. 52), p. 26-44. (R) 11 - „Ihr Hexen und Geister“ — Hans Pfitzners Romantikbild am Beispiel seiner Bearbeitung des „Vampyr“ von Heinrich Marschner, in: Hans Pfitzner und das musikalische Theater. Bericht über das Symposium Schloß Thurnau 1999, Tutzing: Hans Schneider 2008, p. 215-232. (I) 10 - Drama und Erzählstruktur in Carl Maria von Webers Klarinettenkonzerten – Zum Verhältnis zwischen musikalischem „Text“ und formaler Organisation, in: Weber-Studien, Vol. 8, ed. by Manuel Gervink, Frank Heidlberger and Frank Ziegler, Mainz: Schott Music International, 2007, p. 151-179. 9 - Hector Berlioz und die Deutsche Oper – „Klassische“ und „romantische“ Musik im Beziehungsfeld von Gluck, Weber und Beethoven, in: Hector Berlioz. Ein Franzose in Deutschland, ed. by Matthias Broszka etc. Laaber: Laaber 2005, p. 271-287. (I) 8 - Richard Strauss, „Salome“ – Texteinrichtung als kompositorischer Prozess. Ein Forschungsbericht, in: Th. Betzwieser u.a. (Hg.), Bühnenklänge. Festschrift Sieghart Döhring zum 65. Geburtstag, München: Ricordi 2005, p.427-453. (I) 7 - Überwindung oder Konfusion des Gattungsbegriffs ? — Zur handschriftlichen Überlieferung der venezianischen „Canzon da sonar“ im späten 16. Jahrhundert, in: Aspekte historischer und systematischer Musikforschung, Mainz 2003, p. 421-435. (R) 6 - Von San Marco zur Veroneser Accademia — Andrea und Giovanni Gabrielis Instrumentalcanzonen im Kontext philologischer und editionskritischer Methoden, in: Quellenstudien und Musikalische Analyse. Festschrift Martin Just zum 70. Geburtstag, Würzburg: 2001, p.121-148. (I) 5 - Unus est Deus, unus est Voglerus — Vogler als Lehrer Giacomo Meyerbeers, in: Musikleben und „Musikwissenschaft“ in Würzburg um 1800, hg. von Ulrich Konrad, Tutzing: Schneider 1998, p. 95- 120. (I) 4 - "Jephtas Gelübde". Charakteristische Form und musikalische Gestalt in Meyerbeers Frühwerk, in: Sieghart Döhring u.a. (Hg.), Meyerbeer und das europäische Musiktheater, Laaber 1998 (Thurnauer Schriften zum Musiktheater; 16), p.1-21. (I) 3 - Die langsamen Sätze der Klarinettenkonzerte Carl Maria von Webers: Stil-Quelle-Interpretation, in: Weber-Studien 3, hg. von J. Veit u. F. Ziegler, Mainz etc. 1996, p.162-200. (R) 2 - Die Livrets de mise en scène der Freischütz-Aufführungen in Paris 1824 (1835) und 1841, in: Weber- Studien I, Mainz etc. 1993, p.133-154. (R) 1 - Händels "Israel in Egypt" und das Problem der Entlehnung, in: Von Isaac bis Bach. Studien zur älteren deutschen Musikgeschichte, Festschrift Martin Just zum 60. Geburtstag, hg. v. F. Heidlberger, W. Osthoff und R. Wiesend. Kassel u.a.: Bärenreiter 1991, p. 241-255. (I) FRANK HEIDLBERGER – CURRICULUM VITAE 9

ARTICLES IN CONFERENCE REPORTS

17 - Ernst Krenek’s electronic oratorio “Spiritus intelligentiae” (1955/56) and the Discourse of Serialism after the Second World War (in Russian), in: Proceedings of the Conference Music between War and Peace, Moscow, April 22-25, 2015, ed. by Konstantin Zenkin, Moscow 2016, p. 545-560. (I)

16 - Traces of the Past, or Visions of a Bright Future? – Antoine Reicha’s Music Theory and Hector Berlioz’s Compositional Practice. In: Antoine Reicha, compositeur et théoricien. Actes du colloque international tenu à Paris du 18 au 20 avril 2013. Hildesheim etc., Georg Olms Verlag, 2015, p. 185- 198 (Musikwissenschaftliche Publikationen; 44). (I) 15 - Zwischen Ironie und Imagination: Marsch und Choral bei Hector Berlioz und seinen Zeitgenossen [Between Irony and Imagination, March and Chorale in the Works of Hector Berlioz and his Contemporaries], in: Paradestück Militärmusik. Beiträge zum Wandel staatlicher Repräsentation durch Musik [Parade Piece Military Music – Contributions to the change of State Representation through Music], ed. by Peter Moormann, Albrecht Riethmüller and Rebecca Wolf, Bielefeld: transcript 2012, p. 251-261. (I) 14 - Carl Maria von Weber’s Concertos for Clarinet and Orchestra: Sources, Edition, and Performance. Part I: Source History, Editorial Problems and their Consequences for the Performance of Weber’s Clarinet Concertos, in: Philomusica online 9/2 (2010), p. 1-11. (I) 13 - „Musical culture / musical structure: What is the role of influence in mid-to-late 20th-century music?” Joint publication with Graham Phipps and David Schwarz, in: Proceedings of the Fourth Conference on Interdisciplinary Musicology, Aristotle University, Thessaloniki, Greece 2008 (web publication at: http://cim08.web.auth.gr/index2.htm). (R) 12 - „Ausdruk ist die Seele der Musik“ — Georg Joseph Voglers Oper Castor und Pollux im historischen Kontext, in: Abbé Vogler – Ein Mannheimer im europäischen Kontext, Frankfurt/Main: Peter Lang 2003, p. 247-269. (I) 11 - Halévys Jüdin in Wien. Zur Rezeptionsgeschichte einer Oper zwischen Zensur und Antisemitismus, in: Actes du colloque Halévy, Paris: Conservatoire national superieur, novembre 2000 (Editions Galland 2003), p. 244-266. (I) 10 - Wie entsteht eine "Welt-Ersteinspielung"?: Musikwissenschaftliche Quellenforschung im Dienste der Schallplattenindustrie, in: Musikwissenschaft im Phonomarkt: "Alte Musik" und CD-Produktion-- Bericht zum 1. Lüneburger Musiksymposium im Februar 1999. Wilhelmshaven, Germany: Noetzel 2002 p. 11-27 (R) 9 - Musikalische Romantik in klassizistischem Gewand — Zum geistesgeschichtlichen Kontext von Hector Berlioz‘ Oper Les Troyens, in: Europäische Mythen von Liebe, Leidenschaft, Untergang und Tod im (Musik-)Theater: Der Trojanische Krieg Vorträge und Gespräche des Salzburger Symposiums 2000, hg. von Peter Csobádi et al., Salzburg 2002, p. 476-492. (I) 8 - Pariser Oper im Urteil der Presse: Die Aufführungen der Oper Les Troyens à Carthage von Hector Berlioz am Théâtre lyrique 1863, in: Europäische Mythen von Liebe, Leidenschaft, Untergang und Tod im (Musik-)Theater: Der Trojanische Krieg Vorträge und Gespräche des Salzburger Symposiums 2000, hg. von Peter Csobádi et al., et al., Salzburg 2002, p. 493-510. (I) 7 - Die “verdammten Klavierfinger” – Kompositorische Idee und instrumentale Idiomatik bei Carl Maria von Weber, in: Bericht des Symposiums Carl Maria von Webers Klavierwerk im Kontext des 19. Jahrhunderts, Weimar, 21. Oktober 2000, hg. von Frank Heidlberger, Tutzing 2001, p. 65-84. (I) FRANK HEIDLBERGER – CURRICULUM VITAE 10

6 - Carl Maria von Webers Klaviermusik im Spiegel der Forschung, in: Bericht des Symposiums Carl Maria von Webers Klavierwerk im Kontext des 19. Jahrhunderts, Weimar, 21. Oktober 2001, hg. von Frank Heidlberger, Tutzing 2001, p.11-24. (I) 5 - Walter Felsensteins Film- und Fernsehproduktionen von Beethovens „Fidelio“ und Verdis „Otello“ — Überlegungen zu einer musikdramatischen „Leinwandästhetik“, in: Bericht des Symposiums „...Ersichtlich gewordene Taten der Musik“: Das Musiktheater in den audiovisuellen Medien, Salz- burg 1999, hg. von Peter Csobádi u.a., Anif/Salzburg 2001, p.208-220. (R) 4 - Oberitalien als Musikkulturlandschaft — Zur lokalgeschichtlichen Definition der Instrumental- musikpflege am Beispiel der Canzon da sonar um 1600, in: Musikkonzepte — Konzepte der Musikwissenschaft. Bericht Int. Kongreß der Ges. f. Musikforschung Halle 1998, Kassel u.a. 2000, p.178-185. (R) 3 - Betrachtungen zur Rolle der Militärmusik in der abendländischen Kunstmusik, in: Bericht der Tagung Militärmusik und zivile Musik – Tag der Musik der Stadt Uffenheim 1993, Uffenheim 1993, p.9-21. (I) 2 - Die Faust-Kompositionen von Hector Berlioz. Untersuchungen zum Verhältnis von literarischer Adaption und musikalischer Deutung, in: Bericht des Symposiums: Mythen der Neuzeit – Faust und Don Juan, Salzburg 1992, Anif/Salzburg 1993, p. 535-548. (R) 1- Meyerbeer und Weber. Zur künstlerischen Wechselbeziehung aus der Sicht der frühen Werke, in: Bericht der Wissenschaftlichen Konferenz Meyerbeer, Große Oper – Deutsche Oper, 1991. Dresden 1992, p.26-48 (Schriftenreihe der Hochschule für Musik Carl Maria von Weber, Dresden, Heft 24). (I)

ENCYCLOPEDIA ENTRIES The Cambridge Berlioz Encyclopedia, Cambridge: Cambridge University Press, 2017. • Memoirs • Reicha, Anton • Te Deum • Music Theory

Lexikon der Holzblasinstrumente (Woodwind Encyclopedia), Laaber: Laaber (Germany), 2018 • Hector Berlioz • Carl Maria von Weber

Lexikon des Orchesters (Encyclopedia of the Orchestra), Laaber: Laaber (Germany), in print. • Clarinet • Clarinet Ensemble • Orchestra (Terminology, general meaning) • Metaphors of the Orchestra

Händel-Lexikon, ed. by Hans Joachim Marx, Laaber: Laaber 2011. • Handel and Beethoven. • Israel in Egypt. FRANK HEIDLBERGER – CURRICULUM VITAE 11

Enzyklopädie der Neuzeit [Enzyclopedia of Modern Times] im Auftrag des Kulturwissenschaftlichen Instituts (Essen) und Stuttgart: Metzler, 2005-2008. • Instrumentalmusik (Vol. 5), 2007, col. 1038-1044.

Die Musik in Geschichte und Gegenwart, second Edition, edited by Ludwig Finscher, Personenteil, Kassel u.a.: Bärenreiter 1999 ff. 11 - Annibale Padovano, Vol.1, 1999, col. 748 f. 10 - Sperindio Bertoldo, Vol.2, 1999, col. 1455 f. 9 - Cesare Borgo, Vol.3, 2000, col. 409 f. 8 - Bernardino Bottazzi, Vol.3, 2000, col. 509. 7 - Xavier Lefèvre, Vol. 10, 2003, col. 1465 f. 6 - Xavier Leroux, Vol. 10, 2003, col. 1634 f. 5 - Bernardino Luppacchino, Vol. 11, 2004, col. 614 f. 4 - Giorgio Mainerio, Vol. 11, 2004, col. 876. 3- Fiorentino Maschera, Vol. 11, 2004, col. 1254 f. 2 - Grammatico Metallo, Vol. 12, 2004, col. 83f. 1 - Scipione Stella, Vol. 15, 2006, col. 1410f.

REVIEWS 11 - Rodgers, Stephen. Form, Program, and Metaphor in the Music of Berlioz. Cambridge UP 2009, in: Notes, March 2011, p.548-551. 10 - Berlioz. Past, Present, Future. Bicentenary . Edited by Peter Bloom. (Eastman Studies in Music.) Rochester, NY: University of Rochester Press, 2003, in: Notes, Vol. 60, 4, June 2004, p.941-943. 9 - Sebastian Werr, Musikalisches Drama und Boulevard: Französische Einflüsse auf die italienische Oper im 19. Jahrhundert, Stuttgart 2002, in: Notes, Vol. 60, 1, September 2003, p.185-187. 8 - Gerhardt Jaiser, Carl Maria von Weber als Schriftsteller, Mainz 2001 (Weber-Studien, 5), in: Weberiana, Issue 13 (2003), p.121-124. 7 - Kammermusik im „verflucht italienischen Styl“ – CD „Carl Maria von Weber. Kammermusik für Klarinette“, Luigi Magistrelli, Bayer Records BR 100 339 CD (2002), in: Weberiana 13 (2003), p.145-147. 6 - Oliver Huck, Von der Silvana zum Freischütz. Die Konzertarien, die Einlagen zu Opern und die Schauspielmusik Carl Maria von Webers, Mainz u.a.1999 (WEBER-STUDIEN, 5), in: Musiktheorie 17 (2002), p. 83-85. 5 – Weber Studien, Band 4, 1, hg. von Oliver Huck und Joachim Veit, Mainz: Schott u.a. 1998, in: Musiktheorie 17 (2002), p. 76-78. 4 - Sieghart Döhring u. Sabine Henze-Döhring, Oper und Musikdrama im 19. Jahrhundert, Laaber 1997 (Handbuch der musikalischen Gattungen; 13), in: Die Musikforschung 53 (2000), S.208 f. FRANK HEIDLBERGER – CURRICULUM VITAE 12

3 - Carl Maria von Weber in Darmstadt. Ausstellung im Hessischen Staatsarchiv Darmstadt im November 1996 anläßlich der Mitgliederversammlung der Internationalen Carl Maria von Weber-Gesellschaft e.V. Katalog mit einem einführenden Vortrag über „Carl Maria von Weber und Darmstadt“. Hrsg. anläßlich des 70. Geburtstags von Eveline Bartlitz von Joachim VEIT und Frank ZIEGLER. Tutzing: Hans Schneider 1997, in: Die Musikforschung, 51 (1998), S.466 f. 2 - Mozart-Jahrbuch 1996 des Zentralinstituts für Mozart-Forschung der Internationalen Stiftung Mozarteum, Salzburg 1996, in: Acta Mozartiana, 44 (1997), S.109-111. 1 - Wolfgang Michael Wagner, Carl Maria von Weber und die deutsche Nationaloper, Mainz etc. 1994 (Weber-Studien; 2), in: Weberiana — Mitteilungen der Internationalen Carl-Maria-von-Weber- Gesellschaft 5 (1996), S.59-62, also published in: Die Musikforschung 50 (1997), S.124 f.

TRANSLATIONS FOR THE ENCYCLOPEDIA OF THE ORCHESTRA, 2018 (ENGLISH TO GERMAN): Ernest Ansermet (Mark McKnight) John Corigliano (David Schwarz) Lukas Foss (McKnight) Francois Gossec (Rebecca Geffroy-Schwinden) Roy Harris (McKnight) Vincent d’Indy (Peter Mondelli) Francois Lesueur (Geoffroy-Schwinden) Johann Mattheson (Benjamin Dobbs) Étienne-Nicholas Méhul (Geoffroy-Schwinden) Jacques Offenbach (Mondelli) Orchestre de la Suisse Romande (McKnight) Pittsburgh Symphony Orchestra (McKnight) Michael Praetorius (Dobbs) Jean-Philippe Rameau (Dobbs) Recording Industry (Patmore) (Graham Phipps) Heinrich Schütz (Dobbs) Virgil Thomson (McKnight) Video Game Orchestra (Gibbons) Walton (McKnight)

FOR THEORIA (GERMAN TO ENGLISH): Vol. 13/2006, article, Markus Waldura, Musical Rhetoric and the Modern Concept of Musical Period--A New Perspective on 18th-Century German Theories of Musical Periodicity. Part One

Vol. 24/2017, article, Gesine Schröder, Theorists and Theory Teachers. Carl Dahlhaus and Music Theory at German-Speaking Conservatories

CD RECORDINGS 4 - Demo CD Serengeti Supper for sound track and saxophone, composed by Lynn Job, Frank Heidlberger (alto saxophone), Denton 2002. FRANK HEIDLBERGER – CURRICULUM VITAE 13

3 - Demo CD Pyramids for computer sequences and clarinet, Frank Heidlberger (computer realization and clarinet), Denton 2002. 2 - CD (commercial) Coloured Lines, ensemble Horns and Hands (Christoph Wünsch, piano, keyboards, and Frank Heidlberger, saxophones, clarinets), playing their own compositions, Kitzingen: Owl Bridge Music 2002. 1 - CD (commercial) No- and Anywhere, Clarino Jazzband, Guest artist (saxophone), Würzburg, Germany 1999.

UPCOMING PUBLICATIONS (IN EDITORIAL PROCESS, OR IN PRINT) Lexikon des Orchesters [Encyclopedia of the Orchestra], ed. by F.H., Gesine Schröder and Christoph Wünsch, Laaber: Laaber-Verlag. Publication planned for 2017. Giacomo Meyerbeer: Complete Critical Edition of His Works; Jephtas Gelübde, Munich: Ricordi; in preparation, publication planned for 2018.

LECTURES AND PAPERS PRESENTED

SINCE 2001 Instrumental Music at the Accademia in Verona around 1590 – Modes of “Conversazione,” 18th Biennial International Conference on Baroque Music, University of Pavia, Institute of Musicology, Cremona Campus (Italy), July 12, 2018. Music Theory and Its Millennial Identity, Panel Music Theory Now and Then – 40 years of Histories and Discourse, Annual Meeting of the Texas Society of Music Theory, Dallas, February 24, 2018. Music Theory Now and Then – 40 years of Histories and Discourse, Moderator of the Panel Discussion, with presentations by Ellen Bakulina, Kevin Clifton, Frank Heidlberger, Timothy McKinney, Matthew Santa, and Jennifer Weaver. Annual Meeting of the Texas Society of Music Theory, Dallas, February 24, 2018. Popular Music Studies and Today’s Academy. Panel Discussion, University of North Texas, College of Music, with John Murphy, Mark Spicer, and Vivek Virani, September 26, 2017. Carl Dahlhaus’s Essay “What is the History of Music Theory?” and its Historiographic Methodology in Today’s Contexts of Music “Theory” and “Practice,” Conference of the International Musicological Society in Tokyo, March 20, 2017. “What is the History of Music Theory?” – Dahlhaus’s Essay and its Relevance for the Current Understanding of the Discipline. Paper Panel Between Music Theory and History: Carl Dahlhaus on the History of Music Theory, Annual Meeting of the American Musicological Society, Society of Music Theory, Vancouver, November 3, 2016 (also as organizer and panel chair). From Manuscript to Performance, or the Nightmares of an Editor: Carl Maria von Weber's Concertos for Clarinet in a New Critical Edition. Lecture at the ClarinetFest 2016, University of Kansas, Lawrence, August 4, 2016. A “Labyrinth of Historical Hermeneutics”: What means and to which End do we study the History of Music Theory. Guest lecture, Texas State University, San Marcos, TX, January 25, 2016. FRANK HEIDLBERGER – CURRICULUM VITAE 14

De rebus prius factis – Ernst Krenek’s Theoretical and Practical Approach to Electronic Music in the Context of Post-World-War II Serialism, Annual Meeting of the Society of Music Theory, St. Louis, October 29, 2015. Carl Dahlhaus zur Geschichte der Musiktheorie –Neubewertung einer Disziplin zwischen den Disziplinen [Carl Dahlhaus on the history of music theory – reconsideration of a discipline between disciplines], Annual Meeting of the German Society of Music Theory, Berlin, October 3, 2015. Ernst Krenek’s electronic oratorio “Spiritus intelligentiae” (1955/56) and the discourse of serialism after the Second World War; International Conference Music between War and Peace, Moscow, April 24, 2015, also presented at the Third Biannual Music Conference, Louisiana State University, May 15, 2015. Ernst Krenek’s Serialism in Theory and Practice: structure, content and meaning in his Oratorio “Spiritus intelligentiae,” Guest Lecture Vienna, University of Music and the Performing Arts, October 30, 2014. Music Theory in the US – Consideration of Historical and Conceptual Developments, Doctoral Seminar Lecture Vienna, University of Music and the Performing Arts, October 30, 2014. A “Labyrinth of Historical Hermeneutics”: What means and to which End do we study the History of Music Theory, “Laudate Eum” – A Symposium in Honor of Professor Graham Phipps, March 29, 2014, UNT, Willis Library. Traces of the Past, or Visions of a Bright Future? – Antoine Reicha’s Music Theory and Hector Berlioz’s Compositional Practice, meeting of the American Musicological Society, Southwest Chapter, April 15, 2012, Fort Smith, Arkansas. Second presentation: International Symposium, Paris, Sorbonne, April 18, 2013. From Manuscript to Performance, or the Nightmares of an Editor: Carl Maria von Weber's Concertos for Clarinet in a New Critical Edition. Guest lecture, Texas State University, San Marcos, April 2, 2012. Vom Umkehrkrebs zur Shampoowerbung: Igor Strawinskys Tanzdrama “The Flood” im Spannungsfeld zwischen Reihentechnik, medialer Kunst und ihrer kommerziellen Verwertung. [From the Retrograde Inversion to Hair Shampoo Commercials: Igor Stravinsky’s Dance Drama “The Flood,” between Serialism, Media Art and Commercialism], International Conference on TV opera, University of Siegen, Germany, March 22, 2012. “Une nouvelle énormité fantastique”: ’s “Grande fantaisie symphonique on themes from Berlioz' Lelio” as an experiment in symphonic form; European Music Analysis Conference, Rome (Italy), September 30th, 2011. (R) Liszt, Berlioz und die Französische Romantik, Cologne, Hochschule für Musik und Tanz, June 1, 2011 – [Liszt, Berlioz and French Romantics]. (Invited) Traces of the Past, or Visions of a Bright Future? – Antoine Reicha’s Music Theory and Hector Berlioz’s Compositional Practice, International Conference on Music Analysis, Belgrade (Serbia), May 17th, 2011. (R) Der „unumschränkte Herrscher über das Theater” – Hector Berlioz’ Les Troyens im ideologischen Spannungsfeld des Second Empire, Conference: Von Gluck zu Berlioz – Antikenrezeption und Monumentalität in der französischen Oper [“The Total Leader of the Theatre” – Hector Berlioz’ Les Troyens and its Ideological Context within the Second Empire], Nuremberg, Germany, July 17-19, 2010. (Invited) Zwischen Ironie und Imagination: Marsch und Choral bei Hector Berlioz und seinen Zeitgenossen [Between Irony and Imagination, March and Choral in the works of Hector Berlioz and His Contemporaries], FRANK HEIDLBERGER – CURRICULUM VITAE 15

workshop Marsch und Choral, Research Fellowship Group Kulturen des Performativen [Performative Cultures], Berlin, Freie Universität, December 17-18, 2009. Carl Maria von Weber’s Concertos for Clarinet and Orchestra – Sources, Edition, and Performance, Part I: Source History, Editorial Problems and their Consequences for the Performance of Weber’s Clarinet Concertos, La filologia musicale oggi: il retaggio storico e le nuove prospettive / Musical Philology Today: Historical heritage and New Perspectives, Cremona (Italy) 25-27 November 2009, hosted by: Dipartimento di Scienze Musicologiche e Paleografico-filologiche Università di Pavia. Facoltà di Musicologia. Notation, Sound Processing and Serial Time Structure in Ernst Krenek's early electronic music, July 10, 2009, Amsterdam (The Netherlands), International Conference on Music Notation, organized by the International Musicological Society and the International Association of Music Libraries. Zur Überlieferung und Aufführungspraxis der Klarinettenkonzerte Carl Maria von Webers [Source and Performance History of the Clarinet Concertos by Carl Maria von Weber], November 1, 2008, Munich, Conferenc Carl Maria von Weber in Munich, hosted by the International Carl Maria von Weber Society and the Society of Bavarian Music History. De Rebus prius facti – Ernst Krenek und die elektronische Musik [De rebus prius facti – Ernst Krenek and Electronic Music], October 31, 2008, University of Mainz, Institute of Musicology. Musical Structure and the “Anxiety of Influence (Harold Bloom): Quotation, Revision, Influence in mid- 20th-Century Music, joint paper with Dr. Graham Phipps and Dr. David Schwarz, at the International Conference of the International Society of Interdisciplinary Musicology Thessaloniki (Greece), July 6, 2008. (R) Transitions and Transformations: Ernst Krenek’s Quest for Serial Word-Tone Relationships, presented at the International Conference of the International Musicological Society, Zürich (Switzerland), July 11, 2007. (R) “Sentimental Journey” – How Jonny (sic!) got into Ernst Krenek’s “Jonny spielt auf,” and how he got out, presented at a panel on Popular Music and “Serious” Music in the 20th century, during a residency of Professor Allen Forte at UNT (March 26, 2007) (I) Drama und Erzählstruktur in Carl Maria von Webers Klarinettenwerken – zum Verhältnis zwischen musikalischem “Text” und Aufführungspraxis, presented at the annual meeting of the German Musicological Society, October 6, 2006, and at the annual meeting of the International Carl Maria von Weber Society, Conference on “Weber as Music Director in Dresden”, Dresden, October 14, 2006. (R) Werk – Quelle – Edition. Webers Klarinettenwerke und ihre historischen Erscheinungsformen, presented at the International Conference of the German Clarinet Society, Dresden, September 30, 2006. (I) Die „kollosale Nachtigal“ - Heinrich Heines Berlioz-Kritik im kultur- und ideengeschichtlichen Kontext, formal lecture, presented at the Universität des Saarlandes, January 23, 2006 (I) La Damnation de Berlioz – Macht und Religion als biographisch-musikalische Konstruktion, presented at the University of Mainz (Germany), November 24, 2005, and the University of Zürich (Switzerland), November 27, 2005. (I) Paul Hindemith’s First Piano Sonata and its Poetic and Cultural Context. A Study in “Narrative” Analysis, Hawaii International Conference of Arts and Humanities, Honolulu, HI, January 14, 2005. (R) La Damnation de Berlioz – Art and Religion as Matters of Cultural Identity. Berlioz Symposium at the University of British Columbia, Vancouver, Dec. 4, 2004. (I) FRANK HEIDLBERGER – CURRICULUM VITAE 16

Opera and Critics in Paris - Strategies of Argumentation in the Reviews of the First Performance of Hector Berlioz’s „Les Troyens (à Carthage)“, International Symposium Music in France 1830-1940, University of Melbourne, Australia, July 2004. (R) Word, Structure, Sign – Paul Hindemith and the “Language beyond Language” as a Communicative Value in Music, Symposium of the International Musicological Society, Monash University, Australia, July 2004. (R) "LVDVS VOCALIS” (or) The Craftsman Enters Utopia - Historicism, Dogmatism, and (Post-) Modernism in Paul Hindemith's Late Works." THE Lecture Series, UNT, College of Music, February 2004. (I) „La Damnation de Berlioz“ - Kunst und Religion aus gebrochener Perspektive, guest lecture Universität Würzburg, Institut für Musikwissenschaft, Germany, October 2003. (I) Carl Maria von Weber’s Clarinet Concertos: Cross-Relationships between Sources, Performance History, and Critical Edition, International Conference of the British Society for Analysis, University of Hull, England, July 2003. (R) Moments in Time and Space – Karlheinz Stockhausen and the origins of electronic music, lecture for the Center forExperimental Music and Intermedia (University of North Texas, College of Music), April 2003. (I) Horns meet Hands – Compositional Determination and Improvisational Freedom in Computer-Assisted Compositions (together with Prof. Christoph Wünsch, Hoschschule für Musik, Würzburg, Germany), presentation at Music Now (lecture series of the Composition Division of the CoM, UNT), October 2002. (I) Carl Maria von Weber between Classical and , public lecture presented at the Carl Maria von Weber Festival, Darmstadt, September 2002. (I) Paul Hindemith’s “Das Marienleben” – The Song Cycle and the Problem of “Central Tonality”, presented at the International Conference of the International Musicological Society, Leuven (Belgium), August 2002. (R) „Jetzt weiss ich, wie ich komponieren muss”. Zur musikalischen Poetik Arnold Schoenbergs zwischen (De-)Konstruktion und Mystik, guest lecture at Marburg University, May 2002. (I) Carl Maria von Weber’s Clarinet Concertos – A Challenge for the Editor and the Clarinetist, UNT, Division of Music History, Theory and Ethnomusicology lecture series, lecture-recital, with performance of the Concertino for clarinet and orchestra, played by F. Heidlberger and Judy Fisher (piano), April 2002. (I) “Jetzt weiß ich, wie ich komponieren muß”: Arnold Schönberg zwischen Kammersymphonie und Pierrot lunaire. Keynote lecture at the opening ceremony of the exhibition “Arnold Schoenberg” (International Schoenberg Association, Vienna), at Würzburg College of Music, October 2001. (I) Musik der Stille – Grenzüberschreitung: Arvo Pärt und die Neue Musik, Vortrag und Seminar im Rahmen der Tagung Gebete in Neuen Tönen? Musikalische geistliche Anstöße für unsere Zeit aus Osteuropa, Katholische Akademie Domschule Würzburg, October 2001. (I)

SELECTED LECTURES, BEFORE 2001 Paul Hindemith between Ragtime and Bach: The Context of Modernism and History during the 1920‘s, University of North Texas (Denton), Florida State University (Tallahassee), Sept./Oct. 2000. (I) Carl Maria von Weber’s Clarinet Concertos — Problems of Edition and Performance, Lecture-Recital, University of Victoria, March 1999. (I) FRANK HEIDLBERGER – CURRICULUM VITAE 17

Carl Maria von Weber as poet and critic, McMaster University (Hamilton, Canada), University of Victoria (Canada) und University of British Columbia (Vancouver, Canada), March 1999. (I) Carl Maria von Webers Klarinettenkonzerte: Probleme der Edition und Aufführungspraxis, Vortrag mit praktischer Vorführung im Rahmen des Meisterkurses für Klarinette an der Musikhochschule Detmold, January 1999. (I) Hector Berlioz zwischen Symphonie und Oper: Seine Rezeption deutscher Musik, Dresden, Hochschule für Musik, April 1997. (I) Musikalisches Opfer. Bachs Spätwerk und seine Aktualität im 20. Jahrhundert, Aschaffenburg, Städtische Musikschule, July 1996. (I) Vom Ragtime zum Oratorium. Werkbegriff und Gattungsverständnis bei Paul Hindemith, Universität Würzburg, Juni 1995 und Universität Bayreuth, January 1996. (I) Paul Hindemith between Ragtime and Bach. Some Considerations about his Views on Historical and Aesthetic Questions during his Early Years, Ottawa, Canada: International Music-Conference Music in a Changing Society, January 1996. (R) Zum Stand der Editionsarbeiten an Webers Klarinettenkonzerten, Detmold, Musikhochschule (Mitarbeitertagung der Carl Maria von Weber-Gesamtausgabe), November 1995. (I) Betrachtungen zu Paul Hindemiths Kammermusik, Aschaffenburg, Städtische Musikschule, November 1995. (I) Vom Bürgerschreck zum Dogmatiker. Paul Hindemith im Zeitalter der Moderne, Hanau, Comoedienhaus Wilhelmsbad, February 1995. (I) Weber in Paris, Universität Bamberg, December 1991. (I) Johann Sebastian Bach und das Problem der Echtheit, Kulturstätte Ronneburg/Hessen, November 1986. (I)

PUBLIC PRESENTATIONS (SINCE 2003)

DALLAS SYMPHONY ORCHESTRA PERFORMANCE PRELUDES (45 MINUTES MULTIMEDIA PRESENTATIONS) March 2011: Stravinsky’s “Rite of Spring.” Mozart, Masonic Funeral Music, Piano Concerto K. 503. January 2010: First Steps towards a Long Tradition (Mussorgsky, Prelude to Kovanchina; Shostakovitch, First Symphony; Beethoven, Violin Concerto) November 2009: Fragments of Memory (Wolfgang Rihm, Memoria – Drei Requiem-Bruchstücke; Haydn, Cello Concerto in C-Major; Prokofiev, Alexander Nevsky) May 2009: Episodes of an Artist’s (and Violin’s) Life (Alexander Raskatov, In Excelsis – Concerto for Violin and Orchestra; Berlioz, Symphonie Fantastique) February 2009: Saxophone Escapades (Strauss, Aus Italien; Williams, Escapades for Saxophone and Orchestra, Glazunow, Concerto for Saxophone and Orchestra) May 2008: Wagnerian Dreams in Bruckner’s World (Schumann, Concerto for four Horns and Orchestra; Bruckner, Symphony No.7) January 2008: Suite, Serenade, and Symphony (Strauss, Serenade for Winds op. 7; Grieg, Holberg Suite op.40; Shostakovich, Symphony No.10, op.93) FRANK HEIDLBERGER – CURRICULUM VITAE 18

March 2007: Impressions from Italy (Respighi: Pines o Rome, Tchaikovsky: Francesca di Rimini, Glazunov: Violin Concerto in A minor, Verdi: Overture to La forza del destino) February 2007: Symphonic Fireworks (Rachmaninoff: Symphonic Dances, Strauss: Rosenkavalier-Suite, Goldmark: Violin Concerto) January 2007: Romantics in Minor (Mahler: 5th Symphony, Bruch: Violin Concerto) May 2006: Anglicizing Art – Works by Elgar, Copland and Barber (Enigma Var., Appalachian Sring, Violin Concerto) January 2006: Triumphs of the Czech Masters (Dvorak, Symphony No.7, Janacek, Glagolitic Mass) October 2005: Contrasts: Three Composers, Three Musical Languages (Copland: Carinet Concerto, Schumann: 2nd Symphony, Shostakovitch: 9th Symphony March 2005: Barber, Beethoven and Brahms. Understanding Tradition and Progression in Music (Barber: 1st Symphony, Beethoven: 2nd Piano Concerto, Brahms: 4th Symphony) October 2003: Romantic Visions of Love and Death (Berlioz, Symphonie Fantastique; Liszt, Totentanz Paraphrase, Les Préludes)

CLASSES TAUGHT

UNIVERSITY OF NORTH TEXAS, COLLEGE OF MUSIC, SINCE 2001 (each course taught multiple times)

UNDERGRADUATE MUSIC THEORY Music Theory I Music Theory III Music Theory IV Aural Skills III Form Analysis 20th Century Techniques GRADUATE MUSIC THEORY History of Music Theory I History of Music Theory II Analytical Systems I Analytical Systems II Graduate Harmonic Analysis Graduate Keyboard Practice GRADUATE MUSICOLOGY AND Music History: Middle Ages THEORY TOPIC SEMINARS Musicology Pro Seminar: Paul Hindemith Pro Seminar: Structure and Context in Hector Berlioz’s Music Seminar on Major Composers: Text Criticism and Music Edition in 19th c. Music, with a particular focus on Carl Maria von Weber and Giacomo Meyerbeer History/Theory Doctoral Seminar Serialism in Discourse History/Theory Doctoral Seminar Hector Berlioz – An Interdisciplinary Approach to his Life and Works. SPECIAL COURSES Graduate Study Abroad Program Music and FRANK HEIDLBERGER – CURRICULUM VITAE 19

Culture of Germany (excursion to Germany), 2004 and 2005

TEACHING BEFORE 2001 Courses 1988-2000 in Form Analysis, Music History (undergraduate survey), Musicology (undergraduate and graduate courses on selected topics) at the University of Würzburg, and the Musikhochschule Würzburg.

GRADUATE AND UNDERGRADUATE ADVISING

PhD, Major Professor in process, Douglas Donley, The Harmonic Theory of Georg Joseph Vogler in process, Joseph Turner, Translation, Edition and Commentary of Ugolino’s “Contrapunctus” (15th Century) in process, Lance Russell, Moritz Hauptmann’s Dialectic Approach to Triadic Theory in process, Jordan Moore, The Music of Stephen Sondheim in process, Dell Smith, Frank Martin’s Requiem: Toward an Analysis of His Late Works in process, Sarah McConnell, The Chamber Music of Max Reger 2015, Michael Rogers, Tonality and the Extended Common Practice in the Music of Thad Jones. 2014, Jennifer Weaver, Herbert Eimert’s „Atonale Musiklehre“ (1924).

PhD, Committee Member 2015, Benjamin Dobbs, A Seventeenth-Century Musiklehrbuch in Context: Heinrich Baryphonus and Heinrich Grimm’s Pleiades Musicae 2014, Colin Davis, The Late Works of Ferrucio Busoni. 2010, Michael Lively, Non-Linear and Multi-Linear Time in Beethoven's Opus 127: An Analytical Study of the 'Krakow' Sketch Materials. 2009, Jennifer Sadoff Auerbach, Drafts, Page Proofs, and Revisions of Schenker’s “Der Freie Satz.” The Collection at the Austrian National Library and Schenker’s Generative Process. 2008, Jonathan Brooks, Imagined Sounds: Their Role in the Strict and Free Compositional Practice of . 2005, Young-Shim Chang, Reading Handel: A Textual and Musical Analysis of Handel's Acis and Galatea (1708, 1718). 2004, Kyung Young Chung, Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640. 2004, Gregory Straughn, Reconstructing Convention: Ensemble Forms in the of Jules Massenet.

M.A., Major Professor and Committee Member 2016, Douglas Donley, The Wave Meter Model: A Graphic Notation for Metric Phenomena; Old Music in FRANK HEIDLBERGER – CURRICULUM VITAE 20

Modern Meters. 2010, Katy Kinard, Rhythmic Dissonance and Improvisation. Performative Aspects of Rhythm in the Music of the Ewe Cult (Ghana) and John Coltrane. 2009, Benjamin Dobbs (committee member) Gewesener Magdeburgischer Musicus: An examination into the stylistic characteristics of Heinrich Grimm's eight-voice motet, Unser Leben wehret siebenzig Jahr' 2006, Rob Tompkins, Beethoven’s Opus 18 String Quartets: Selected First Movements in Consideration of the Formal Theories of Heinrich Koch, as expressed in „Versuch einer Anleitung zur Composition.“ 2003, Ralph Jarzombek, The Segmentation Process and its Influence on Structure in the „Malheur me bat“ Masses of Obrecht and Josquin.

B.M. in Music Theory, Major Professor 2012, Julia Amberson, Extended Phrase Structure in Debussy’s Orchestral Works 2011, Alfred Dawson, ’s Ragtimes: A Comprehensive Study

DMA, Committee Member, Related Field Advisor - Andrew Daniel, guitar (related field advisor in Music Theory) - Michael McConnell, clarinet (related field advisor in Music Theory) - Patricia Surman, flute (related field advisor in Music Theory) - Ruusamari Teppo, piano - Scott Marosek, piano - Hsing-Yin Ko, piano - Natasha Sukhina, piano - Christopher Astilla, piano - Jung Won Kim, organ - Andrew Daniels, guitar - Joseph Webb, clarinet - Jason Oliver, trombone - John Gill, trombone

PROFESSIONAL ACTIVITIES

MEMBERSHIP IN PROFESSIONAL ORGANIZATIONS: Gesellschaft für Musikforschung (German Musicological Society) International Carl Maria von Weber Society International Musicological Society Texas Society of Music Theory Society of Music Theory International Clarinet Association FRANK HEIDLBERGER – CURRICULUM VITAE 21

OFFICES AND COMMITTEE ASSIGNMENTS IN PROFESSIONAL ORGANIZATIONS: American Council of Learned Societies: Evaluator (yearly, 2010-2014) Schweizerischer Nationalfonds (National Research Foundation of Switzerland): External Evaluator for Musicology (2009) German Research Council (Deutsche Forschungsgemeinschaft), External Evaluator of the Section Musicology/Music Theory (2005-) Texas Society of Music Theory: Board Member (2006-2009), Member of the Program Committee (2005, 2011) International Carl Maria von Weber Society: Vice President (1999-2008)

CONFERENCE ORGANIZATION AND OTHER ACTIVITIES: Panel Chair, Popular Music in Music Curricula Today, UNT, September 2017. Panel Chair of the panel Between Music Theory and History: Carl Dahlhaus on the History of Music Theory, at the Annual Meeting of the Society of Music Theory, Vancouver, November 2016. Session Chair at the Annual Meeting of the Texas Society of Music Theory, Belton, February 2016. Panel Co-Chair at the Annual Meeting of the German Society for Music Theory, Berlin, October 2015. Session Chair at the Annual Meeting of the American Musicological Society/Society of Music Theory, New Orleans, November 1-4, 2012. Co-Chair of the Conference Carl Maria von Weber und München – Webers Klarinettenwerke und ihr historisches Umfeld, Munich, October 31 through November 2, 2008. Co-Chair of the Panel At the Thresholds among Tonal, Atonal, and Serial Composition – Analytical Considerations of Schoenberg, Webern, Krenek, Ruggles, and Ligeti at the International Conference of the International Musicological Society, Zürich (Switzerland), July 11, 2007 Co-Chair of the Program Committee of the International Conference Carl Maria von Weber and the Orchestral Style of his Time, Dresden, October 2006 Chair of the local committee for the annual meeting of the Texas Society of Music Theory, February 2006. Chair of the International North Texas Berlioz Bicentennial Conference – Hector Berlioz in the Age of , Denton November 2003. Chair of the Conference Carl Maria von Webers Klavierwerk im Kontext des 19. Jahrhunderts, Weimar, October 2000. Chair of the exhibition project Carl Maria von Weber und die Klarinette, 2000, originally created for the Ruhr Classic festival (Marl, Germany), subsequently shown in cities in Germany and neighbor countries. Co-chair of conferences at the institute for Musicology, Würzburg University: 1995, 1997.

OTHER INSTITUTIONAL AFFILIATIONS Meyerbeer Institute (Bayreuth, Germany): external editor, since 1998. FRANK HEIDLBERGER – CURRICULUM VITAE 22

Weber Research Center (Berlin, Germany): external editor, since 1996-2011.

CONSULTING Musicological Consultant on: Oscar Wilde’s Salome and Richard Strauss‘ Opera – The Transformation of its Text and its Dramaturgical Concept, commissioned by Schott Music International, Mainz 2001. Musicological Consultant on: The Relationship of Opera Text and Composition in Works by Richard Strauss and Hugo von Hofmannsthal, commissioned by Schott Music International, Mainz 2000

SERVICE TO THE UNIVERSITY (UNIVERSITY OF NORTH TEXAS, SINCE 2001)

ADMINISTRATIVE LEADERSHIP 2013-2018 Chair of the Division of Music History, Theory and Ethnomusicology 2012-2013 Interim Chair of the Division of Music History, Theory and Ethnomusicology 2012 Coordinator of Music Theory 2010 Interim Chair of the Division of Music History, Theory and Ethnomusicology (spring/summer)

UNIVERSITY COMMITTEES 2015-2017 UNT Council of Division Chairs 2011-2012 Faculty Senate of the University of North Texas 2010-2012 University Research Committee 2010 UNT Senate Executive Committee 2008-2012 Committee on Faculty Participation in Governance 2006 University Review Committee 2005-2010 Faculty Senate of the University of North Texas 2005-2008 Committee of Committees

COLLEGE COMMITTEES 2018- Graduate Performance Degree Committee 2018 Reappointment, Promotion, and Tenure Committee, Division of Jazz Studies 2015-2017 Chair of the Council of Chairs 2016 Faculty Grievance Committee 2008-2011 Personnel Affairs Committee 2006-2009 External member of the Personnel Affairs Committee of the Division for Composition Studies 2005-2008 Faculty Advisory Committee

FRANK HEIDLBERGER – CURRICULUM VITAE 23

COMMITTEES OF THE DIVISION OF MUSIC HISTORY, THEORY AND ETHNOMUSICOLOGY 2015/16 Chair of three search committees: Music Theory, Ethnomusicology/Theory, Lecturer in Music in General Studies 2014/15 Chair of Search Committee Assistant Professor in Musicology 2013/14 Chair of three search committees in Music Theory (2) and Ethnomusicology

2010-2012 Division Reappointment, Promotion and Tenure Committee (chair) 2011- Graduate Academic Degrees Committee 2010 Graduate Placement Exam: task-force committee 2009-2012 Research Initiatives Committee (chair) 2005-2008 Personnel Affairs Committee (chair: 2005- summer 2007) 2005-2006 Lecture Committee 2001-2005 Graduate Academic Degree Committee 2002, 2005, 2006 Four search committees for positions in Musicology and Music Theory