Uni school of music aural training4/7/2024 ![]() “The Function of ‘Rules’ in Die Meistersinger von Nürnberg.” Journal of Musicology, Volume 20/3 (Summer 2003), pp. ![]() by Deborah Stein (New York: Oxford University Press, 2005), pp. “Introduction to Writing Analytic Essays,” in Engaging Music: Essays in Musical Analysis, ed. “Review of Benjamin McKay Ayotte, Heinrich Schenker: A Guide to Research, and David Carson Berry, A Topical Guide to Schenkerian Literature: An Annotated Bibliography With Indices.” Intégral 20 (2006), pp. by Matthew Bribitzer-Stull, Alex Lubet, and Gottfried Wagner (New York: Palgrave-Macmillan, 2007), pp. “Subverting the Conventions of Number Opera From Within: Hierarchical and Associational Uses of Tonality in Act One of Der fliegende Holländer,” in New Millenium Wagner Studies: Essays in Musical Culture, ed. “A Comparison of Four Sight-Singing and Aural-Skills Textbooks: Two New Approaches and Two Classic Texts in New Editions.” Journal of Music Theory Pedagogy 22 (2008), pp. by Gordon Sly (Burlington, VT: Ashgate, 2009), pp. “Mahler’s Third Symphony and the Dismantling of Sonata Form,” in Keys to the Drama: Nine Perspectives on Sonata Forms, ed. “Review: Andrew Davis, Il Trittico, Turandot, and Puccini’s Late Style.” Nineteenth-Century Music Review 9/2 (December 2012), 336-340. “‘ Und so weiter’: Schenker, Sonata Theory, and the Problem of the Recapitulation.” Theory and Practice 37-38 (2012-2013), 36-55. “Review of the Fifth International Schenker Symposium (Mannes College, May 2013).” Theory and Practice 37-38 (2012-2013), 299-305. “Review: William Kinderman, Wagner’s Parsifal.” Intégral 28, forthcoming. W hat is a Cadence? Theoretical and Analytic Perspectives on Cadences in the Classical Repertoire.” Music Theory Online 21.4, forthcoming. “Review: Markus Neuwirth and Pieter Bergé, eds. “Octatonicism Reconsidered Yet Again: Tonal Context in Le sacre du Printemps.” “Imaginary Stufen in the Music of Dmitri Shostakovich.” ![]() “On Schenkerian Generation of B Sections: Prolongation from A, or Lead-In to A’?” “Wagner and the Uses of Convention? La solita forma in Wagner’s Operas and Music Dramas.” In both programs, aural musicianship is intimately connected with coursework in written music theory, and his curriculum emphasizes immediate recognition, comprehension, and expressive performance of musical material as heard and seen. Marvin oversees the undergraduate aural musicianship curriculum at Eastman, and he previously designed and implemented the aural skills curriculum at Oberlin. From 1997 through 2001, he worked individually with blind students, teaching aural skills and overseeing the rehearsal and performance of an ensemble work for 12 student performers, written by a blind composer and taught completely without notation. His work in aural skills has taken him into the unusual realm of teaching aural skills-without notation-to blind music students. His published work can be found at Music Theory Online, Journal of Musicology, Intégral, Journal of Music Theory Pedagogy, and in several books edited by Deborah Stein (OUP), Matthew Bribitzer-Stull (Palgrave-Schirmer), and Gordon Sly (Ashgate). He has presented papers at international, national, and regional conferences. Marvin’s work in theory has focused on problems of tonality according to Schenkerian definitions as exemplified in Wagner’s Die Meistersinger von Nürnberg examinations of form and tonal structure in Mozart’s Die Zauberflöte and Wagner’s Der fliegende Holländer aural training in tonal and post-tonal music sonata deformation in Mahler’s Third Symphony improvisation in nineteenth-century French organ music off-tonic beginnings and endings and the quodlibet as a contrapuntal device in Broadway musicals. with highest honors from the State University of New York at Binghamton. Prior to that he was a teaching assistant at Eastman while working on his master’s degree, and received both the Edward Peck Curtis Award for Excellence in Teaching by a Graduate Student (1992), and the Outstanding Graduate Teaching Prize (1990). William Marvin joined the Eastman faculty in 2002 after having taught music theory and aural skills at Oberlin College Conservatory of Music.
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