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Edward Latham

Dr. Edward Latham

Associate Professor

Departments:

Music Studies: Music Theory

Contact:

edward.latham@temple.edu

215-204-8498

 

    • B.A. Yale University
      M. Phil. Yale University
      Ph.D. Yale University

      Professor Latham was the recipient of Temple University's 2008 Lindback Award and the 2007 Teaching Academy Award for excellence in teaching. His research focuses on the interdisciplinary analysis of texted or danced musical works and his publications (in Music Theory Online, Indiana Theory Review, Theory and Practice, Gamut, Dance Chronicle, and Ex Tempore) include articles and chapters (in two essay collections published by Garland Press) on the music of Bach, Debussy, Gershwin, Korngold, and Schoenberg, an article on the analysis of multimedia works, and reviews of the work of Ethan Haimo, Stephanie Jordan, Philip Rupprecht and Arnold Whittall. His recent regional, national and international conference papers have also addressed the intersection of musical and dramatic or choreographic structure in works by Bach, Mozart, and Weill. His book on twentieth-century American opera, Tonality as Drama, was published in 2008 by the University of North Texas Press.

    • Latham, Edward D. “Le Jeu Choreomusical: Analytical and Interpretive Games in Stravinsky Dances.”Dance Chronicle 33/3 (2010), 453–459. [Blind peer-reviewed. Top-tier journal in dance. 7pp.] http://www.tandfonline.com/doi/full/10.1080/01472526.2010.517498

       Latham, Edward D. “Drei Nebensonnen: Forte’s Linear-Motivic Analysis, Korngold’s Di tote Stadt, and Schubert’s Winterreise.” Gamut 2/1 (2009), 299–346.  [Blind peer-reviewed. Second-tier journal. 47pp.]  http://trace.tennessee.edu/gamut/vol2/iss1/

       Tonality as Drama: Closure and Interruption in Twentieth-Century American Opera. Denton: University of North Texas Press, September 2008. [Blind peer-
      reviewed. Academic press. 224pp.] http://muse.jhu.edu/books/9781574413717

      Latham, Edward D. and Roberta Sloan. “Musical Brokenness, Intentionality, and the Singer-Actor: A View From the Stage.” In Richard Parncutt, Emilios Cambouropoulos, Costas Tsougras, and Makis Solomos, eds., Proceedings of the Conference on Interdisciplinary Musicology. Thessaloniki: Aristotle University, 2008. [Refereed. Top-tier conference. 6pp.] http://www.researchgate.net/publication/228943052_Musical_brokenness_intentionality_and_the_singer-actor_A_view_from_the_stage

      Latham, Edward D. “Analysis and Performance Studies: A Summary of Current Research.” Jahrbuch vom Zeitschrift der Gesellschaft für Musiktheorie 2/2–3 (2005), 157–62. [Published in Fall 2007. Refereed. Top-tier contributors. 6pp.]

      “Reuniting the Muses: Cross-Disciplinary Analysis of Debussy’s Pelléas and Prelude à “L’après-midi d’un faune.” Ex Tempore 12/2 (Spring/Summer 2005), 25–46.[Published in Fall 2006. Blind peer-reviewed. Second-tier journal. 22pp.] http://www.ex-tempore.org/latham/latham.htm

       Meglin, Joellen A., Edward D. Latham, Hwan Jung Jae, Ok Hee Jeong, Sue In Kim, and Seónagh Odhiambo. “Music of the Body: Modern Minuets and Passepieds Far From Passé.” In Sound Moves: An International Conference on Music and Dance Proceedings (Spring 2006), 125–41.[Refereed. Top-tier conference (dance). 17pp.]      http://ws1.roehampton.ac.uk/soundmoves/proceedings.htm

      Latham, Edward D. “It Ain’t Necessarily So: Sporting Life’s Triumph in Gershwin’s Porgy and Bess.” Indiana Theory Review 25 (Fall 2005), 29–45. [Refereed. Special double issue. Second-tier journal. 17pp.]

      “Analysis and Performance Studies: A Summary of Current Research.” Zeitschrift der Gesellschaft für Musiktheorie 2/2 (Fall 2005).[Refereed. Top-tier contributors. 6pp.] http://www.gmth.de/zeitschrift/artikel/521.aspx

      “Binary Oppositions in Arnold Whittall’s Exploring Twentieth-Century Music: Tradition and Innovation (Cambridge University Press, 2003) and Their Implications for Analysis.” Music Theory Online 10.3 (Fall 2004). [Article-review. Blind peer-reviewed. Top-tier journal. 8pp.] http://www.mtosmt.org/issues/mto.04.10.3/mto.04.10.3.latham.html

      Latham, Edward D. and Joellen Meglin. “Motivic Design and Physical Gesture in L’Après-midi d’un Faune.” In Richard Parncutt, Annekatrin Kessler, and Fränk Zimmer, eds., Proceedings of the Conference on Interdisciplinary Musicology. Graz: University of Graz, 2004, 110–15. [Refereed. Top-tier conference. 6pp.]
      http://www.uni-graz.at/richard.parncutt/cim04/CIM04_paper_pdf/Latham_Meglin_CIM04_proceedings.pdf

      Latham, Edward D. “Britten’s Strategic Use of Tonality: A Review-Essay on Philip Rupprecht’s Britten’s Musical Language (2001).” Theory and Practice 28 (Fall 2003), 137–46.[Article-review. Blind peer-reviewed. First-tier JSTOR journal. 10pp.] http://www.jstor.org/stable/41054349

      “Physical Motif and Aural Salience: Sounds and Symbols in Die glückliche Hand, op. 18.” In Schoenberg and Words: The Modernist Years, ed. Charlotte M. Cross and Russell A. Berman. New York: Garland Publishing, 2000, 179–202. [Blind peer-reviewed. Academic press. 24pp.]

      “The Prophet and the Pitchman: Dramatic Structure and its Musical Elucidation in Moses und Aron, Act I, Scene 2.” In Political and Religious Ideas in the Works of Arnold Schoenberg, ed. Charlotte M. Cross and Russell A. Berman. New York: Garland Publishing, 2000, 131–58. [Blind peer-reviewed. Academic press. 28pp.]

      “Physical Motif and Concentric Amplification in Godard/Lully’s Armide.” Indiana Theory Review 19 (Spring/Fall 1998), 55–86. [Refereed. Second-tier journal. 32pp.] https://scholarworks.iu.edu/dspace/bitstream/handle/2022/3562/LathamPhysicalMotifsV19.pdf?sequence=1

      “Review of Ethan Haimo’s ‘Atonality, Analysis and the Intentional Fallacy.’” Music Theory Online 3.2 (March 1997). [Blind peer-reviewed. Top-tier journal. 7pp.]
      http://www.mtosmt.org/issues/mto.97.3.2/mto.97.3.2.latham.html

       Works-in-progress

        Latham, Edward D. “The Permanent Interruption.” Journal of Music Theory (proposed). [Blind peer-reviewed. JSTOR journal. Status: draft in progress.] Dancing Tonality in the Twentieth Century. Ashgate Press (proposed). Status: research completed; three chapters drafted.

      “Linear-Dramatic Analysis and the Interpretation of Peter Grimes (1945).  Music Theory Spectrum (proposed). [Blind peer-reviewed. JSTOR journal. Status: in revision. Length: @30pp.]

      “Interpreting the Interrupted 8-line in American Song.” Tidschrift voor Musiktheorie [Dutch Journal of Music Theory] (proposed). [Blind peer-reviewed. JSTOR journal. Status: in revision. Length: @15pp.]

      Latham, Edward D. and Joellen Meglin. “Harmony in Motion: Doris Humphrey’s Partita No. 5 in G major (1942) as a Utopian Vision of American Dance.” Dance Research Journal. [Blind peer-reviewed. Top-tier journal (dance). Status: in revision. Length: 29pp.]

      Latham, Edward D. “The Extended Harmonic Tone as Support, Substitution, and Structural Pitch in American Opera.” Journal of Schenkerian Studies (proposed). [Peer- reviewed. Top-tier journal. Status : in revision. Length: @30pp.]

       

    •  CONFERENCE PAPERS AND INVITED TALKS

       International

      “Two Manons, a Moor, and a Madam: Tonal Brokenness in Four Operas by Verdi, Puccini and Massenet.” 17th Biennial International Conference on Nineteenth-Century Music, University of Edinburgh, Edinburgh, United Kingdom, Summer 2012 http://www.mtosmt.org/issues/mto.97.3.2/mto.97.3.2.latham.html. Refereed.

      “The Course of True Love:’ Dancing Tonality in A Midsummer Night’s Dream.” Music and the Body conference sponsored by the Department of Music and the Centre for Humanities and Medicine, University of Hong Kong, Hong Kong, China, Spring 2012. Refereed.

      “Musical Brokenness, Intentionality, and the Singer-Actor: A View From the Stage.” Fourth Conference on Interdisciplinary Musicology, Aristotle University, Thessaloniki, Greece, Summer 2008. Refereed. http://www.researchgate.net/publication/228943052

      “Music of the Body: Modern Minuets and Passepieds Far From Passé.” With Dr. Joellen Meglin, Temple University. SoundMoves: An International Conference on Music and Dance, Centre for Dance Research, Roehampton University, London, United Kingdom, Winter 2005. Refereed.

      “Porgy and Bess in the ‘Garden of Meaning:’ Peering Through the Lattice of Neo-Riemannian Theory.” Dublin International Conference on Music Analysis, University College Dublin, Dublin, United Kingdom. Summer 2005. Also chaired a session. Refereed.

      “Riemann and Schenker in the ‘Garden of Meaning:’ Comparative Analysis as a Hermeneutic Tool.” Graduate Music Colloquium Series, Oxford University, Oxford, United Kingdom, Summer 2005. Invited.

      “Reuniting the Muses.” With Dr. Joellen Meglin, Temple University. Conference on Interdisciplinary Musicology, University of Graz, Graz, Austria, Spring 2004. Refereed.

      “Working 8 to 5: Interpreting the Interrupted 8-line in American Song.” Annual meeting of the Dutch Society for Music Theory, Utrecht School of the Arts, Utrecht, The Netherlands, Spring 2004. Refereed.

      “The Choreographer as Analyst: Bodily Gesture and Motivic Design in Debussy  and Nijinsky’s Prélude à ‘L’après-midi d’un faune.” European Music Analysis Conference, University of Bristol, Bristol, United Kingdom, Spring 2002. Refereed.

      “The Strategic Use of Tonality in Debussy’s Pelléas et Mélisande.” Cambridge Opera Analysis Conference, Cambridge University, Cambridge, United Kingdom, Spring 2000. Refereed.

       National

      “Building Bridges to Living Composers: Interdisciplinary Analysis as Prelude.” Annual meeting of the College Music Society, Minneapolis, MN, Fall 2010. Refereed.
      http://symposium.music.org/index.php?option=com_k2&view=item&id=9346:building-bridges-to-living-composers-interdisciplinary-analysis-as-prelude-i-ii-and-ii&Itemid=133

      “The Structural and Dramatic Role of Jazz Harmony in the American Broadway Opera.” Annual meeting of the Society for Music Theory, Seattle, WA (joint meeting with the American Musicological Society), Fall 2004. Refereed. http://societymusictheory.org/sites/default/files/2004-seattle.pdf

      “Ear-Training for Opera Singers.” Annual convention of the National Opera Association, Philadelphia, PA, Fall 2003. Invited.

      Urlinie and Urziel: Tonal and Dramatic Closure in Britten’s Peter Grimes.” 20th anniversary  meeting of the Society for Music Theory, Phoenix, AZ (joint meeting with the American Musicological Society), Fall 1997. Refereedhttp://www.ams-net.org/abstracts/1997-Phoenix.pdf

      Regional

      “Two Manons, a Moor, and a Madam: Tonal Brokenness in Four Operas by Verdi, Puccini and Massenet.” Annual meeting of the Music Theory Society of the Mid-Atlantic, University of Delaware, Dover, DE, Spring 2012. Refereed. http://theory.music.temple.edu/~aleck/MTSMA/2012/2012.abstracts.html

      “A Look at George Gershwin’s Life and Legacy.” Interview with Susan Lewis for WRTI-FM’s News and Views. First aired March 4, 2012 (http://www.wrti.org/term/george-gershwin-0).

      “Analyzing Expression: Composers and Narrators.” (session chair). Annual meeting of the Music Theory Society of the Mid-Atlantic, Pennsylvania State University, University Park, PA, Spring 2010. Invitedhttp://theory.music.temple.edu/~aleck/MTSMA/2010/2010.schedule.html

      “Musical Meaning and Key Relationships in Bach’s St. John Passion.” With John Sall, Temple University. Annual meeting of the Forum on Music and Christian Scholarship, Yale University, New Haven, CT, Spring 2007. http://www.scsmusic.org/2007-yale-university-institute-of-sacred-music/ Also chaired two sessions. Refereed.

      “Twentieth-Century Opera” (session chair). Annual meeting of the Forum on Music and Christian Scholaship, Princeton University, Princeton, NJ, Spring 2005.
      Invited

      “Working 8 to 5: Interpreting the Interrupted 8-line in American Song.” Joint meeting of Music Theory Southeast and the South Central Society for Music Theory, Emory University, Atlanta, GA, Spring 2004. Refereed. http://mtd.uncg.edu/mtse/html/abstracts04.html

      “Six Degrees of Confirmation: Deception, Evasion, and Abandonment in Korngold’s Die tote Stadt.” Joint meeting of the Music Theory Society of New York State and the New England Conference of Music Theorists, Yale University, New Haven, CT, Spring 2003. Also read at the founding meeting of the Music Theory Society of the Mid-Atlantic, Peabody Conservatory of Music, Baltimore, MD, Spring 2003. Refereed. http://theory.music.temple.edu/~aleck/MTSMA/2003/2003abstracts.html

      “The Schenkerian Interruption as Dramatic Nexus.” Annual meeting of Music Theory Midwest, University of Minnesota-Twin Cities, Minneapolis, MN, Spring 2002 (http://www.wmich.edu/mus-theo/mtmw/2002/). Also read at the annual meeting of Music Theory Southeast, Florida State University, Tallahassee, FL, Spring 2002. Refereed. http://mtd.uncg.edu/mtse/html/program02.html

      "The Choreographer as Analyst: Bodily Gesture and Motivic Design in Debussy and Nijinsky’s Prélude à ‘L’après-midi d’un faune.” Annual meeting of Music Theory Southeast, Florida State University, Tallahassee, FL, Winter 2002. Refereed. http://mtd.uncg.edu/mtse/html/program02.html

      “It Ain’t Necessarily So: Success and Failure in Gershwin’s Porgy and Bess.” Annual meeting of Music Theory Midwest, Cincinnati College-Conservatory of Music, Cincinnati, OH, Spring 2001 (http://www.wmich.edu/mus-theo/mtmw/mtmw01/). Refereed.

      “The Strategic Use of Tonality in Debussy’s Pelléas et Mélisande.” Annual meeting of the New England Conference of Music Theorists, Harvard University, Cambridge, MA, Winter 1999. Refereed.

      Urlinie and Urziel: Tonal and Dramatic Closure in Britten’s Peter Grimes.” 25th anniversary meeting of the Music Theory Society of New York State, Eastman School of Music, Rochester, NY, Winter 1997 . Refereed. http://www.ithaca.edu/music/mtsnys/1997mtg/abstracts/latham.html

      “The Dialogue of Contrast: Drama, Pitch Structure, and Aural Salience in Schoenberg’s Moses und Aron, I/ii.” Annual meeting of Music Theory Midwest, Western Michigan University, Kalamazoo, MI, Spring 1996 (http://www.wmich.edu/mus-theo/ mtmw_abs.html). Also read at the annual meeting of the New England Conference of Music Theorists, Amherst College, Amherst, MA, Winter 1996, and the annual symposium of the Music Graduate Society, McGill University, Montréal, Canada, Winter 1996. Refereed.

      Local

      “Teaching as Performance.” Annual meeting of the Music and Dance Teaching Academy, Boyer College of Music and Dance, Temple University, Spring 2008. Invited.