STEVEN VANDE MOORTELE

 

Steven Vande Moortele is Professor of Music Theory at the University of Toronto, where he is also the director of the Centre for the Study of Nineteenth-Century Music (CSNCM). His research interests include theories of musical form, the analysis of large-scale instrumental music from the late eighteenth to the early twentieth century, and the works of Richard Wagner and Arnold Schoenberg. He has published articles and reviews in Music Theory Spectrum, Music Analysis, Music & Letters, Intégral, Res Musica, Current Musicology, Nineteenth-Century Music Review, Musik und Ästhetik, Dutch Journal of Music Theory, and Revue belge de musicologie, as well as essays in several edited volumes. His article “The Sorcerer as Apprentice: Trial, Error, and Chord Magic in Wagner’s Die Feen” (Music & Letters, 2019) was awarded the 2020 Westrup Prize from the Music and Letters Fund, and his article “Murder, Trauma, and the Half-Diminished Seventh Chord in Schoenberg’s Song of the Wood Dove” (Music Theory Spectrum, 2017) won the 2019 Roland Jackson Award from the American Musicological Society. In 2018, his book The Romantic Overture and Musical Form from Rossini to Wagner (Cambridge University Press, 2017) received the Wallace Berry Award from the Society for Music Theory. Vande Moortele is also the author of Two-Dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky, (Leuven University Press, 2009), and co-editor (with Julie Pedneault-Deslauriers and Nathan Martin) of Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (University of Rochester Press, 2015).

Current projects include a volume Wagner Studies for Cambridge University Press (co-edited with J.P.E. Harper-Scott) and a SSHRC-funded research project on sonata form in European concert music between 1815 and 1914 (in collaboration with Julian Horton and Benedict Taylor). Vande Moortele also serves on the editorial board of Music Theory Spectrum and the advisory board of Music Theory & Analysis, as well as on the editorial board of the book series Operatheek (Leuven University Press).

Before coming to the University of Toronto, Vande Moortele held postdoctoral positions at the University of Leuven (Belgium) and McGill University and taught at the University of Oklahoma. His research is or has been supported by the Social Sciences and Humanities Research Council of Canada (SSHRC), the Connaught Fund of the University of Toronto, the Alexander von Humboldt-Stiftung (Bonn, Germany), and the Research Fund Flanders (FWO Vlaanderen). In 2013 he was awarded the Mart. J. Lürsen Prize of the Dutch-Flemish Society for Music Theory (Vereniging voor Muziektheorie). Since 2015, Vande Moortele has been an affiliate faculty member of the Anne Tanenbaum Centre for Jewish Studies at the University of Toronto. From 2014­ until 2016, he also was a co-editor of the journal Music Theory & Analysis (MTA).

Contact: steven.vandemoortele@utoronto.ca

 

Selected Publications

Monographs

Edited Volumes

Articles and Book Chapters

  • “Apparent Type 2 Sonatas and Reversed Recapitulations in the Nineteenth Century.” In Music Analysis 40/iii (2021), 501–33.
  • “Romantic Forms.” In The Cambridge Companion to Music and Romanticism, ed. Benedict Taylor, 258–­76. Cambridge: Cambridge University Press, 2021.
  • “Expansion and Recomposition in Mendelssohn’s Symphonic Sonata Forms.” In Rethinking Mendelssohn, ed. Benedict Taylor, 210–35. New York: Oxford University Press, 2020.
  • “The Subordinate Theme in the First Movement of Schubert’s ‘Unfinished’ Symphony.” Music Theory & Analysis 6/ii (2019), 223–29.
  • “The Sorcerer as Apprentice: Trial, Error, and Chord Magic in Wagner’s Die Feen.” Music & Letters 100/i (2019), 1–23.
  • “Murder, Trauma, and the Half-Diminished Seventh Chord in Schoenberg’s ‘Song of the Wood Dove’.” Music Theory Spectrum 39/i (2017), 66-82.
  • “Turning Inward – Turning Outward – Turning Around: Strong Subordinate Themes in Romantic Overtures.” Res Musica 7 (2015), 9-31.
  • “The Philosopher as Theorist: Adorno’s ‘materiale Formenlehre’.” In Formal Functions in Perspective: Essays in Musical Form from Haydn to Adorno, ed. Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin, 411-33. Rochester, NY: University of Rochester Press, 2015.
  • “Formal Functions and Retrospective Reinterpretation in the First Movement of Schubert’s String Quintet, D. 956,” Music Analysis 33/ii (2014), 130-55  (co-author: Nathan John Martin).
  • “‘Two-Dimensional’ Symphonic Forms: Schoenberg’s Chamber Symphony, Before, and After.” In The Cambridge Companion to the Symphony, ed. Julian Horton, 268-84. Cambridge: Cambridge University Press, 2013.
  • “In Search of Romantic Form.” Music Analysis 32/iii (2013), 404-31.
  • “Form, Narrative, and Intertextuality in Wagner’s Overture to Der fliegende Holländer.” Music Analysis 32/i (2013), 46-79.
  • “Sentences, Sentence Chains, and Sentence Replication: Intra- and Interthematic Functions in Liszt’s Weimar Symphonic Poems.” Intégral 25 (2011), 121-58.
  • “The First Movement of Beethoven’s Tempest Sonata and the Tradition of Twentieth-Century ‘Formenlehre’.” In Beethoven’s TempestSonata: Perspectives of Analysis and Performance (Analysis in Context: Leuven Studies in Musicology, 2), ed. Pieter Bergé, William Caplin, and Jeroen D’hoe, 293–314. Leuven – Walpole, MA: Peeters, 2009.
  • “Symfonieën voor het microscopische oor: Brahms’ orkestmuziek.” In Johannes Brahms (Concertgebouwcahiers, 3), ed. Steven Vande Moortele, 113–27. Ghent: Borgerhoff en Lamberigts, 2009.
  • “Brahms en de blik naar binnen.” In Johannes Brahms (Concertgebouwcahiers, 3), ed. Steven Vande Moortele, 7-15. Ghent: Borgerhoff & Lamberigts, 2009.
  • “Beyond Sonata Deformation: Liszt’s Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form.” Current Musicology 86 (2008), 41–62.
  • “Bloedwraak. Richard Strauss: Elektra.” In Als Orpheus zingt... De klassieke oudheid in de West-Europese muziek, ed. Mark Delaere and Pieter Bergé, 131–48. Leuven: Davidsfonds, 2008.
  • “Form as Context: Zemlinsky’s Second String Quartet and the Tradition of Two-Dimensional Sonata Form.” In Zemlinsky Studies, ed. Michael Frith, 99–111. London: Middlesex University Press, 2007.
  • “Form, Program, and Deformation in Liszt’s Hamlet.” Dutch Journal of Music Theory 11 (2006), 71–82.
  • “‘Absolut nicht symphonisch?’ Schönbergs Fünf Orchesterstücke und die Gattungskonventionen der Symphonie.” Musik und Ästhetik 10 (2006), 57–70.
  • “Die Funktion des Mottos in der zweidimensionalen Sonatenform bei Schönberg und Zemlinsky.” In Form follows Function – Zwischen Musik, Form und Funktion. Beiträge zum 18. internationalen studentischen Symposium des DVSM (Dachverband der Studierenden der Musikwissenschaft) in Hamburg 2003, ed. Till Knipper, Martin Kranz, Thomas Kühnrich, and Carsten Neubauer, 331–41. Hamburg: Von Bockel Verlag, 2005.
  • “Analysing the Unanalysable: An Analytical Approach to Schoenberg’s The Obligatory Recitative.” Dutch Journal of Music Theory 9 (2004), 105–14.
  • “Ist das Vierte von Schönbergs Fünf Orchesterstücken ein Scherzo?” Revue belge de Musicologie 57 (2003), 173–83.

Book Reviews

Contributions to Reference Works

  • “Caplin, William E., Classical Form.” In Musiktheorie von der Antike bis zur Gegenwart (Lexikon Schriften zur Musik, 1), ed. Felix Wörner and Ullrich Scheideler, 88-91. Kassel – Stuttgart: Bärenreiter – Metzler, 2017.
  • “Overture/Prelude.” In The Cambridge Wagner Encyclopedia, ed. Nicholas Vazsonyi, 377–9. Cambridge: Cambridge University Press, 2013.
  • “Kamermuziek met blazers.” In Mozart 06, ed. Ignace Bossuyt and Pieter Bergé, 115-8. Bruges: Concertgebouw, 2006.
  • “Some Trends in Symphonic Music in Flanders since 1950.” In Flemish Symphonic Music since 1950 (Contemporary Music in Flanders, 3), ed. Mark Delaere, Véronique Verspeurt, and Joris Compeers, 11–19. Leuven: Matrix, 2006. 



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