Faculty: Theory/Analysis
Mark Anson-Cartwright
Assistant Professor, Queens College and Graduate
Center
(PhD, CUNY)
Music Department
Graduate Center, CUNY
365 Fifth Avenue
New York, NY 10016
212-817-8609
mansonca@qc1.qc.edu
Mark Anson-Cartwright is a music theorist specializing in the
analysis of tonal music and Schenkerian analysis. He has presented many
papers at national and international conferences and has had articles
published in Music Analysis, Music Theory Spectrum, Journal of Music
Theory, and Intégral. He
is also the former editor of the journal Theory and Practice.
REPRESENTATIVE PUBLICATIONS
"Beethoven: Structural Principles and Narrative Strategies," in
The Cambridge Companion to the Symphony, ed. Julian Horton (Cambridge:
Cambridge University Press, forthcoming).
"Temporal Spaces and Thematic Development in Beethoven’s Music,"
Tijdschrift voor Muziektheorie / Dutch Journal of Music Theory
(forthcoming, 2009).
“Elision and the Embellished Final Cadence in J. S. Bach’s
Preludes,” Music Analysis 26/iii (2007): 267-288.
“Concepts of Closure in Tonal Music: A Critical Study,” Theory and
Practice 32 (2007): 1-17.
Review of Explaining Tonality, by Matthew Brown, Journal
of Schenkerian Studies 2 (2007): 141–148.
“Tonal Conflicts in Haydn’s Development Sections: The Role of C
Major in Symphonies Nos. 93 and 102,” in Structure and Meaning
in Tonal Music: A Festschrift for Carl Schachter, ed. Poundie
Burstein and David Gagné. Hillsdale, NY: Pendragon Press, 2006.
“Haydn’s Hidden Homage to Mozart: Echoes of ‘Voi che sapete’ in Opus 64
No. 3,” Intégral 14/15 (2000/2001): 121–136.
“Chasing Rainbows: Wolf’s ‘Phänomen’ and Ideas of Coherence,” Journal
of Music Theory 45/2 (Fall 2001): 233–261.
Review of Unfoldings, by Carl Schachter, Music Theory Spectrum
23/2 (2001): 242–47.
“Chromatic Features of E-flat-Major Works of the Classical Period,”
Music Theory Spectrum 22/2 (2000): 177–204.
“Chord as Motive: The Augmented-Triad Matrix in Wagner’s Siegfried
Idyll,” Music Analysis 15/1 (March 1996): 57–71.
