About

David Carson Berry is Professor of Music Theory at the University of Cincinnati’s College-Conservatory of Music, where he has taught since 2003. He earned his Ph.D. from Yale University in 2002, and received the Society for Music Theory’s “Emerging Scholar Award” in 2006. His research interests are wide-ranging and include: American popular music of the 1920s–60s; the theory and aesthetics of music of the mid-eighteenth through mid-twentieth centuries; and Schenkerian theory and its reception history in the U.S.

Education

Yale University
• Ph.D. in Music Theory, 2002.
• Master of Philosophy in Music Theory, 1998.
– Ph.D. Dissertation: “Stravinsky’s ‘Skeletons’: Reconnoitering the Evolutionary Paths from Variation Sets to Serialism.” Advisor: Allen Forte. Accepted as “distinguished” by the Department of Music.
– Studied with Kofi Agawu, Gianmario Borio, Allen Forte, Michael Friedmann, David Kopp, Patrick McCreless Robert P. Morgan, Claude V. Palisca, and Leon Plantinga.

University of North Texas
• Graduate studies in music theory, 1993–95.

University of Memphis
• Master of Music in Music Theory, 1993.
– Thesis: “Portrait with Retouches: The Adaptation and Transformation of Stravinsky’s Pulcinella Finale.” Advisor: David Russell Williams. Secondary concentration: Composition (studied with John Baur, Don Freund, and Kamran Ince).

Arkansas State University
• Bachelor of Music in Music Composition, magna cum laude, 1990.
– Secondary concentration: Trombone performance.

Publications

PUBLICATIONS: BOOKS
A Music-Theoretical Matrix: Essays in Honor of Allen Forte (serialized as a special feature of Gamut, 2009–13); 900+ pp. of text, 250,000+ words.
—I originated and edited this collection of essays by Allen Forte’s former Ph.D. advisees (drawn from those who did not contribute to his 1996 Festschrift). During the course of its serialization, twenty-two essays were published. There was also a Festschrift introduction and three special features: a previously unpublished article by Forte himself, a collection of tributes and reminiscences from forty-two of his former advisees, and an annotated register of his publications and advisees. It was published in five installments, in Gamut 2/1 (2009), 3/1 (2010), 4/1 (2011), 6/1 (2013), and 6/2 (2013).

A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices (Hillsdale, NY: Pendragon Press, 2004); xii + 585 pp.
—This is the largest Schenkerian reference work published to date; it contains 3600 entries (2200 principal, 1400 secondary) representing the work of 1475 authors. It is organized topically: fifteen broad groupings encompass seventy topical headings, many of which are divided and subdivided again, resulting in a total of 271 headings under which entries are collected. Among the more extensive reviews of Topical Guide are the following:
• John Ferri, Music Theory Spectrum 29/1 (2007): 135–139.
• William Drabkin, Music and Letters 87/4 (2006): 664–666.
• William Marvin, Intégral 20 (2006): 131–138.

PUBLICATIONS: ARTICLES
“Schenkerian Analysis and Anglo-American Music Criticism in the 1930s: A Quest for ‘Objectivity’ and a Path Toward Disciplinary Music Theory,” Theory and Practice 41 (2016): 141–205.

“Schenker’s First ‘Americanization’: George Wedge, the Institute of Musical Art, and the ‘Appreciation Racket,’” in A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part III), ed. David Carson Berry, Gamut 4/1 (2011): 143–230.

“The Twin Legacies of a Scholar-Teacher: The Publications and Dissertation Advisees of Allen Forte,” in A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part I), ed. David Carson Berry, Gamut 2/1 (2009): 197–222.

“The Roles of Invariance and Analogy in the Linear Design of Stravinsky’s ‘Musick to Heare,’” Gamut 1/1 (2008).

Journal of Music Theory under Allen Forte’s Editorship,” Journal of Music Theory 50/1 (2006): 7–23.

“Hans Weisse (1892–1940),” in Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung [Schenker Traditions: A Viennese School of Music Theory and Its International Dissemination], ed. Martin Eybl and Evelyn Fink-Mennel (Vienna: Böhlau Verlag, 2006): 91–103.

“Schenkerian Theory in the United States: A Review of Its Establishment and a Survey of Current Research Topics,” Zeitschrift der Gesellschaft für Musiktheorie 2/2–3 (2005): 101–37.

“Victor Vaughn Lytle and the Early Proselytism of Schenkerian Ideas in the U.S.,” Journal of Schenkerian Studies 1 (2005): 92–117.

“The Meaning(s) of ‘Without’: An Exploration of Liszt’s Bagatelle ohne Tonart,” 19th-Century Music 27/3 (2004): 230–62. [NB: For this article, I was awarded the Society for Music Theory’s “Emerging Scholar Award” (2006).]

“Hans Weisse and the Dawn of American Schenkerism,” Journal of Musicology 20/1 (2003): 104–56.

“The Role of Adele T. Katz in the Early Expansion of the New York ‘Schenker School,’” Current Musicology 74 (2002): 103–51.

“On Teaching ‘Tonal Mirror Counterpoint’: A Guide to Concepts and Practice,” Journal of Music Theory Pedagogy 16 (2002): 1–56.

“Gambling with Chromaticism? Extra-Diatonic Melodic Expression in the Songs of Irving Berlin,” Theory and Practice 26 (2001): 21–85.

“The Popular Songwriter as Composer: Mannerisms and Design in the Music of Jimmy Van Heusen,” Indiana Theory Review 21 (2000): 1–51.

“Dynamic Introductions: The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin,” Intégral 13 (1999): 1–62.

PUBLICATIONS: ENCYCLOPEDIA ENTRIES
“Theory,” in The Grove Dictionary of American Music, 2nd ed., ed. Charles Hiroshi Garrett (New York: Oxford University Press, 2013): vol. 8, pp. 169–179. [NB: definition and §§1, 4–5 by Berry (ca. 6400 words); §§2–3 by Sherman Van Solkema and revised by Berry (ca. 1700 words); ca. 8100 words total (not including bibliography).]

“Stravinsky, Igor,” in Europe 1789 to 1914: Encyclopedia of the Age of Industry and Empire, editors-in-chief John Merriman and Jay Winter (Detroit: Charles Scribner’s Sons, 2006): vol. 4, 2261–63.

PUBLICATIONS: REVIEW-ESSAYS AND REVIEWS
Review of Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form, by David Beach, Intègral 26 (2012): 159–197. [NB: extensive review-essay of ca. 14,000 words.]

Review of Stravinsky: The Rite of Spring, by Peter Hill, Notes [Journal of the Music Library Association] 58/2 (2001): 357–58.

Review of Irving Berlin: American Troubadour, by Edward Jablonski, Notes [Journal of the Music Library Association] 57/4 (2001): 917–19.

Review of Irving Berlin: A Life in Song, by Philip Furia, Music Theory Online 6/5 (2000).

Review of Irving Berlin: Songs from the Melting Pot: The Formative Years, 1907–1914, by Charles Hamm, Contemporary Music Review 19/1 (2000): 157–66.

PUBLICATIONS: OCCASIONAL WRITINGS
Text of remarks given at the Allen Forte Memorial, Yale University (May 2015), as one of four invited speakers; text published online, in conjunction with the Allen Forte Electronic Archive at the University of North Texas’s College of Music.

“In Memoriam: Allen Forte (1926–2014),” SMT [Society for Music Theory] Newsletter 38/1 (Feb. 2015): 17–18; one of three invited tributes.

“Our Festschrift for Allen: An Introduction and Conclusion,” in A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part V), ed. David Carson Berry, Gamut 6/2 (2013): 1–16.

Introduction (pp. 267–268) and Testimonial (pp. 335–337) in “To Allen Forte from His Former Advisees: Tributes and Reminiscences,” in A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part V), ed. David Carson Berry, Gamut 6/2 (2013): 267–338.

Introduction (pp. 1–2) in “In Memoriam Carl Kristian Wiens (1964–2012),” Gamut 5/1 (2012): 1–5.

PUBLICATIONS: EDITORIAL WORK
Editor, Gamut, the peer-reviewed online journal of the Music Theory Society of the Mid-Atlantic, vol. 2/1 (2009)–6/2 (2013).

Editor, Theory and Practice, the Journal of the Music Theory Society of New York State, vols. 28 and 29 (2002 and 2003). [NB: During my term, I inaugurated “(Re)Transitions: A Forum for Translations, Critical Reprintings, and Original Publications of Notable Texts and Archive Materials.”]

Reviews Editor, Journal of Music Theory (1999–2002). [NB: In addition to usual activities, I also coordinated a special “Schenker Review Symposium” (vols. 45–46 [2001–02]).]

Managing Editor, Journal of Music Theory (1997–99).

Graphics Editor & staff assistant, In Theory Only (vol. 12, nos. 7–8 [1994]).

Graphics Editor & staff assistant, Theoria: Historical Aspects of Music Theory (vols. 7–8 [1993–94]).

Editor, MCF Newsletter, monthly publication of Mid-South Composers’ Forum, Inc. (1992–93).

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