Anton Vishio
Associate Professor of Music Theory
Anton Vishio joined the University of Toronto in 2021 from the faculty of William Paterson University in Wayne, New Jersey. His research focuses on late twentieth-century music, exploring 1) the development of a family of compositional strategies addressing different levels of surface organization, and 2) the relationship between contemporary literature and music. He recently published two articles that exemplify these concerns, one on a setting of Paul Celan by Brian Cherney (in Intersections: Canadian Journal of Music) and another on the String Trio of Charles Wuorinen (in Perspectives of New Music). Essays in preparation include studies of Quanta by Priaulx Rainier, and several works of Jo Kondo; a post indicative of his approach to Kondo’s work, entitled “The Art of Derivation,” appears at the blog of the Society for Music Theory’s Global Interculturalism and Musical Peripheries interest group, which he has been involved with since its inception. Other long-standing interests include polyrhythms, musical properties of the sestina permutation, and the songs of Rabindranath Tagore. He remains active as a composer and pianist, including recent recitals in New Jersey and Maine.
Daphne Tan
Associate Professor of Music Theory
daphne.tan@utoronto.ca
(416) 978-4855
Personal website
Daphne Tan (PhD Eastman School of Music) is Associate Professor of Music Theory. Her research explores questions about music and the mind, with methodologies and perspectives from the history of music theory and cognitive science. She has published articles on the theories of Ernst Kurth in Music Theory Spectrum (2020; recipient of the 2021 Emerging Scholar Award from the Society for Music Theory), the Journal of Music Theory (2017; awarded the David Kraehenbuehl Prize), and Theoria (2015), and she is editor and co-translator (with Christoph Neidhöfer) of the first English-language translation of Kurth’s Music Psychology (Routledge 2022). More recently, she has examined the interplay of music analysis, pedagogy, and esoteric practice in the writings of Victor Zuckerkandl, with chapters in The Oxford Handbook of Public Music Theory (Oxford 2022) and Explorations in Music and Esotericism (Rochester 2023). With collaborators, Tan has also conducted empirical studies related to harmonic function, emotion and music, expressive performance, diatonic modes, and musical form. This work can be read in Empirical Musicology Review (2023 [2021]), Music Perception (2021, 2017, 2013), Musicae Scientiae (2021), Psychology of Music (2020), and the Journal of Interdisciplinary Music Studies (2009). Tan’s research has been supported by the University of Toronto Connaught Fund and the Social Sciences and Humanities Research Council of Canada (SSHRC). In 2023, she received an Early Career Supervision Award from the University of Toronto’s School of Graduate Studies.
Ellie Hisama
Professor of Music
Dean, Faculty of Music
Ellie M. Hisama (PhD, City University of New York) is Dean of the Faculty of Music and Professor of Music. She is the author of Gendering Musical Modernism, which was named a Choice Outstanding Academic Title, and has published articles on jazz, classical music, and popular music topics, writing on the music of Geri Allen, Joan Armatrading, Julius Eastman, Benjamin Britten, David Bowie, and The Cure. She received a Career Enhancement Fellowship from the Institute for Citizens & Scholars [formerly the Woodrow Wilson Foundation]; a Tsunoda Ryusaku Senior Fellowship, Waseda University (Tokyo); and the Wolfe Institute for the Humanities Faculty Fellowship. She has delivered numerous international plenary and keynote addresses and was named the Kenneth H. Peacock Lecturer at the UofT and the Robert Samels Visiting Scholar at Indiana University. She has taught at ten institutions including Columbia University, the University of Massachusetts at Amherst, Ohio State University, Queens College of the City University of New York, the University of Virginia, and Harvard University. She was nominated twice by Columbia College’s Academic Awards Committee for the Mark Van Doren Award for Teaching. As an academic leader, she has received multiple grants for work that engages with issues of structural racism and gender and racial justice. Working with the UofT’s Division of University Advancement, she helped to secure a $7-million gift to the Faculty of Music in support of a new recital hall. With funding from the Nick Nurse Foundation, she continues her work in community engagement in collaboration with colleagues, bringing students from public schools to the UofT’s renowned Electronic Music Studio to create, record, and reflect upon their work in sound.
Mark Sallmen
Associate Professor of Music Theory (Teaching Stream)
Undergraduate Theory Coordinator
mark.sallmen@utoronto.ca
(416) 946-3562
Mark Sallmen (PhD Eastman School of Music) teaches tonal and post-tonal music theory courses in the undergraduate core curriculum, as well as upper-level undergraduate and graduate seminars in the Theory and Analysis of Atonal Music, Extended Tonal Techniques, Music of Ligeti and Lutosławski, Current Compositional Practices and Pedagogy of Music Theory. He has advised independent research projects on the music of Chen, Dutilleux, Husa, Lutosławski, Messiaen, Prokofiev, Rubbra, Schnittke, Sondheim, Vivier, Widor and Wolpe. In 2014, Sallmen received the Faculty of Music’s Award for Excellence in Teaching. Sallmen has published articles in Music Theory Online, Journal of Music Theory Pedagogy, Theory and Practice, Indiana Theory Review, and Intégral and has presented scholarly papers at conferences of the Society for Music Theory, Canadian University Music Society, Music Theory Society of New York State, Music Theory Midwest, Music Theory Southeast and the College Music Society. This work has involved the music of Schoenberg, Webern, Carter and Debussy, as well as the pedagogy of twentieth-century music. Sallmen’s current interests include atonal voice leading and the development of music theory instructional videos.
Ryan McClelland
Professor of Music Theory
Acting Dean, Faculty of Music
Associate Dean, Academic & Student Affairs, Faculty of Music
ryan.mcclelland@utoronto.ca
(416) 946-0802
Ryan McClelland (PhD Indiana University) is Professor of Music Theory and Associate Dean, Academic & Student Affairs at the Faculty of Music. His research interests include rhythmic-metric theory, Schenkerian analysis, and performance studies. He has published on these subjects in journals including Music Theory Spectrum and Music Analysis as well as in essay collections devoted to Brahms and to Schubert. Among the volumes to which he has contributed is Brahms and the Shaping of Time (ed. Scott Murphy), which won the multi-author collection award from the Society for Music Theory in 2019. Professor McClelland’s first book, Brahms and the Scherzo, was published in 2010. Most recently, he co-edited with Russell Hartenberger the Cambridge Companion to Rhythm (2020). Current projects include a book on motional qualities in the music of Brahms, articles on performance timing in Brahms’s late piano music, and a study of the scherzo across the nineteenth century. McClelland’s research has been supported by the Connaught Fund of the University of Toronto and by multiple grants from the Social Sciences and Humanities Research Council of Canada (SSHRC).
Steven Vande Moortele
Professor of Music Theory
Graduate Theory Coordinator
steven.vandemoortele@utoronto.ca
Steven Vande Moortele (PhD University of Leuven) is Professor of Music Theory and Director of the Centre for the Study of Nineteenth-Century Music. 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 music of Wagner and Schoenberg. He is the author of Robert Schumann: Szenen aus Goethes Faust (Leuven 2020), The Romantic Overture and Musical Form from Rossini to Wagner (Cambridge 2017), and Two-Dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky (Leuven 2009), as well as co-editor (with Julie Pedneault-Deslauriers and Nathan Martin) of Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (Rochester 2015). He has won awards including the Wallace Berry Award (SMT, 2018), the Roland Jackson Award (AMS, 2019), and the Westrup Prize (Music & Letters, 2020), and his research has been supported by the Connaught Fund of the University of Toronto, the Alexander von Humboldt-Stiftung (Bonn, Germany), and the Research Fund Flanders (FWO Vlaanderen), as well as by multiple grants from the Social Sciences and Humanities Research Council of Canada (SSHRC). Current projects include editing a volume of Wagner Studies for Cambridge University Press 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 is an affiliate faculty member of the Anne Tanenbaum Centre for Jewish Studies; he was a guest professor at the University of Leuven in the spring of 2018.