Faculty


Image of Sebastiano Bisciglia

Sebastiano Bisciglia

Assistant Professor, Teaching Stream
Music Theory and Instructional Technology

sebastiano.bisciglia@utoronto.ca

(416) 978-5062

Sebastiano Bisciglia received his PhD in Music Theory from the Eastman School of Music. His research interests lie in computational and mathematical perspectives on twelve-tone music, theory, and analysis. His scholarship in this area has been presented at regional, national, and international conferences and has appeared in Music Theory Spectrum (2017). He regularly teaches courses on post-tonal music at the undergraduate and graduate levels. Bisciglia is also active as a technologist and developer. His primary focus is creating web-based software that aids music research and instruction, such as these Post-Tonal Tools. He also has a keen interest in leveraging video technologies in music instruction, and in 2017 was the co-recipient—with Prof. Midori Koga—of a University of Toronto Instructional Technology Innovation Fund grant to document the benefits of using live video playback and recording in private piano instruction. Prior to joining the Faculty of Music at the UofT in 2017, Bisciglia was an Academic Specialist (Music Instructional Technology Developer) at the Indiana University Jacobs School of Music (2014–7) and held teaching appointments at the University of Toronto (2013–4) and the Oberlin College Conservatory (2012–3).

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Ben Duinker

SSHRC Postdoctoral Fellow

benjamin.duinker@utoronto.ca

Personal website

Ben Duinker (PhD Music Theory, McGill University) is a Canadian music scholar, performer, and educator. He currently holds a SSHRC Postdoctoral Fellowship for research in music analysis and performance, working with Aiyun Huang at the University of Toronto. His doctoral dissertation focuses on metric and rhythmic aspects of hip-hop flow and was awarded the 2020 SMT-40 dissertation fellowship by the Society for Music Theory. He has published articles in the journals Empirical Musicology ReviewMusic Theory Online, and Popular Music, and his work on segmentation and phrasing in hip-hop flow is forthcoming in Music Theory Spectrum. Duinker has taught courses in undergraduate core music theory, musicianship, music appreciation, and graduate research methods, and recently co-designed and taught a new survey course in hip-hop music and culture. Duinker maintains a parallel career as a percussionist and chamber musician (MMus Performance, McGill), regularly touring, recording, and commissioning new works.

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Ryan McClelland

Professor of Music Theory
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. McClelland’s first book, Brahms and the Scherzo, was published in 2010. With David Beach, he co-authored a textbook, Analysis of 18th- and 19th-Century Musical Works in the Classical Tradition, which appeared in 2012. He is co-editing with Russell Hartenberger the Cambridge Companion to Rhythm (forthcoming 2020). Other 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).

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Don McLean

Professor of Music Theory and Musicology
Dean, Faculty of Music

mclean@utoronto.ca

Don McLean (PhD University of Toronto), Professor of Music Theory and Musicology, has been Dean of the Faculty of Music since 2011. Trained in piano performance and pedagogy, coaching and accompanying, conducting and composition, musicology and music theory, McLean is a three-time graduate of the University of Toronto and a two-time graduate of the Royal Conservatory of Music, and taught for both institutions from 1978–1989. In 1988, he moved to Montreal and McGill University, where he was Dean of the School of Music from 2001–2010. As a researcher, Prof. McLean is engaged in four areas: (1) Schenkerian theory and analysis, with focus on motive and hierarchy across repertoire domains, (2) music of the New Viennese School, with focus on Berg, (3) the emotional impact of music on listeners, with focus on how structural features engender emotional response, and (4) higher education in music, with focus on interdisciplinary research and curricular reform.

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Mark Sallmen

Associate Professor, Teaching Stream
Music Theory

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.

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Daphne Tan

Assistant Professor of Music Theory

daphne.tan@utoronto.ca

Personal website

(416) 978-4855

Daphne Tan’s research concerns historical and current intersections of music theory, philosophy, and psychology. Her work on the history of theory has focused on the writings of Ernst Kurth, illuminating his engagement with listening and embodiment against the backdrop of contemporaneous developments in experimental psychology, harmonic theory, and university culture; this work can be read in Theoria, the Journal of Music Theory, and Music Theory Spectrum. She is also completing a translation and commentary of Kurth’s final monograph, Musikpsychologie, for Routledge. Her newest project examines the interplay of music theory and Western esotericism in the writings and pedagogical activities of Viktor Zuckerkandl (1896–1965). This research has received support from the University of Toronto Connaught Fund and the Social Sciences and Humanities Research Council of Canada (SSHRC). Professor Tan also approaches music and music listening from the perspective of cognitive science. Her research on topics related to emotion, diatonic modes, musical form, and expressive performance appears in Music Perception, Psychology of Music, the Journal of Interdisciplinary Music Studies, and Musicae Scientiae. She holds a PhD in music theory from the Eastman School of Music and MA and BMus degrees in music theory and clarinet performance from McGill University. Prior to joining the University of Toronto in 2017, she was an Assistant Professor of Music Theory and an affiliate member of the Cognitive Science Program at Indiana University (2013–2017).

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Steven Vande Moortele

Associate Professor of Music Theory
Associate Dean, Research, Faculty of Music

steven.vandemoortele@utoronto.ca

(416) 946-8555

Steven Vande Moortele (PhD University of Leuven) is Associate Professor of Music Theory and Associate Dean, Research at the Faculty of 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. His latest book, The Romantic Overture and Musical Form from Rossini to Wagner (Cambridge 2017) won the 2018 Wallace Berry Award from the Society of 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 2009) and co-editor (with Julie Pedneault-Deslauriers and Nathan Martin) of Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (Rochester 2015). 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 a study of Schumann’s Szenen aus Goethes Faust, a collection of essays on Wagner analysis (in collaboration 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 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.