Departments and Faculty of the School of Music
Music Library
Music History and Music Theory Faculty

Music History Faculty

  • George Bozarth, Professor (on leave, Spring 2008)
  • John Hanford, Lecturer (Autumn, Winter)
  • Stephen Rumph, Assistant Professor
  • Larry Starr, Professor (on leave, Autumn 2007)
  • JoAnn Taricani, Associate Professor
  • Judy Tsou, Lecturer (Winter)

Music Theory Faculty

  • Jonathan Bernard, Professor
  • Áine Heneghan, Assistant Professor
  • John Rahn, Professor


    George Bozarth:  George Bozarth specializes in nineteenth-century studies, especially the music of Johannes Brahms and musical life in 19th-century Boston. He is the founding Executive Director of the American Brahms Society and co-author of the article on Brahms for the second edition of The New Grove Dictionary of Music and Musicians. Bozarth is the editor of The Brahms-Keller Correspondence (University of Nebraska Press), Brahms Studies: Analytical and Historical Perspectives (Oxford University Press), On Brahms and His Circle: Essays and Documentary Studies by Karl Geiringer (Harmonie Park Press) and the complete organ works of Brahms (G. Henle Verlag and the Neue Brahms-Ausgabe.

    He has published numerous articles on Brahms, focusing on compositional process, problems in chronology, documents, word-tone relationships in the songs and piano music, editorial issues, and questions of performance practice. Bozarth has also edited the cantata Ach Gott, von Himmel sieh darein, BWV 2, for the Neue Bach-Ausgabe. His current projects include a new edition of the Brahms memoirs and correspondence of George Henschel and books on musical life in late 19th-century Boston, the musical self-education of Amy Beach, and the Irish fortepiano maker William Southwell. He has held grants from the American Council of Learned Societies, the American Philosophical Society, and the National Endowment for the Humanities.

    A fortepianist who owns a collection of early pianos and specializes in accompanying German art song, Bozarth founded the ensemble The Classical Consort, and has served as Co-Artistic Director of the Seattle early music series Gallery Concerts since 1989.

    Bozarth took his Ph.D. at Princeton University.

    John Hanford: John Hanford has performed and studied music in Seattle for over 40 years. His main musicological interest is in the field of American popular music. He holds degrees in both political history and musicology from the University of Washington.

    In addition to teaching music history at his alma mater, Hanford gives guitar instruction and regularly performs and records with several rhythm and blues, country & western, jazz, and rock ‘n' roll bands. Since 2003, he has been guitarist for The Wailers, a seminal Northwest band founded in 1959.

    Stephen Rumph: Stephen Rumph specializes in Beethoven, Mozart, music and politics, opera, and semiotics. He took his Ph.D. at the University of California, Berkeley, writing a Beethoven dissertation with Joseph Kerman. He joined the UW School of Music faculty in 2002.

    Rumph's book Beethoven After Napoleon: Political Romanticism in the Late Works was published in 2004 by University of California Press. It offers a political interpretation of late Beethoven illuminated by the writings of the German Romantics. A new book, Mozart and Enlightenment Semiotics, is in production with UC Press. It pioneers a "historically-informed" semiotics of music for Mozart, based upon eighteenth-century sign and language theory.

    Rumph has published articles in the Journal of the Royal Music Association, Music and Letters, Beethoven Forum, 19th-Century Music, Eighteenth-Century Music, and The Journal of Musicology. He serves as Reviews Editor for Beethoven Forum.

    Rumph also sings professionally as a lyric tenor. He has sung leading roles with Tacoma Opera, Tacoma Symphony Orchestra, Skagit Valley Opera, Northwest Sinfonietta, Walla Walla Symphony, the Northwest Mahler Fest, and other opera companies and orchestras through Seattle and the Bay Area. His resumé can be found at

    Larry Starr:  Larry Starr has been on the University of Washington School of Music faculty since 1977. He specializes in 20th-century music and American music, and has lectured and published extensively on the music of Charles Ives, George Gershwin, and Aaron Copland in particular, and on American popular music.

    Starr is the author of A Union of Diversities: Style in the Music of Charles Ives (1992), and of The Dickinson Songs of Aaron Copland (a College Music Society Sourcebook in American Music, 2003), and is the co-author, with Chris Waterman of UCLA, of American Popular Music: From Minstrelsy to MTV (2002). His published articles have appeared in journals such as American Music, Perspectives of New Music, and The Musical Quarterly, and cover a range of topics, from the importance and influence of Debussy to the music of the Beach Boys. His next major research project will be a book on Gershwin that has been commissioned for the series Yale Broadway Masters.

    Teaching has always been the central focus of Starr's career. He has taught many different courses, including those for general students, as well as music majors. In 1995, the College of Arts and Sciences at the University of Washington honored him with the title of Honorary Liberal Arts Professor to acknowledge his "outstanding contributions to undergraduate education."

    Starr earned a Ph.D. degree from the University of California, Berkeley.

    JoAnn Taricani:  JoAnn Taricani conducts research in the areas of early music and American studies.  Currently, she is working on the music in the plays and ballad operas of the British writer Henry Fielding, and is editing the music in a new three-volume critical edition of the plays published by Oxford University Press.  She has published articles on Renaissance composers and libraries in Revue belge de musicologie, Notes (The Journal of the Music Library Association), and on American music in The Musical Quarterly and Pennsylvania History.   She has presented her research at recent annual meetings of the American Musicological Society (Los Angeles, Atlanta, Kansas City) the Congress of the International Musicological Society, the Society for American Music, the North American British Music Studies Association, the American Society for Eighteenth Century Studies, the Medieval Association of the Pacific, was a plenary speaker for the national meeting of the Music Library Association, and has presented her work at many other scholarly meetings.  Her research has been funded by grants from the National Endowment for the Humanities and the American Philosophical Society.  She also collaborated with the Folger Shakespeare Library to reconstruct the comic opera The Dragon of Wantley, which had a series of staged performances by the Folger Consort. 

    Professor Taricani teaches courses in medieval and Renaissance music, and also conducts the early music ensemble, the Collegium Musicum, which performs music ranging from chant to American parlor music.  She received her M.A.and Ph.D. from the University of Pennsylvania with a dissertation on a music library from Renaissance Augsburg. 

    Judy Tsou:  Judy Tsou's research interests include sociological aspects (especially gender) of music, American popular music, and music archives. She is the editor of Cecilia Reclaimed: Feminist Perspectives on Gender and Music (1994; winner of CHOICE Outstanding Academic Book and Susan Koppelman feminist editing awards). Tsou is the author of "Gendering Race: Stereotypes of Chinese Americans in Popular Sheet Music," (repercussions vol. 6 no. 2), and of book reviews in NOTES, Cum Notis Variorum, CHOICE, Fontes Artis Musicae, and Signs: Journal of women in culture and society.

    Tsou is currently serving a second term on the editorial board of the Journal of the American Musicological Society and is on the editorial board of the second edition of The New Grove Dictionary of American Music. She served as chair of the Committee on the Status of Women and was a member of the Council of the American Musicological Society. She was also chair of the Archives and Documentation Centres Branch of the International Association of Music Librariesand a member of the editorial board of Women in Music: A Journal of Gender and Culture. Tsou was a member of the Board of Directors of the Society for American Music (1998-2001); a member-at-large of the Music Library Association (1994-96); and a fellow at the Doreen B. Townsend Center for the Humanities at the University of California, Berkeley (1996-97).

    She earned her M.I.L.S. degree at the University of Michigan and an M.A. degree at Columbia University.

    Jonathan Bernard:  Jonathan Bernard taught at Amherst College and Yale University before joining the University of Washington School of Music faculty in 1987. He was one of two Ruth Sutton Waters Endowed Professors of Music for 2002-05.

    Bernard's research interests center on the theory and analysis of twentieth-century music, particularly since 1945 and including popular music, as well as the history of theory from the eighteenth century to the present.

    Bernard is the author of The Music of Edgard Varèse (Yale University Press), which won the Young Scholar Award from the Society for Music Theory in 1988; the editor of Elliott Carter: Collected Essays and Lectures, 1937-1995 (University of Rochester Press); and a contributing editor to Music Theory in Concept and Practice (University of Rochester Press).

    His articles on such topics as the history of French and German music theory, the music of Varèse, Bartók, Carter, Messiaen, Ligeti, Feldman, and Zappa, minimalist aesthetics and analysis, pitch-spatial theory and analysis, recent American tonal music, the history of twentieth-century compositional practice, and rock & roll of the 1960s have appeared in the Journal of Music Theory, Music Theory Spectrum, Music Analysis, Music Perception, Perspectives of New Music, American Music, Musikometrika, Musical Quarterly, and Contemporary Music Review, and in edited collections from Faber & Faber, University of Rochester Press, Cambridge University Press, Schott, Routledge, Greenwood Press, and Garland Publishing.

    During summer 2004, Bernard led a three-day workshop on form in late twentieth-century music at the Mannes Institute of Music Theory (Mannes College of Music, New York City); he also spent six weeks at the Paul Sacher Stiftung in Basel studying the compositional sketches of Carter and Varèse. Among his current projects are books and essays on Ligeti, Carter, and Varèse; he is also editing a book of essays by and about Joël-François Durand, his colleague in Composition.

    Bernard has served as editor of Music Theory Spectrum (1988-1991) and as chair of the Publications Committee, Society for Music Theory (1998-2001). He is currently a member of the editorial boards of Perspectives of New Music, American Music, and Twentieth-Century Music, and a member of the advisory board for the Yale University Press monograph series, Composers of the Twentieth Century (Allen Forte, general editor).

    Bernard has received support in the past from the American Council of Learned Societies, the National Endowment for the Humanities, the Amphion Foundation, the Paul Sacher Stiftung, and the Graduate School Fund and Royalty Research Fund at the University of Washington.

    Bernard earned Ph.D., M.Phil., and M.A. degrees at Yale University and an A.B. degree at Harvard College.

    Áine Heneghan:  Áine Heneghan is Assistant Professor of Music Theory at the University of Washington. Before moving to Seattle, she was Research Fellow at University College Dublin, as well as Occasional Lecturer at Trinity College, Dublin, teaching music theory at both institutions.

    Educated at the University of Dublin, Trinity College, Heneghan was awarded the University's Gold Medal, as well as the School of Music's Stewart & Prout Prize, for her undergraduate degree in 2000. She recently completed her PhD dissertation entitled "Tradition as Muse: Schoenberg's Musical Morphology and Nascent Dodecaphony," in which she reconsiders the evolution of Schoenberg's twelve-tone method by exploring the interrelationship of his theoretical writings and compositional practice. Having carried out extensive archival research in Vienna, Berlin, London, and Basel, she plans to continue working on this aspect of the Viennese School. Her research and teaching interests also embrace the history of theory (with an emphasis on theories of form) and its analytical applications, the reception of twelve-tone theory, musical thought in the early twentieth century, sketch study, and ornamentation in traditional Irish music.

    The recipient of research grants from the Irish Research Council for Humanities and Social Sciences, the Österreichischer Austauschdienst (Austrian Academic Exchange Service), the Deutscher Akademischer Austauschdienst (German Academic Exchange Service), and the Avenir Foundation (sponsors of the Arnold Schönberg Privatstiftung, Vienna), Heneghan has presented her research at several international conferences in the U.S. and Europe, including the annual meetings of the Society for Music Theory and the American Musicological Society. Her forthcoming publications include articles and reviews in the Journal of the Arnold Schönberg Center, Music Analysis, Journal of the Society for Musicology in Ireland, and Notes, the Quarterly Journal of the Music Library.

    Heneghan is a member of the Society for Music Theory's Professional Development Committee, and was co-chair of the Dublin International Conference on Music Analysis, the first event of its kind to take place in Ireland (June 2005).

    In addition to her research activities, Heneghan is an accomplished Irish harpist. She won the All-Ireland (Fleadh Ceoil na hÉireann), Pan-Celtic International, and other major harp competitions; toured extensively with Comhaltas Ceoltóirí Éireann; and has been active as a harp teacher and adjudicator at traditional Irish music festivals.

    John Rahn:  John Rahn is Professor of Music Composition and Music Theory, and Professor of Critical Theory at the University of Washington.

    After an early career as a professional bassoonist (from age 16), Rahn earned degrees in Classics (Pomona), Bassoon (Juilliard), and Composition (Princeton). He served as founding director of the UW School of Music Computer Center (SMCC) from 1988 to 1990, and created the year-long series of Computer Music Seminars, which he taught from 1983 to 1991.

    In March 2001, he was invited to help hire the initial faculty for a new state-funded conservatory of music in Barcelona, Catalunya, called L'Escola Superior de Musica de Catalunya (ESMUC). During 2003-2004, Rahn taught composition and theory there, and one of his students won the international Guinjoan Composition Prize. During this period he also gave several theory papers at conferences at IRCAM Paris, and served as First Reader for the Ph.D. dissertation of Moreno Andreatta in Paris.

    His compositions have been widely performed and broadcast in North and South America and in Europe, from Argentina to Romania. Two computer-music compositions, Kali and Miranda, were released on Centaur CD CRC 2144. More recently, he composed a two-movement, 47-minute long computer-music symphony called Sea of Souls (Sea, City). Sea was selected by international jury for presentation at the 1994 International Computer Music Conference in Denmark. Rahn was invited to present the complete Sea of Souls and a 90-minute lecture on the composition at the Spanish national computer-music conference in Cuenca in October 1995. He finished a chamber opera called The New Mother in late 2000, and a set of pieces for solo oboe in 2001 (Hoboe), three of which were premiered in February 2001, and Greek Bones for two trombones in 2005.

    As a theorist, he was actively involved in the formation of the Society for Music Theory, and has served on its Board. He served as Editor of Perspectives of New Music from 1983 to 1994, and again from 2000 to the present.

    His publications include the textbook Basic Atonal Theory (MacMillan); the anthology Perspectives on Musical Aesthetics (Norton); a book in the "Critical Voices in Art, Theory and Culture" series of Gordon and Breach International, titled Music Inside Out (2001); and articles in Perspectives of New Music, Journal of Music Theory, Music Theory Spectrum, In Theory Only, Computer Music Journal, Contemporary Music Review, College Music Symposium, Musicus, Musikometrika, Cahiers de l'IRCAM, World of Music, and Current Musicology, as well as the proceedings of various American, Italian, French, German, Spanish, and Romanian conferences, on subjects including Brahms, non-tonal and serial theory, pitch-class theory, rhythmic theory, theory of tonal music and of medieval music, theoretical methodology and formal methods, mathematical models, musical grammars, computer analysis, digital sound synthesis, computer music, music and artificial intelligence, aesthetics, and critical theory.


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