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    Severine Neff

    Eugene Falk Distinguished ProfessorNeffWeb.jpg

    Severine Neff (Eugene Falk Distinguished Professor) received a Bachelor of Arts in music magna cum laude from Columbia University (1971), a Master of Arts in music theory from Yale University (1972) and a Master of Fine Arts (1974) and Doctor of Philosophy from Princeton University (1979). She has taught at Bates College, University of Hawaii at Manoa, Barnard College of Columbia University, and the College-Conservatory of Music, University of Cincinnati, before coming to UNC-CH in 1995. She has been the 2013 Visiting Endowed Chair in Music Theory, University of Alabama, a Fellow and Teaching Fellow at the Mannes Institute for Advanced Studies in Music Theory (2004, 2005, 2007, 2011), a J. William Fulbright Senior Scholar (1998-99) at Moscow State Conservatory, Moscow, Russia, and has received research awards from The Arnold Schoenberg Center, Vienna (2003, 2009, 2012), The Andrew W. Mellon Foundation (1981-83, 2011), The Institute of Arts and Humanities, UNC-Chapel Hill (2002, 2012), The Korea Foundation (2006), Newberry Library (1985), and the National Endowment for the Humanities (1993). From 2009-12 she was Editor-in-Chief of Music Theory Spectrum, the first woman theorist to hold the position. Her research interests include twentieth-century music, particularly the works of Arnold Schoenberg. She is completing an edition of and extended commentary on Schoenberg’s writings about counterpoint. The text is part of a seven-volume set Schoenberg in Words that she is co-editing with Sabine Feisst for Oxford University Press. Three of the volumes are now submitted for publication. She is also a co-editor with Maureen Carr and Gretchen Horlacher of Reassessing Stravinsky’s Le Sacre du Printemps, 1913/2013 for Indiana University Press.

    Scholarly Books & Editions

    2014. Schoenberg on Counterpoint: Forty Years of Teachings and Writings (contracted and in progress)

    2014. The Musical Idea and the Logic, Technique, and Art of Its Presentation by Arnold Schoenberg, Ed./Trans. with Patricia Carpenter. 3rd ed. Trans. Ping Jin. Beijing: Central Conservatory of Music. (in press)

    2006. The Musical Idea and the Logic, Technique, and Art of Its Presentation by Arnold Schoenberg, Ed./Trans. with Patricia Carpenter. 2nd ed. Bloomington: Indiana University Press.

    2006. String Quartet in F# Minor, Opus 10 by Arnold Schoenberg: A Norton Critical Score. New York: W. W. Norton & Co.

    1995. The Musical Idea and the Logic, Technique, and Art of Its Presentation by Arnold Schoenberg, Ed./Trans. with Patricia Carpenter. 1st ed. New York: Columbia University Press.

    1994. Coherence, Counterpoint, Instrumentation, Instruction in Form/Zusammenhang, Kontrapunkt, Instrumentation, Instruction in Form by Arnold Schoenberg Trans. with Charlotte M. Cross. Lincoln and London: The University of Nebraska Press.

    Book Chapters

    2015. “Arnold Schoenberg’s Preliminary Exercises in Counterpoint: Questions of Sources and Presentation.” Journal of the Arnold Schönberg Center 12 (submitted for publication)

    2015. “How Not to Hear Le Sacre du Printemps?: Schoenberg’s Theories, Leibowitz’s Recording.” In Reassessing Stravinsky’s Le Sacre du Printemps, 1913/2013, Ed. Severine Neff, Maureen Carr, and Gretchen Horlacher. Bloomington: Indiana University Press (submitted for publication)

    2012. “Editing Schoenberg’s Music-Theoretical Manuscripts: Problems of Incompleteness and Authorship.” In Arnold Schönberg in seinen Schriften Katalog - Fragen – Editorisches. Ed. Hartmut Krones. 193–216. Vienna: Böhlau Verlag.

    2010. “Cadence After Thirty-Three Years of Revolution: Tonal Form in Schoenberg's Second Chamber Symphony, Opus 38.” In The Cambridge Companion to Schoenberg, Ed. Joseph Auner and Jennifer Shaw. 209-227. Cambridge: Cambridge University Press.

    2009. “Juxtaposing Popular Music in the Second String Quartet.” In“I Feel the Air of Another Planet:” Schoenberg’s Chamber Music, Schoenberg’s World. Ed. James Wright and Alan Gilmore. 65-96. Hillsdale [NY]: Pendragon Press.

    2006. “Schenker, Schoenberg, and Goethe: Visions of the Organic Artwork.” In Schenker-Traditionen. Ed. Martin Eybl. 31-50. Vienna: Böhlau Verlag.

    2001. “Reinventing the Organic Artwork: Schoenberg's Changing Images for Tonal Form.” In Schoenberg and Words: The Modernist Years. Ed. Charlotte M. Cross and Russell Berman. 275-308. New York: Routledge.

    1999. “Schoenberg As Theorist: Three Forms of Presentation.” In Schoenberg and His World. Ed. Walter M. Frisch. 58-84. Princeton: Princeton University Press.

    1997. With Patricia Carpenter. “Schoenberg's Philosophy of Composition: Thoughts on the Musical Idea and Its Presentation.” In Constructive Dissonance: Arnold Schoenberg in Twentieth-Century Culture. Ed. Julianne Brand and Christopher Hailey. 146-59. Berkeley, CA: University of California Press.

    1995. “Schönberg und Analyse: der Bearbeitung einer Coda von Brahms.” In Styl oder Gedanke: zur Schönberg-Rezeption in Amerika und Europa. Ed. Stefan Litwin und Klaus Velten. 54-70. Schriftenreihe der Hochschule des Saarlandes für Musik und Theater. Band 3. Saarbrücken: Pfau-Verlag.

    1993. “Schoenberg and Goethe: Organicism and Analysis.” In Music Theory and The Exploration of the Past. Ed. Christopher Hatch and David W. Bernstein. 409-33. Chicago: The University of Chicago Press.

    Selected Articles

    2014. “How Not to Hear Le Sacre du Printemps?: Schoenberg’s Theories, Leibowitz’s Recording.” Russian Trans. Tatiana Vereshchagina Nauchnyi Vestnik: The Quarterly Journal of Moscow State Conservatory 35: 44–88.

    2014. “Point/Counterpoint: John Cage Studies with Arnold Schoenberg.” Special Issue in Honor of the 100th Birthday of John Cage. Ed. David Bernstein. Contemporary Music Review 31/1 (in press).

    2014. “The Air of Another Planet”: Kandinsky, Schoenberg, and Stefan George’s Entrückung.” Journal of the Institute of Rhythm (Yokohama, Japan) 5 (in press).

    2014. “ ‘A Kernel from the Tree of Life:’ Remarks on Schoenberg’s Earliest Waltzes.” Journal of the Arnold Schönberg Center 10 (forthcoming).

    2013. “Point/Counterpoint: John Cage Studies with Arnold Schoenberg.” Japanese trans. Akitsugu Kawamoto. Gendo Bunka [Languages of Culture] 29:.

    2011. “A Tonal Paradox in Sonata-Allegro Form: Flat-1 in Schoenberg’s Second String Quartet, Op. 10.” Trans. Ildar Khannanov. Problemy Muzykal'noi Nauki [Issues in Music Scholarship]/Journal of the Russian Society of Music Theory 1/8: 153–63.

    2009. “An Unlikely Synergy: Lou Harrison and Arnold Schoenberg.” Journal of the Society for American Music 3/2: 155–95.

    2008. “A Paradoxical Influence: Lou Harrison and Arnold Schoenberg.” Journal of The Music Research Center, Hanyang University 22.

    2004. “Scandal and Painting: Schönberg's Visual Art and His Second String Quartet, Op. 10.” Journal of the Arnold Schönberg Center 6: 63–75.

    2004. “ ‘The Air of Another Planet:’ George’s Entrückung and Schoenberg's Second String Quartet, Op. 10.” Trans. Helen Pyun. Music Journal of Hanyang University 12: 32–70.

    2002. “Current Initiatives in Music Theory.” Newsletter of the College Music Society.

    2002. “Schoenberg’s Kristallnacht Fugue: Contrapuntal Exercise or Unknown Piece?” The Musical Quarterly 86/1: 17–44.

    1997. “ ‘This I have learned from my students:’ The Teachings of Arnold Schoenberg.” Gamut: Journal of the Georgia Association of Music Theorists 7: 3–30.

    1996. “Revolution and Reaction: American Music Theory, 1955–95.” Chinese trans. Jin Ping. Journal of the Central Conservatory of Beijing 88: 71–78.

    1994. “Silvina Milstein's Arnold Schoenberg: Notes, Sets, Forms.” Music Theory Spectrum 16/1: 108–22.

    1994. “Schoenberg and Analysis: Reworking a Coda of Brahms.” International Journal of Musicology 3: 187–201.

    1993–4. “Schoenberg's Theoretical Writings After the Harmonielehre: The Published and Unpublished Manuscripts.” College Music Symposium 33/34: 172–90.

    1990. “An American Precursor of Nontonal Theory: Ernst Bacon (1900-1990).” Current Musicology 48: 5–26.

    1985. “Otto Luening and the Theories of Bernhard Ziehn.” Current Musicology 39: 21–41.

    1984. “Aspects of Grundgestalt in Schoenberg's First String Quartet, Opus 7.” Theory and Practice 9/1–2: 1–57.

    1981. “Comments on Dunsby's Review of Maegaard’s Studien.” Perspectives of New Music 18/1–2: 426–431.

    Selected Encyclopedia Entries, Booklets, and Reviews

    2012 [1986, 1998]. “Glenn Dillard Gunn,” “Clarence Loomis,” “Marc Neikrug,” “Charlotte Moorman,” “Raoul Pleskow,” “Speculum Musicae.” In The New Grove Dictionary of American Music. 2nd Ed. Ed. Charles Hiroshi Garrett. 2/298; 3/ 269, 329–30, 579; 4/280–281. New York: Oxford University Press.

    2012 [1994]. “Charlotte Moorman.” In The New Grove Dictionary of Woman Composers. Ed. Julie Anne Sadie and Rhian Samuel. 337. London: MacMillan & Co.

    2007. “Arnold Schoenberg: Early and Unknown Works.” Rangzen Quartet with Christina Fong. Flint, Michigan: OgreOgress, DVD.

    2003. “Schoenberg’s Untitled Fugue, November 10, 1938.” Booklet. YIVO Center for Jewish Historical and Cultural Studies. New York, NY.

    2000. “Schoenberg, Webern, Berg: A Companion to the Second Viennese School Edited by Bryan Simms.” Notes 57/2: 301–2.

    2000. “Interview: Severine Neff on Composer Arnold Schoenberg.” Russian Trans. Natalia Wlassova. Musica Academica 2: 140–45.

    1999. “Classical Form: A Theory of Formal Function in the Instrumental Music of Haydn, Mozart, and Beethoven by William E. Caplin.” Indiana Theory Review 20/2: 41–56.

    1999. “The Music of Robert Savage.” New York: Composer Recordings, Inc. 1–5. CD 790 Booklet.

    1999. “The Schoenberg Companion Edited by Walter E. Bailey.” Notes 55/4: 927–9.

    1995. “Tonality and Structure in Schoenberg’s Second Quartet by Catherine Dale: and Funktionelle Atonalität by Mark Delaere.” Notes 51/3: 914–8.

    1995. “The Early Tonal Works of Arnold Schoenberg by Walter Frisch.” Notes 51/4: 1289–91.

    1992. “Clarence Loomis.” In The New Grove Dictionary of Opera. Ed. Stanley Sadie. 426. London: MacMillan & Co.

    1992. “Otto Luening.” Dictionary of Contemporary Composers. 516–17. London: St. James Press.

    1990. “Wolfgang Rihm, Die Hamletmaschine, Oedipus.” Notes 46/3: 215–17.

    1988. “Otto Luening, Barnard and Electronic Music.” 4–8. Barnard Alumnae Magazine.

    1987. “The Music of Otto Luening.” Booklet. Kennedy Center for the Performing Arts. Washington, D.C.

    Recent Courses


    Theory I-II: Diatonic Harmony; Theory III: Chromatic Harmony; Eighteenth-Century Counterpoint; Twentieth-Century Analysis; Form and Analysis; Musicianship/Eartraining; Freshman Seminar on Twentieth-Century Visual Art and Music


    The Path Back To Tonality: American Music (1970–1995); The Musical Theories of Arnold Schoenberg; Twentieth-Century Theories of Tonal Music; Twentieth-Century Theory and Composition: A Symbiotic Relation?; Twentieth-Century Analysis: Schoenberg, Ives, Rochberg, Carter; Fifty Years of American Music Theory (1955–2005); Communities of Composers in Western Europe and America (1900–50)

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