Music Department Faculty

Tim Carter
David G. Grey Distinguished Professor

Office: 105B Hill Hall
Email: cartert@email.unc.edu
Phone: 919-962-1039

Tim Carter (Distinguished Professor and Chair) was born (1954) in Sydney, Australia, and studied in the United Kingdom at the University of Durham and then under Nigel Fortune at the University of Birmingham. Prior to moving to the University of North Carolina at Chapel Hill in 2001, he taught in the United Kingdom at the Universities of Leicester and Lancaster, and at Royal Holloway and Bedford New College, University of London, where he was Department Chair. He has held fellowships at the Harvard Center for Italian Renaissance Studies, Villa I Tatti, Florence (1984-85), and the Newberry Library, Chicago (1986), and has occupied various positions within the Royal Musical Association, the American Musicological Society, and the Society for Seventeenth-Century Music, of which he was President (2003-6). He was also joint-editor of Music & Letters (1992-98) and now serves on the editorial boards of the on-line Journal of Seventeenth-Century Music, Early Music, Cambridge Opera Journal, plus the monograph series Studi musicali toscani: ricerche e cataloghi and Cambridge Studies in Opera.His research focuses on music in late Renaissance and early Baroque Italy, with special attention to Florence on the one hand, and the music of Claudio Monteverdi on the other; on Mozart's Italian operas; and most recently, on the musicals of Rodgers and Hammerstein. He is particularly interested in music and theater, in music printing and publishing, in musical and archival sources and their interpretation, and in performers and performance practices.

 

Selected Publications
(excludes reviews, dictionary entries, journalism, etc.):

Books and editions

Forthcoming     Ed. Kurt Weill: “Johnny Johnson,” “The Kurt Weill Complete Edition” (New York: Kurt Weill Foundation for Music)

2007    “Oklahoma!” The Making of an American Musical. New Haven and London: Yale University Press

2005    Ed. with J. Butt, The Cambridge History of Seventeenth-Century Music, ed. Tim Carter & John Butt. Cambridge: Cambridge University Press [2005]

2002    Monteverdi’s Musical Theatre. New Haven and London: Yale University Press; ISBN 0–300–09676–3; pp. x + 326

2000    Monteverdi and his Contemporaries. “Variorum Collected Studies Series,” CS690. Aldershot: Ashgate; ISBN 0–86078–823–7; pp. xii + 270. (Includes 12 essays by TC published in scholarly journals and edited volumes, 1987–97.)

2000    Music, Patronage and Printing in Late Renaissance Florence. “Variorum Collected Studies Series,” CS682. Aldershot: Ashgate; ISBN 0–86078–817–2; pp. xii + 282. (Includes 13 essays by TC published in scholarly journals and edited volumes, 1979–96.)

1995    Ed. with I. Fenlon,‘Con che soavità’: Essays in Italian Baroque Opera, Song, and Dance, 1580–1740. Oxford: Clarendon Press; ISBN 0–19–816370–3; pp. x + 336

1994    Trans., Composing Opera: from “Dafne” to “Ulisse errante”. “Practica musica,” 2. Kraków: Musica Iagellonica; ISBN 83–7099–010–X; pp. 200

1993    Trans., Polemics on the “Musica moderna”: Agostino Agazzari, “La musica ecclesiastica”; Marco Scacchi, “Breve discorso sopra la musica moderna”. “Practica musica,” 1. Kraków: Musica Iagellonica; ISBN 83–7099–004–5; pp. 72

1992    Music in Late Renaissance & Early Baroque Italy. London: Batsford (Portland, OR, Amadeus Press); ISBN 0–7134–6730–4; pp. 288

1989    Jacopo Peri (1561–1633): His Life and Works. “Outstanding Dissertations in Music from British Universities.” New York & London: Garland; ISBN 0–8240–2346–3; pp. xiii + 519

1987    W.A. Mozart: “Le nozze di Figaro”. “Cambridge Opera Handbooks.” Cambridge: Cambridge University Press (repr. 1989, 1990, 1991, 1994, 1998); ISBN 0–521–3027–6/0–521–31606–5; pp. xii + 180

1985    Ed., Jacopo Peri: “Le varie musiche” and Other Songs. “Recent Researches in the Music of the Baroque Era,” 50. Madison: A-R Editions; pp. xli + 112 (recorded by Ellen Hargis, Harmonia Mundi, [CD] HMU907234 [1999])

 

Essays and articles from 1999

Forthcoming    “The Seventeenth Century: an Overview.” In Colin Lawson and Robin Stowell (eds.), The Cambridge History of Musical Performance. Cambridge: Cambridge University Press

Forthcoming    “Another Monteverdi Problem (and Why It Still Matters).” In Claire Fontijn (ed.), Liber amicorum Alexander Silbiger. Warren, MI: Harmonie Park Press

Forthcoming    “Improvised Counterpoint in Monteverdi’s 1610 Vespers.” In Gioia Filocamo and M. Jennifer Bloxam (eds.),  ‘Uno gentile et subtile ingenio’: Studies in Renaissance Music in Honour of Bonnie Blackburn. Turnout, Brepols

Forthcoming    “‘…e poi le parole’: Towards a History of the Libretto.” In Martin Adams (ed.), The Cambridge Companion to Early Opera. Cambridge: Cambridge University Press

2007    “Musical Sources,” “The Venetian Madrigals,” and “Intermedio IV: Lamento della ninfa (1638).” In John Whenham and Richard Wistreich (eds.), The Cambridge Companion to Monteverdi. Cambridge, Cambridge University Press, pp. 20–30, 179–94, 195–98

2006    “Tutto ’l dí piango…: Petrarch and the ‘New Music’ in Early Seventeenth-Century Italy.’ In Loredana Chines (ed.), Il Petrarchismo: un modello di poesia per l’Europa. Rome: Bulzoni, vol. 1, pp. 391–404

2006    “The Concept of the Baroque,” “Italy, iii; 1600–1640.” In James Haar (ed.), European Music 1520–1640, ‘Studies in Medieval and Renaissance Music’, 5. Woodbridge: Boydell and Brewer, pp. 38–57, 91–100

2004    “L’editoria musicale tra Cinque e Seicento.” In Carlo Fiore (ed.), Il libro di musica: per una storia delle fonti musicali in Europa, “De charta,” 7. Palermo: L’Epos, pp. 137–62

2004    “In the Workshop of Rodgers and Hammerstein: New Light on Oklahoma!.” In C. Reardon and S. Parisi (eds), Music Observed: Studies in Memory of William C. Holmes. Warren, MI: Harmonie Park Press, pp. 55–64

2004    “Metrical Equivalence in Beethoven: Some Problems in Performance and Analysis.” Beethoven Forum 11: 127–61

2004    “Che cosa è amor? Music and Love in Mozart’s Così fan tutte.” In B. Richardson et al. ((eds.), Theatre, Opera, and Performance in Italy from the Fifteenth Century to the Present: Essays in Honour of Richard Andrews. ‘Occasional Papers of the Society for Italian Studies’, 6. Leeds: Society for Italian Studies, pp. 155–72

2003    With Erik Levi, “The History of the Orchestra.”. In C. Lawson (ed.), The Cambridge Companion to the Orchestra. Cambridge: Cambridge University Press, pp. 1–21

2003    “Rediscovering Il rapimento di Cefalo.” Journal of Seventeenth-Century Music 9; <http://sscm-jscm.press.uiuc.edu/jscm/v9no1.html>

2002    “Two Monteverdi Problems, and Why They Matter.” Journal of Musicology 19: 417–33

2002    “The Sound of Silence: Models for an Urban Musicology.” In C. Kaden and V. Kalisch (eds), Musik und Urbanität: Arbeitstagung der Fachgruppe Soziologie und Sozialgeschichte der Musik in Schmökwitz/Berlin vom 26. bis 28. November 1999. Essen: Verlag Blaue Eule, pp. 13–23 (revised in Urban History 29 (2002): 8–18)

2002    “The Composer as Theorist?  Genus and Genre in Monteverdi’s Combattimento di Tancredi e Clorinda.” In T. J. Mathiesen and A. Giger (eds), Music in the Mirror: Reflections on the History of Music Theory and Literature for the Twenty-first Century. “Publications of the Center for the History of Music Theory and Literature,” 3. Lincoln and London: University of Nebraska Press, pp. 77–116

2002    “An American in…?” [review-article of Susan McClary, Conventional Wisdom: the Content of Musical Form (2000)], Music & Letters 83: 274–8

2001    “Crossing the Boundaries: Sacred, Civic and Ceremonial Space in Late Sixteenth- and Early Seventeenth-Century Florence.” In P. Gargiulo et al (eds), Atti del VII centenario del Duomo di Firenze, iii: “Cantate domino”: musica nei secoli per il Duomo di Firenze; atti del Convegno Internazionale di Studi (Firenze, 23–25 maggio 1997). Florence: Edizioni Firenze, pp. 139–46

2000    “Mozart in a ‘Land without Music’: Henry Bishop’s The Marriage of Figaro.” In K. Eberl and W. Ruf (eds), Musik Konzepte—Konzepte der Musikwissenchaft: Bericht über den Internationalen Kongress der Gesellschaft für Musikforschung, Halle (Saale) 1998. 2 vols, Kassel etc.: Bärenreiter, i: 196–206

2000    “Per cagione di bene, et giustamente vivere: Some Thoughts on the Musical Patronage of Giovanni de’ Bardi.” In P. Gargiulo, A. Magini, and S. Toussaint (eds), Neoplatonismo, musica, letteratura nel Rinascimento: I Bardi di Vernio e l’Accademia della Crusca; atti del Convegno Internazionale di Studi, Firenze-Vernio, 25–26 settembre 1998. “Cahiers di «Accademia».” Paris: Société Marsile Ficin, pp. 137–46

2000    “Printing the ‘New Music’.” In K. van Orden (ed.), Music and the Cultures of Print. New York and London: Garland, pp. 3–37

1999    “New Light on Monteverdi’s Ballo delle ingrate (Mantua, 1608).” Il saggiatore musicale 6: 63–90

1999    “Singing Orfeo: on the Performers of Monteverdi’s First Opera.” Recercare 11: 75–118

1999    “Finding a Voice: Vittoria Archilei and the Florentine ‘New Music’.” In L. Hutson (ed.), Feminism and Renaissance Studies. “Oxford Readings in Feminism.” Oxford: Clarendon Press, pp. 450–67

1999    “Lamenting Ariadne?” Early Music 27: 395–405

 

Recent Courses

Undergraduate: Studies in Music History, 1650-1850; Fundamentals of Music I; Theory-Musicianship II; The Mozart/Da Ponte Operas; The American Musical, 1927-1952

Graduate: Monteverdi's Operas; From Renaissance to Baroque-Issues in Style and Expression; The Mozart/Da Ponte Operas; What's in a Key?-Modal Types and Tonal Practices in Music of the Classic Era

 

Updated 8/22/2008