David G. Frey Distinguished Professor
Tim Carter (David G. Frey Distinguished Professor of Music) 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. His research focuses on music in late Renaissance and early Baroque Italy; on Mozart’s Italian operas; and on American musical theater in the mid-twentieth century. He is particularly concerned with the development of appropriate historical, analytical and critical tools to deal with problematic works that sit on several cusps and forge new musical languages; the careful garnering and analysis of sources and documentary evidence; the elucidation of text–music relationships, with particular reference to the influence of poetic structures on musical form and process; and the embedding of contemporary performances (and performers) within surviving scores and the intertextual and performative issues that arise.
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. 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 continues to serve on numerous editorial and advisory boards. He was chair of the Music Departments at Royal Holloway and Bedford New College (1995–2000) and at UNC (2004–2009). In 2013 he received the Claude V. Palisca Award and the H. Colin Slim Award from the American Musicological Society for his work on Kurt Weill’s Johnny Johnson and on Monteverdi; in 2015–16 he was a fellow at the National Humanities Center working on “political” musical theater in the United States in the 1930s.
- Office: Hill 202A
- Email: firstname.lastname@example.org
- Phone: 919-962-2045
Books And Editions
2017 Rodgers and Hammerstein: “Carousel”. “Keynotes.” New York: Oxford University Press.
2015 Understanding Italian Opera. New York: Oxford University Press.
2013 (With Richard Goldthwaite) Orpheus in the Marketplace: Jacopo Peri and the Economy of Late Renaissance Florence. “I Tatti Studies in Italian Renaissance History.” Cambridge, Mass.: Harvard University Press.
2012 Ed. Kurt Weill and Paul Green: “Johnny Johnson” (1936). “The Kurt Weill Edition,” Series I, vol. 13. New York: Kurt Weill Foundation/European American Music Corporation.
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. Cambridge: Cambridge University Press.
2002 Monteverdi’s Musical Theatre. New Haven and London: Yale University Press.
2000 Monteverdi and his Contemporaries. “Variorum Collected Studies Series” CS690. Aldershot: Ashgate. (Includes twelve 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. (Includes thirteen 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.
1994 Trans. Composing Opera: from “Dafne” to “Ulisse errante”. “Practica musica” 2. Kraków: Musica Iagellonica.
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 and Early Baroque Italy. London: Batsford (Portland, Ore., Amadeus Press.
1989 Jacopo Peri (1561–1633): His Life and Works. “Outstanding Dissertations in Music from British Universities.” New York and London: Garland.
1987 W.A. Mozart: “Le nozze di Figaro”. “Cambridge Opera Handbooks.” Cambridge: Cambridge University Press (repr. 1989, 1990, 1991, 1994, 1998).
1985 Ed. Jacopo Peri: “Le varie musiche” and Other Songs. “Recent Researches in the Music of the Baroque Era” 50. Madison: A-R Editions. (Recorded by Ellen Hargis, Harmonia Mundi, [CD] HMU907234 .)
Essays And Articles From 2000
“Broadway Goes to War.” In Music and World War II. Edited by Roberta Montemorra Marvin and Pamela Potter. Aldershot (U.K.): Ashgate Press, forthcoming.
“Music and Dance.” In A Cultural History of the Emotions in the Baroque and Enlightenment Age (1600–1780). Edited by David Lemmings, Claire Walker, and Kate Barclay. London: Bloomsbury, forthcoming.
“Nuove musiche, nuovi pensieri: melodrammi, monodie, ed il barocco musicale.” In Il contributo italiano alla storia del pensiero: Musica. Edited by Sandro Cappelletto. Rome: Treccani, forthcoming.
“Whose Voice is It Anyway? Jacopo Peri and the Subjectivities of Florentine Solo Song c.1600.” Basler Jahrbuch für Historische Musikpraxis, forthcoming.
2016 “Monteverdi and Some Problems of Biography.” Journal of Seventeenth-Century Music 18, <http://sscm-jscm.org/jscm-issues/volume-18-no-1/>.
2016 “Beyond Drama: Monteverdi, Marino, and the Sixth Book of Madrigals (1614).” Journal of the American Musicological Society 69: 1–46.
2015 “‘Every Friday evening music is performed in the Hall of Mirrors…’: Claudio Monteverdi and the Rituals of Courtly Exchange in Early Seventeenth-Century Italy.” In Musical Text as Ritual Object. Edited by Hendrik Schulze, 137–50. Turnhout (Belgium): Brepols.
2014 “What Is Opera?” In The Oxford Handbook to Opera. Edited by Helen Greenwald, 15–32. New York: Oxford University Press.
2014 “Introduction to Johnny Johnson.” In The “Lost” Group Theatre Plays, vol. 3: By Paul Green and Erwin Piscator, 111–14. New York: ReGroup Theatre Company.
2014 “In the Operatic Workshop: The Case of Varesco’s and Mozart’s Idomeneo.” In “Music’s Obedient Daughter”: The Opera Libretto from Source to Score. Edited by Sabine Lichtenstein, 69–106. “Textxet: Studies in Comparative Literature,” 74. Amsterdam and New York: Rodopi.
2013 “Broadway ‘Her’stories” (review-essay on Stacy Wolf, Changed for Good: A Feminist History of the Broadway Musical [Oxford and New York: Oxford University Press, 2011]). In Text and Presentation 2012. Edited by Graley Herren, 189–95. “The Comparative Drama Conference Series” 9. Jefferson, N.C., and London: McFarland.
2013 “It’s All in the Notes.” Early Music 41: 81–82.
2012 “The Power of the Patron? A Case from the Life of Jacopo Peri (1561–1633).” Miscellanea Ruspoli: studi sulla musica dell’età barocca 2: 3–20.
2012 “Cerberus Barks In Vain: Poetic Asides in the Artusi–Monteverdi Controversy.” Journal of Musicology, 29: 461–76.
2012 “Two into Three Won’t Go? Poetic Structure and Musical Forms in Mozart’s Idomeneo.”Cambridge Opera Journal 24 (2012): 229–48.
2012 “Monteverdi, Early Opera, and a Question of Genre: The Case of Andromeda (1620).” Journal of the Royal Musical Association 137: 1–34.
2012 “The Seventeenth Century: An Overview.” In The Cambridge History of Musical Performance. Edited by Colin Lawson and Robin Stowell, 377–97. Cambridge: Cambridge University Press.
2012 “’E in rileggendo poi le proprie note’: Monteverdi Responds to Artusi?” Renaissance Studies 26: 138–55.
2011 “Winds, Cupids, Little Zephyrs, and Sirens: Monteverdi and Le nozze di Tetide (1616–17).” Early Music 39: 489–502.
2011 “Schoenberg, Weill, and the Federal Arts Projects in Los Angeles, Spring 1937.” In Ereignis und Exegese—Musikalische Interpretation, Interpretation der Musik: Festschrift für Hermann Danuser zum 65. Geburtstag. Edited by Camilla Bork, Tobias Robert Klein, Burkhard Meischein, Andreas Meyer, and Tobias Plebuch, 600–612. Schliengen (Germany): Edition Argus.
2011 “Celebrating the Nation: Kurt Weill, Paul Green, and the Federal Theater Project (1937).” Journal of the Society for American Music 5:297–334.
2010 “Some Notes on the First Edition of Monteverdi’s Orfeo (1609).” Music and Letters 91: 498–512.
2010 “Another Monteverdi Problem (and Why It Still Matters).” In Fiori musicali: liber amicorum Alexander Silbiger. Edited by Claire Fontijn and Susan Parisi, 83–94. “Detroit Monographs in Musicology: Studies in Music” 55. Sterling Heights, Mich.: Harmonie Park Press.
2009 “Improvised Counterpoint in Monteverdi’s 1610 Vespers.” In “Uno gentile et subtile ingenio”: Studies in Renaissance Music in Honour of Bonnie J. Blackburn. Edited by M. Jennifer Bloxam, Gioia Filocamo, and Leofranc Holford-Strevens, 29–35. Turnhout: Brepols.
2007 “Musical Sources,” “The Venetian Madrigals,” and “Intermedio IV: Lamento della ninfa (1638).” In The Cambridge Companion to Monteverdi. Edited by John Whenham and Richard Wistreich, 20–30, 179–94, 195–98. Cambridge: Cambridge University Press.
2006 “The Concept of the Baroque,” “Italy, iii: 1600–1640.” In European Music 1520–1640. Edited by James Haar, 38–57, 91–100. “Studies in Medieval and Renaissance Music” 5. Woodbridge, UK: Boydell and Brewer.
2006 “Tutto ’l dí piango…: Petrarch and the ‘New Music’ in Early Seventeenth-Century Italy.” In Il Petrarchismo: un modello di poesia per l’Europa. Edited by Loredana Chines, 1:391–404. Rome, Bulzoni.
2005 “Renaissance, Mannerism, Baroque,” “The Search for Musical Meaning,” and “Mask and Illusion: Italian Opera after 1637.” In The Cambridge History of Seventeenth-Century Music. Edited by Tim Carter and John Butt, 1–26, 158–96, 241–82. Cambridge: Cambridge University Press.
2004 “Che cosa è amor? Music and Love in Mozart’s Così fan tutte.” In Theatre, Opera, and Performance in Italy from the Fifteenth Century to the Present: Essays in Honour of Richard Andrews. Edited by Brian Richardson, Simon Gilson, and Catherine Keen, 155–72. “Occasional Papers of the Society for Italian Studies” 6. Leeds: Society for Italian Studies.
2004 “In the Workshop of Rodgers and Hammerstein: New Light on Oklahoma!” In Music Observed: Studies in Memory of William C. Holmes. Edited by Colleen Reardon and Susan Parisi, 55–64. Warren, Mich.: Harmonie Park Press.
2004 “L’editoria musicale tra Cinque e Seicento.” In Il libro di musica: per una storia delle fonti musicali in Europa. Edited by Carlo Fiore, 137–62. “De charta” 7. Palermo: L’Epos.
2004 “Metrical Equivalence in Beethoven: Some Problems in Performance and Analysis.” Beethoven Forum 11 (2004): 127–61.
2003 “Rediscovering Il rapimento di Cefalo.” Journal of Seventeenth-Century Music 9, <http://sscm-jscm.press.uiuc.edu/jscm/v9no1.html>.
2003 With Erik Levi. “The History of the Orchestra.” In The Cambridge Companion to the Orchestra. Edited by Colin Lawson, 1–21. Cambridge: Cambridge University Press.
2002 “Two Monteverdi Problems, and Why They Matter.” Journal of Musicology 19: 417–33.
2002 “An American in…?” (review-article of Susan McClary, Conventional Wisdom: The Content of Musical Form [Berkeley, Los Angeles and London: University of California Press, 2000]). Music and Letters 83: 274–78.
2002 “The Composer as Theorist? Genus and Genre in Monteverdi’s Combattimento di Tancredi e Clorinda.” In Music in the Mirror: Reflections on the History of Music Theory and Literature for the Twenty-first Century. Edited by Thomas J. Mathiesen and Andreas Giger, 77–116. “Publications of the Center for the History of Music Theory and Literature” 3. Lincoln and London: University of Nebraska Press.
2002 “The Sound of Silence: Models for an Urban Musicology.” In Musik und Urbanität: Arbeitstagung der Fachgruppe Soziologie und Sozialgeschichte der Musik in Schmökwitz/Berlin vom 26. bis 28.November 1999. Edited by Christian Kaden and Volker Kalisch, 13–23. Essen: Verlag Blaue Eule. Revised in Urban History 29 (2002): 8–18. Translated as “El sonido del silencio: modelos para una musicología urbana.” In Música y cultura urbana en la edad moderna. Edited by Andrea Bombi, Juan José Carreras, and Miguel Á. Marín, 53–66. Valencia, Universitat de València, 2005.
2001 “Crossing the Boundaries: Sacred, Civic and Ceremonial Space in Late Sixteenth- and Early Seventeenth-Century Florence.” In 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). Edited by Piero Gargiulo et al., 139–46. Florence: Edizioni Firenze.
2001 “Musiche rinascimentali siciliane: uno sguardo dall’esterno.”
2000 “Lorenzo da Ponte.” In Mozart and his Operas. Edited by Stanley Sadie, 120–25. “The ‘New Grove Composers’ Series.” London: Macmillan.
2000 “Misappropriated Genres and Stylistic Appropriations: Some Problems in Early Seventeenth-Century Music Theatre.” In The Influence of Italian Entertainments on Sixteenth- and Seventeenth-Century Music Theatre in France, Savoy, and England. Edited by Maria-Claude Canova-Green and Francesca Chiarelli, 3–11. “Studies in the History and Interpretation of Music” 68. Lewiston, N.Y.: Edward Mellen Press.
2000 “Mozart in a ‘Land without Musicʼ: Henry Bishop’s The Marriage of Figaro.” In Musik Konzepte—Konzepte der Musikwissenchaft: Bericht über den Internationalen Kongress der Gesellschaft für Musikforschung, Halle (Saale) 1998. Edited by Kathrin Eberl and Wolfgang Ruf, 1:196–206. Kassel, etc.: Bärenreiter.
2000 “Per cagione di bene, et giustamente vivere: Some Thoughts on the Musical Patronage of Giovanni de’ Bardi.” In 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. Edited by Piero Gargiulo, Alessandro Magini, and Stéphane Toussaint, 137–46. “Cahiers di «Accademia».” Paris: Société Marsile Ficin.