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Matthew Hall

Educational Background

  • PhD, musicology, Cornell University (in progress)
  • MA, musicology, Cornell University (2016)
  • MMus, historical performance (harpsichord), Boston University (2013)
  • Editorial assistant, Packard Humanities Institute, Cambridge, MA (2010–13)
  • Organ scholar, Leeds Cathedral, UK (2009/10)
  • MMus, musicology, University of Leeds, UK (Fulbright Scholarship; 2009/10)
  • AB, music & linguistics, Harvard (2009)

 

 

 

Website(s)

Departments/Programs

  • Music

Research

  • Dissertation: "Copying Bach: Compositional Emulation and Originality among J.S. Bach's Apprentices."
  • History and theory of eighteenth-century music, especially J.S. Bach
  • History and theory of music 1450–1550, especially Antoine Brumel
  • Music of Compère, Josquin, Mouton; F. Couperin, Handel, C.P.E. Bach, Haydn
  • Music analysis and criticsm; counterpoint and form; musical judgment and perception
  • Performance (organ, harpsichord, clavichord), notation, and pedagogy
  • Historiography of music
  • Philosophy of authorship, works, and originality

Courses

Publications

  • "On the Notation of the Bass in Agostino Agazzari's Eumelio (1606): the relationship between counterpoint and improvisation," in progress.
  • "François Couperin on Touch, Movement, and Soul," Keyboard Perspectives 10 (forthcoming, 2018)
  • "Johann Sebastian Bach," A-R Online Music Anthology ed. Jonathan Lee Rhodes www.armusicanthology.com> (forthcoming, 2018).
  • "Brumel’s Laudate Dominum de caelis and the ‘French-court’ motet,” Journal of the Alamire Foundation 18/1 (forthcoming, 2016).
  • “Keyboard Technique as Contrapuntal Structure in J.S. Bach’s Clavier Works,” Understanding Bach 10 (2015): 85–108.
  • “Charles Diepart’s Six suittes (1701–2) and the en concert performance tradition,” The Viola da Gamba Society Journal 4 (2010): 6–35.