Faculty | Theory/Comp

John Snyder

Rob Smith

Professor of Music Theory

email: jlsnyder@uh.edu
MSM 150
office phone:
120 School of Music Bldg, Houston, TX 77204-4017
visit also: Course Information (http://www.hfac.uh.edu/music/snyder/Courses.htm)
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Education: Ph.D., Indiana University, 1982; M.M., Michigan State University, 1974; B.M., with High Honor, Michigan State University, 1972.


Books and critical editions: Samuel Coleridge-Taylor: Symphonic Variations on an African Air, Opus 63 (Middleton: A-R Editions, 2007); Theinred of Dover’s De legitimis pentachordorum et tetrachordorum, A Critical Text and Translation, with an introduction, annotations, and indices (Ottawa: Institute of Mediæval Music, 2006).


Articles on musical analysis and the history of music theory (selected): “Pitch and Pitch Relationships in Musicæ artis disciplina: Letter Notation, Species, and Contour Theory” (Theoria 17 [2010]); “Reason and Original Thinking in English Intellectual Circles: Aristotle, Adelard and Auctoritas in Theinred of Dover’s Musical Theory of Species,” in Teaching and Learning in Northern Europe 1000-1200 (ed. Sally Vaughn and Jay Rubenstein; Brepols, 2006); entries on Theinred of Dover in The Revised New Grove Dictionary of Music and Musicians (2001); New Grove Online; The New Dictionary of National Biography (Oxford University Press, 2004); “Schenker and the First Movement of Mozart’s Sonata, K. 545: An Uninterrupted Sonata‑Form Movement?” (Theory and Practice 16 [1991]); “Entropy as a Measure of Musical Style: The Influence of a priori Assumptions” (Music Theory Spectrum 12/1 [1990]); “A Road Not Taken: Theinred of Dover’s Theory of Species” (Journal of the Royal Musical Association 115/2 [1990]); “Theinred of Dover on Consonance: A Chapter in the History of Harmony” (Music Theory Spectrum 5 [1983]).


Papers Presented (selected): “Toward a Critical Edition of Coleridge-Taylor’s Symphony in A Minor: Sources, Chronology, Issues” (Ft. Worth: Southwest Chapter of AMS & Des Moines: North American British Music Studies Association, 2010); “Pseudo-Odo’s Eccentric Theories of Species and Contour: Two Approaches to Pitch Relationships from Medieval Italy” (San Marcos: Texas Society for Music Theory, 2008); “Pseudo-Odo’s Musicæ artis disciplina: Questions of Content, Transmission, and Influence” (Tucson: Rocky Mountain Chapter of AMS & Rocky Mountain Society for Music Theory, 2007); “Cadences, Phrases, Periods, and Undergraduate Angst: Some Observations and Suggestions” (Tallahassee: Florida Theory Society, and San Marcos: Texas Society for Music Theory, 2004); “Aristotle, Auctoritas, and Theinred of Dover’s Theory of Species: An English Contribution to the Twelfth‑Century Renaissance” (San Antonio: Texas Medieval Association, 2001); “Diabolus in musica: Structure and Tonality in the Wolf=s Glen” (Waco: Texas Society for Music Theory, and Toronto, Society for Music Theory, 2000); “Schenker, Schoenberg, Brahms: Organic Unity in Theory and Practice” (Ottawa: Austria 996‑1996: Music in a Changing Society, 1996); “The Structure of Scriabin’s Atonality: The Ninth Piano Sonata” (London, Ontario: Music Theory Canada, 1988); “The Date of Theinred of Dover’s De legitimis ordinibus pentachordorum et tetrachordorum: A Review of the Evidence” (Philadelphia: American Musicological Society, 1984); “Non‑Diatonic Tones in Plainsong: Theinred of Dover versus Guido d’Arezzo” (Strasbourg, International Musicological Society, 1982).


Professional Activity: Editorial Advisory Board, Thesaurus Musicarum Latinarum (1991–present); Editorial Board, Music Theory Online (2001–2003); President, Texas Society for Music Theory (1994–97); Fellow, Mannes Institute for Advanced Studies in Music Theory (Institute in Historical Theory, June 2001).