UCD School of Music

Scoil an Cheoil UCD

Professor Julian Horton

Head of School

M.A., M.Phil., Ph.D. (Cantab.), H.Dip. (UCD)

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Julian Horton is Associate Professor and Head of the School of Music. He completed his doctoral thesis on the theory of nineteenth-century tonality at Trinity College, Cambridge, where he subsequently held a Junior Research Fellowship. Professor Horton has taught analysis, harmony, counterpoint and subjects in the history of music at Cambridge University, and analysis at King’s College, London. At UCD, he is coordinator for level-1, 2 and 3 modules in theory and analysis, as well as teaching modules on nineteenth-century music, and jointly teaching the M.Mus. modules Modes of Close Reading and Models of Symphonic Analysis.

Professor Horton’s research focuses on the analysis and reception of nineteenth-century instrumental music, with a special interest in the symphonies of Anton Bruckner, the analysis of sonata forms and the theory of tonality. His book Bruckner’s Symphonies: Analysis, Reception and Cultural Politics is published with Cambridge University Press; publications on Brucknerian topics have appeared in The Cambridge Companion to Bruckner, Music and Letters, Bruckner-Studien und Berichte and The Dutch Journal of Music Theory. He has also published on the relationship between analysis and critical theory in The Musical Quarterly, Music Analysis and the Journal of the Society for Musicology in Ireland, and on the nineteenth-century piano concerto in Music and Letters. Currently, he is engaged in an ongoing collaborative study of nineteenth-century sonata forms (with Paul Wingfield), as well as an IRCHSS-funded study of first-movement form in the early nineteenth-century piano concerto (with Nicole Grimes), and is writing a book on Brahms’ Piano Concerto no. 2. In 2009–10 he held an IRCHSS Research Fellowship; in 2011-14 he is principal investigator for an FP7 Marie-Curie Fellowship.

Julian is also editor and a contributor to the forthcoming Cambridge Companion to the Symphony, and has been Critical Forum Editor of Music Analysis. He sits on the editorial boards of the Nineteenth-century Music Review and Leuven Studies in Musicology series Analysis in Context, and is a member of the Council of the Society for Musicology in Ireland. In 2005 he was co-organiser (with Áine Heneghan) of the Dublin International Conference on Music Analysis, the first event of its kind to take place in Ireland, and was also on the committees of Mendelssohn in the Long Nineteenth Century, held at Trinity College Dublin in the same year, and the 15th Biennial Nineteenth-century Music Conference, held at UCD in 2008. In 2009 and 2010, he served as a tutor on the Society for Music Analysis Summer School at the University of Durham. He is co-organiser (with Lorraine Byrne Bodley) of Schubert and Concepts of Late Style (NUI Maynooth, October 2011) and on the organising committee for the 17th Biennial Nineteenth-century Music Conference (Edinburgh 2012). He is also an active composer and a keen amateur jazz guitarist.

Publications Books

As sole author:

Bruckner’s Symphonies: Analysis, Reception and Cultural Politics (Cambridge: Cambridge University Press, 2004)
Brahms’ Piano Concerto No. 2, Op. 83: Analytical and Contextual Studies (Leuven: Peeters, forthcoming)

As editor:

The Cambridge Companion to the Symphony, editor and contributor (Cambridge: Cambridge University Press, in press)

Articles

with Paul Wingfield, ‘Norm and Deformation in Mendelssohn’s Sonata Forms’ in Jacqueline Waeber and Nicole Grimes, eds, Mendelssohn Perspectives (Aldershot: Ashgate, 2012)

‘John Field and the Alternative History of Concerto First-movement Form’, Music and Letters 92/i, (2011), pp. 43-83

‘Symphonism and the Rehabilitation of Classical Form in the First Movement of Brahms’ Piano Concerto No. 2, Op. 83’ in Harry White and Ivano Cavallini, eds, Musicology without Frontiers: Essays in Honour of Stanislav Tuksar (Zagreb: Croatian Musicological Society 2010), pp. 471-512

‘Bruckner’s String Quintet and the Finale Problem’ in A Composition as a Problem 5 (2008), pp. 118–38

‘Analysis, Philosophy and the Challenge of Critical Theory’ in Journal of the Society for Musicology in Ireland 3 (2008), pp. 63–95

‘The Symphonic Fugal Finale from Mozart to Bruckner’ in Dutch Journal of Music Theory 11/iii (2006), pp. 230–46

‘Schoenberg and the Moment of German Music’ in Music Analysis 24/i–ii (2005), pp. 235–62

‘Bruckner’s Symphonies and Musical Scholarship in Ireland’ in Bruckner-Studien und Berichte 63 (2005), pp. 6–11

‘Bruckner’s Symphonies and the Theory of Sonata Deformation’ in Journal of the Society for Musicology in Ireland 1 (2005), pp. 1–13

‘Bruckner and the Symphony Orchestra’ in John Williamson, ed., The Cambridge Companion to Bruckner (Cambridge: Cambridge University Press, 2004) pp. 138–69

‘Recent Developments in Bruckner Scholarship’ in Music and Letters 85 (2004), pp. 83–93

‘Schumann’s Requiem für Mignon and the Concept of Music as Literature’ in Lorraine Byrne, ed., Goethe: Musical Poet, Musical Catalyst (Dublin: Carysfort Press 2004), pp. 242–71

‘The “Bruckner Problem” and Its Analytical Consequences’ in Proceedings of the First Annual Conference of the Society for Musicology in Ireland (Maynooth 2004), pp.83–94

‘Postmodernism and the Critique of Musical Analysis’ in Musical Quarterly 85/ii (2001), pp. 342–66

In press

‘Understanding the Symphony’ in The Cambridge Companion to the Symphony
‘Tonality in the Post-classical Symphony’ in The Cambridge Companion to the Symphony
‘The Later Symphonies’ in Alain Frogley and Aidan Thomson, eds, The Cambridge Companion to Vaughan Williams
‘Field Research’, ‘Barry Douglas’ and ‘John O’Conor’ inHarry White and Barra Boydel, general eds, Encyclopedia of Music In Ireland (Dublin: UCD Press, forthcoming)

Forthcoming

‘Bruckner in Irland’ in Andrea Harrandt, ed., Bruckner-Lexikon (Vienna: Musikwissenschaftlicher Verlag, forthcoming)

Reviews

Review of Heinz-Klaus Metzger and Rainer Riehn, eds., Musik-Konzepte 120–2: Bruckners Neunte im Fegerfeuer der Rezeption in Music and Letters 88 (2007), pp. 664–667.

Review of Constantin Floros, Anton Bruckner. Persönlichkeit und Werk in Music and Letters, 87 (2006), pp. 328–332.

Review of Derrick Puffett on Music in Music Theory Spectrum, 27 (2005), pp. 128–137.

Review of Andrew Dell’Antonio, ed., Beyond Structural Listening? Postmodern Modes of Hearing in Current Musicology, 78 (2004), 93–103.

Review of Benjamin Korstvedt, Bruckner: Symphony no.8 in The Bruckner Journal, 4 (2000), pp. 9–13.

Review of Paul Hawkshaw and Timothy L. Jackson, eds, Bruckner Studies in Music Analysis, 18 (1998), pp. 155–170.

Recent Conference Papers

‘Thematic Syntax and First-movement Form in the Post-classical Piano Concerto’, Society for Music Theory Conference, Minneapolis 2011
‘The First Movement of Schubert’s Piano Sonata D. 958 and the Performance of Analysis’, Schubert and Concepts of Late Style, NUI Maynooth 2011
‘Beethoven’s Error? The Modulating Ritornello and the Post Post-classical Piano Concerto’, Society for Music Analysis Conference, University of Lancaster 2011
‘Beethoven’s Error? The Modulating Ritornello and the Post Post-classical Piano Concerto’, Society for Musicology in Ireland Conference, Royal Irish Academy of Music, Dublin 2011
‘After Dussek: The Post-classical Piano Concerto and the Theory of Concerto First-movement Form’ 16th Biennial Nineteenth-century Music Conference, University of Southampton 2010
‘John Field and the Alternative History of Concerto First-movement Form’, Joint SMI/RMA Annual Conference, Dublin 2009
John Field and the Development of Concerto First-movement Form in the Early Nineteenth Century’, Society for Music Analysis Conference, University of Cardiff 2008.
‘Innovation and the Rehabilitation of Classical Form in the First Movement of Brahms’ Piano Concerto no. 2, Op. 83’, 15th Biennial Nineteenth-century Music Conference, Dublin 2008.
‘Innovation and the Rehabilitation of Classical Form in the First Movement of Brahms’ Piano Concerto no. 2, Op. 83’, Society for Musicology in Ireland Conference, Waterford IT 2008.
‘Sonata Form as Reception History: John Field’s Piano Concerto no.7 and Schumann’s Concerto Op. 54’, European Music Analysis Conference, Freiburg, 2007.
‘Elements of a Theory of Nineteenth-century Tonality’, 5th Annual Conference of the Society for Musicology in Ireland, DIT, Dublin, 2007.
‘Bruckner’s String Quintet and the Finale Problem’, 5th International Conference on Music Theory, Academy of Music and Theatre, Tallinn 2006.
‘The Symphonic Fugal Finale from Mozart to Bruckner’, Rethinking Mozart, Royal Conservatory, Brussels 2006.
‘The Symphonic Fugal Finale from Mozart to Bruckner’, Mozart in the Twenty-first Century, University College Dublin 2006.
‘Norm and Deformation in Mendelssohn’s Sonata Forms’, Mendelssohn in the Long Nineteenth Century, Trinity College, Dublin 2005 (with Paul Wingfield).
‘Bruckner’s Harmonic Practice and Neo-Riemannian Theory’, Society for Musicology in Ireland Conference, University College Cork 2005.

Recent Guest and Forthcomming Lectures

‘Two-Dimensional Sonata Form in the Post-Classical Piano Concerto: Schumann, Liszt and After', University of Liverpool 2011
‘Theories of Concerto First-movement Form for the Post-classical Piano Concerto’, University of Southampton 2009
‘Towards a Model of Nineteenth-century Sonata Form’, NUI Maynooth 2009
‘Innovation and the Rehabilitation of Classical Form in the First Movement of Brahms’ Piano Concerto no. 2, Op. 83’, University of Durham 2008.
‘Theories of Sonata Form and the Beethovenian Divide’, University of Cambridge 2007.
‘Bruckner, Brahms and the Concept of Thematic Process’, Catholic University, Leuven 2005.
‘Problems in the Analysis of Nineteenth-century Tonality’, Catholic University, Leuven 2005.
‘Bruckner, Brahms and the Concept of Thematic Process’, University of Edinburgh, 2005.
‘Bruckner, Brahms and the Concept of Thematic Process’, King’s College, London 2005.

Recent Compositions

Piano Quintet (2007)
Symphony (2006)
Rhapsody for viola and piano 2004)
Fantasy for piano (1996, revised 2007)