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Julian Horton is Associate Professor of Music and Head of School. He completed both his undergraduate and postgraduate studies at Trinity College, Cambridge, where he also held a Research Fellowship from 1996 to 2000, and has taught both at Cambridge University and at King's College, London. He is currently Critical Forum Editor of Music Analysis, editor of The Cambridge Companion to the Symphony and a member of the editorial boards of Nineteenth-century Music Review, Analysis in Context: Leuven Studies in Musicology and A Composition as a Problem, Estonian Academy of Music, Tallinn. He is the recipient of an IRCHSS Research Fellowship for 2009-10, and Principal investigator for an FP7 Marie Curie Fellowship for 2011-14. |
| Prof. Horton's research focuses on the analysis and reception of nineteenth-century music, with a particular interest in the music of Anton Bruckner. He was a research student of John Deathridge at Cambridge. His Ph.D. thesis elaborated a common-practice theory of nineteenth-century tonality, and took Bruckner's Symphony no.8 as an extended analytical example. His book Bruckner's Symphonies: Analysis, Reception and Cultural Politics is published by Cambridge University Press. He is also a contributor to The Cambridge Companion to Bruckner and has published on Brucknerian topics in Music and Letters and the Dutch Journal of Music Theory. In addition, he has published in The Musical Quarterly on the philosophical and literary-critical contexts of recent critiques of musical analysis, and is engaged in an ongoing study of nineteenth-century sonata forms in collaboration with Paul Wingfield of Trinity College, Cambridge. Work in preparation includes a comparative study of Bruckner and Brahms as symphonists, a monograph on Brahms' Piano Concerto no. 2 and a study of the reception of Bruckners music in Britain. |
| Sponsor : Irish Research Council for the Humanities and Social Sciences (IRCHSS) Title : First-movement Form in the Early Nineteenth-century Piano Concerto: Theory, Analysis and Practice Start Date / End Date : 01-SEP-09 / 31-AUG-10 |
| Sponsor : University College Dublin (UCD) Title : The Musicology Review Start Date / End Date : 03-AUG-09 / 31-JAN-11 |
| Sponsor : Irish Research Council for the Humanities and Social Sciences (IRCHSS) Title : Deeds of Music made Visible: Interaction between Symphonic and Stage Genres in Richard Strauss' Oeuvre Start Date / End Date : 01-SEP-07 / 31-AUG-09 |
| Sponsor : University College Dublin (UCD) Title : The development of instrumental sonata forms, 1770-1897 Start Date / End Date : 01-JUN-07 / 01-DEC-08 |
| Horton, J.,; (2004) Bruckner's Symphonies: Analysis, Reception and Cultural Politics. Cambridge: Cambridge University Press. [Details] |
| Horton, J. and Wingfield, P.; (2008) 'Norm and Deformation in Mendelssohn's Sonata Forms' In: Jacqueline Waeber and Nicole Grimes (eds). Mendelssohn Perspectives. Aldershot: Ashgate: *. [Details] |
| Horton, J.; (2004) 'Bruckner and the Symphony Orchestra' In: John Williamson (eds). The Cambridge Companion to Bruckner. Cambridge, U.K: Cambridge University Press. [Details] |
| Horton, J.,; (2004) 'Schumann's Requiem für Mignon and the Concept of Music as Literature' In: Lorraine Byrne (eds). Goethe: Musical Poet, Musical Catalyst. Dublin: Carysfort Press. [Details] |
| Julian Horton (Ed.). (2011) The Cambridge Companion to the Symphony. Cambridge: Cambridge University Press. [Details] |
| Horton, J.; (2008) 'Analysis, Philosophy and the Challenge of Critical Theory'. Journal of the Society for Musicology in Ireland, 3 :63-95. [Details] |
| Horton, J.; (2008) 'Bruckner's String Quintet and the Finale Problem'. A Composition as a Problem 5, 5 :118-138. [Details] |
| Horton, J.; (2006) 'The Symphonic Fugal Finale from Mozart to Bruckner'. Dutch Journal of Music Theory, 11 :230-246. [Details] |
| Horton, J.; (2001) 'Postmodernism and the Critique of Musical Analysis'. The Musical Quarterly, 85 :342-366. [Details] |
| Horton, J.,; (2006) 'Bruckner's Symphonies and Musical Scholarship in Ireland'. Internationale Bruckner-Gesellschaft Studien und Berichte, 66 :6-11. [Details] |
| Horton, J.; (2005) 'Bruckner's Symphonies and Sonata Deformation Theory'. Journal of the Society for Musicology in Ireland, 1 (1):1-13. [Details] | |||||||||
| Horton, J.; (2005) 'Schoenberg and the Moment of German Music'. Music Analysis, 24 (3):235-263. [Details] | |||||||||
| Horton, J.; (2004) 'Recent Developments in Bruckner Scholarship'. Music and Letters, 85 (1):85-94. [Details] | |||||||||
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| Julian Horton; (2008) 'Bruckner and the Myth of Otherness' The Bruckner Journal 11 (3) . [Details] |
| Horton, J.; (2004) The 'Bruckner Problem' and Its Analytical Consequences Proceedings of the First Annual Conference of the Society for Musicology in Ireland Maynooth, , pp.83-94 [Details] |
| Association: Society for Music Analysis, Function/Role: * |
| Association: Society for Musicology in Ireland, Function/Role: * |
| Association: Society for Music Theory, Function/Role: |
| Horton, J.; Dublin International Conference on Music Analysis. [Conference Organising Committee Member], Dublin International Conference on Music Analysis (June 2005), University College Dublin . |
| Horton, J.; Chaired a session on Strauss, Egon Wellesz and Hugo Von Hofmannsthal. [Chaired Session], Cambridge Opera Analysis Conference (April 2000), Cambridge University . |
| Horton, J.; Aspects of Wagner research. [Chaired Session], Royal Musicological Association Irish Chapter Meeting (May 2002), * . |
| Horton, J.; Chaired a session on music and nationalism. [Chaired Session], Inaugural Conference of the Society for Musicology in Ireland, NUI Maynooth . |
| Horton, J.; The 'Bruckner Problem' and Its Analytical Consequences. [Invited Lecture], Gästseminar, Ludwig-Maximillians Universität (2003), Ludwig-Maximillians Universität, Munich . |
| Horton, J.; Bruckner, Psychobiography and Musical Analysis'. [Invited Lecture], Graduate Research Seminar Queen's University (2003), Belfast, Ireland . | |||||||||
| Horton, J.; Schumann's Requiem für Mignon and the Concept of Music as Literature. [International Refereed Conference], Goethe: Musical Poet, Musical Catalyst (2004), NUI Maynooth, Ireland . | |||||||||
| Horton, J.; Chaired a session on Schumann and Reger. [Chaired Session], 13th Biennial Conference on 19th-Century Music, University of Durham . | |||||||||
| Horton, J.; 3rd Annual Conference of the Society for Musicology in Ireland (2005). [International Refereed Conference], Bruckner's Harmonic Practice and Neo-Riemannian Theory, University College Cork, Ireland . | |||||||||
| Horton, J.; Norm and Deformation in Mendelssohn's Sonata Forms. [Conference Organising Committee Member], Co-organised the Dublin International Conference on Music Analysis, University College Dublin, Ireland . | |||||||||
| Horton, J.; *. [Conference Organising Committee Member], Cambridge Opera Analysis Conference (2000), Cambridge, U.K . | |||||||||
| Horton, J.; Schumann, Strauss and Reger. [Conference Organising Committee Member], 13th Biennial Conference on Nineteenth-century Music (2003), University of Durham . | |||||||||
| Horton, J.; Sonata Form as Reception History: John Field's Piano Concerto no.7 and Schumann's Concerto Op. 54'. [International Refereed Conference], European Music Analysis Conference (2007), Freiburg, Germany . | |||||||||
| Horton, J.; 5th Conference of the Society for Musicology in Ireland. [International Refereed Conference], Elements of a Theory of Nineteenth-century Tonality (2007), DIT, Ireland . | |||||||||
| Horton, J.; 5th International Conference on Music Theory. [International Refereed Conference], Bruckner's String Quintet and the Finale Problem (2006), Academy of Music and Theatre, Tallinn . | |||||||||
| Horton, J.; The Symphonic Fugal Finale from Mozart to Bruckner (2006). [International Refereed Conference], Rethinking Mozart, Royal Conservatory, Brussels . | |||||||||
| Horton, J.; The Symphonic Fugal Finale from Mozart to Bruckner. [International Refereed Conference], Mozart in the Twenty-first Century, University College Dublin, Ireland . | |||||||||
| Horton, J. and Wingfield, P; Norm and Deformation in Mendelssohn's Sonata Forms'. [International Refereed Conference], Mendelssohn in the Long Nineteenth Century (2005), Trinity College, Dublin . | |||||||||
| Horton, J.; Bruckner's Harmonic Practice and Neo-Riemannian Theory. [International Refereed Conference], 3rd Annual Conference of the Society for Musicology in Ireland (2005), University College Cork, Ireland . | |||||||||
| Horton, J.; 13th Biennial Conference on Nineteenth-century Music. [International Refereed Conference], Bruckner's Symphonies and the Theory of Sonata Deformation (2004), University of Durham . | |||||||||
| Horton, J.; 2nd Annual Conference of the Society for Musicology in Ireland. [International Refereed Conference], Bruckner's Symphonies and the Theory of Sonata Deformation (2004), Queen's University, Belfast . | |||||||||
| Rogers, H.; Biennial Conference of the Society for Music Analysis. [International Refereed Conference], The Bruckner Problem and its Analytical Consequences (2003), Hull University, UK . | |||||||||
| Horton, J.; Inaugural Conference of the Society for Musicology in Ireland. [International Refereed Conference], The Bruckner Problem and its Analytical Consequences (2003), NUI Maynooth . | |||||||||
| Horton, J.; Royal Musical Association Irish Chapter Meeting. [International Refereed Conference], Bruckner and Musical Analysis (2002), University College Dublin, Ireland . | |||||||||
| Horton, J. and Wingfield, P.; 11th Biennial Conference on Nineteenth-century Music. [International Refereed Conference], Theory and Practice in Nineteenth-century Sonata Form (2000), Royal Holloway College . | |||||||||
| Horton, J.; Tonal Strategy in Bruckner's Eighth Symphony. [International Refereed Conference], 2nd International Bruckner Symposium (1996), Manchester University, UK . | |||||||||
| Horton, J.; Theories of Sonata Form and the Beethovenian Divide. [Invited Lecture], Graduate colloquium University of Cambridge (2007), Cambridge, U.K . | |||||||||
| Horton, J.; Bruckner, Brahms and the Concept of Thematic Process (2005). [Invited Lecture], Guest lecture, Catholic University, Leuven . | |||||||||
| Horton, J.; Problems in the Analysis of Nineteenth-century Tonality (2005). [Invited Lecture], Guest seminar, Catholic University, Leuven . | |||||||||
| Horton, J.; Bruckner, Brahms and the Concept of Thematic Process (2005). [Invited Lecture], Guest seminar, University of Edinburgh, Scotland . | |||||||||
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| Year 1998 Institution: University of Cambridge Qualification: PhD Subject: |
| Year 1991 Institution: University of Cambridge Qualification: BA Subject: |
| Year 1993 Institution: University of Cambridge Qualification: MPhil Subject: |
| Julian is an active composer. He studied with Hugh Wood at Cambridge, and with Michael Ball at Chetham's School of Music. Works include Elegy for clarinet quintet, a setting of William Blake's The Sick Rose for double mixed chorus, Arabesques for violin and piano, Fantasy for piano, written for his brother, the pianist Tim Horton and, most recently, Rhapsody for viola and piano and a Symphony for large orchestra. He is also a keen jazz guitarist, and has performed as one half of a guitar duo in London and Cambridge. |
| Prof. Horton teaches and coordinates Theory and Analysis of Tonality modules I, II and III, as well as final year courses on techniques of musical analysis, the nineteenth-century symphony and tonality from Beethoven to Schoenberg. He also teaches the core course in musicology and musical analysis as part of the M.Mus. degree, and runs the second-semester seminar series in analysis and composition, as well as being a tutor in composition. He has supervised undergraduate dissertations on the reception of Bruckner and Wagner in the Third Reich, Schumann's aesthetics, E.T.A. Hoffmann and the aesthetics of absolute music, sonata form in Beethoven's two-movement piano sonatas, Berg's serial music, neo-classicism in Schoenberg and Stravinsky, and the Wagnerian influence on Debussy's Pelleas et Melisande. He has supervised M.Mus. dissertations on Adorno and the social contexts of Brahms' Double Concerto, the concerti of Ralph Vaughan Williams, the transition to Beethoven's ‘new path', music and politics in German society 1700-1945, Schubert's late chamber music, Mendelssohn's Elijah, and Prokofiev's harmonic language. He has supervised to completion Ph.D. theses on music and the visual arts in the early twentieth century, Amletto by Franco Faccio and a portfolio of compositions, and is currently supervising theses on the sacred music of Brahms and Bruckner, symphonic sonata forms in the first half of the twentieth century, and the piano concerti of John Field. |
| Majella Boland, Doctor of Philosophy (PhD) - Thesis Supervisor |
| Una-Frances Clarke, Doctor of Philosophy (PhD) - Thesis Supervisor |
