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Faculty & Staff > History & Theory > Sarah Fuller


Sarah Fuller, Professor;
Music History and Theory
Ph.D. University of California, Berkeley, 1969
E-mail Sarah Fuller at: Sarah.Fuller[at]stonybrook.edu


Sarah FullerSarah Fuller is one of the founding members of Stony Brook's department of music, and has served as chair and as director of graduate studies. Her doctoral dissertation was on Aquitanian polyphony of the twelfth century, a repertory created just prior to the well-known Parisian polyphony associated with the Gothic Cathedral of Notre Dame. Her recent work includes studies in medieval and renaissance music theory and in the music of Guillaume de Machaut. Recently she has taught seminars on analysis of early music, on current research in music of the fourteenth century, on the music of Guillaume Machaut and of Igor Stravinsky. Her research has appeared in Acta Musicologica, Early Music History, the Journal of the American Musicological Society, Journal of Musicology, Musica Disciplina, and other journals. Her annotated anthology The European Musical Heritage: 800-1750 is used in music history courses across the country. She is a member of the American Musicological Society, the College Music Society, and the Society for Music Theory. She received the Stony Brook President's Award for Excellence in Teaching in 1984 and has been a member of the Stony Brook Academy of Scholar Teachers.

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Interests:
Medieval and Renaissance music
History of music theory in the Middle Ages and Renaissance

Selected Recent Publications:
Articles:
      “Exploring Tonal Structure in French Polyphonic Song of the Fourteenth-Century,” Tonal Structures in Early Music, ed. Cristle Collins Judd, (New York: Garland Publishing, Inc., 1998), pp. 61-86.

      “Modal Discourse and Fourteenth-Century French Song: A ‘Medieval’ Perspective Recovered?” Early Music History 17 (1998): 61-108.
      “‘Delectabatur in hoc auris’: Some Fourteenth-Century Perspectives on Aural Perception,”The Musical Quarterly 82 (1998): 466-81.
      G. F. Handel Giulio Cesare in Egitto, ed. Winton Dean and Sarah Fuller. Oxford and New York, Oxford University Press, 1998.
      Score and parts available on rental basis since 1978. Edition used in René Jacobs recording, CD, Harmonia Mundi, 1992.
      “Perspectives on Musical Notation in the Codex Calixtinus,” El Códice Calixtino y la Música de su Tiempo, ed. J. López-Calo and C. Villanueva, (Coruña: Fundación Pedro Barrié da la Maza, 2001), pp. 183-234.

      “Organum-discantus-contrapunctus in the Middle Ages,” The Cambridge History of Western Music Theory, ed. Thomas Christensen, (Cambridge: Cambridge University Press: 2002), pp. 477-502.

      Forthcoming:
      “Early Polyphony to circa 1200,” Chapter in The Cambridge Companion to Medieval Music, ed. Mark Everist. 2009?

      “Interpreting Hucbald on Mode,” to appear in Journal of Music Theory, 2009.
Reviews:
      Review of: Michel Huglo, Charles M. Atkinson, Christian Meyer, Karlheinz Schlager, Nancy Phillips. Die Lehre vom einstimmigen liturgischen Gesang, Geschichte der Musiktheorie, vol. 4, ed. Thomas Ertelt and Frieder Zaminer. Darmstadt: Wissenschaftliche Buchgesellschaft, 2000. Plainsong and Medieval Music 11 (2002), pp. 82-88.

      Review of: Leo Treitler, With Voice and Pen: Coming to Know Medieval Song and How It was Made, Oxford University Press, 2003. Music and Letters 87:1 (2006), pp. 85-88.

      Review of: Anne Walters Robertson, Guillaume de Machaut and Reims: Context and meaning in his musical works (Cambridge University Press, 2002). Music and Letters 87:1 (2006), 88-90.

      Review of: Machaut’s Music: New Interpretations, edited by Elizabeth Eva Leach. Studies in Medieval and Renaissance Music 1, Journal of the American Musicological Society 60:1 (2007): 187-93.

      Review of: David Russell Williams and C. Matthew Balensuela, Music Theory from Boethius to Zarlino: A Bibliography and Guide. ‘Harmonologia Series’ 14. (Pendragon Press, Hillsdale, NY, 2007) To appear in Music and Letters, summer 2009.

Professional Affiliations:
Current Editorial Boards: Theoria, Eastman Studies in Music.
Memberships: American Musicological Association, Society for Music Theory, Music Theory Society of New York State, College Music Society.