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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 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 contemporary with the music of the Codex Calixtinus. 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 Machaut, modal theory in the Middle Ages and the Rennaissance, and notational problems in early music. 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 is a current member of the Stony Brook Academy of Scholar Teachers.More Information
Interests:
Medieval and Renaissance music
History of music theory
Editorial Boards of Journal of Music Theory and Theoria, Journal of the American Musicological Society.
Recent Publications:
"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.
"Defending the Dodecachordon: Ideological Currents in Glarean's Modal Theory," Journal of the American Musicological Society 49 (1996), pp. 191-224.
Review of Joachim Burmeister, Musical Poetics, translated by B. Rivera and Franchino Gaffurio, The Theory of Music, translated by W. Kreyszig, Music Theory Spectrum 17 (1995), p. 119-23.
"Tendencies and Resolutions: The Directed Progression in Ars Nova Music," Journal of Music Theory, vol. 36 (1992), pp. 229-258.
"Guillaume de Machaut: De toutes flours," Models of Music Analysis: Music before 1600, ed. Mark Everist, (Oxford: B. Blackwell, Ltd., 1992), pp. 41-65.
"Modal Tenors and Tonal Orientation in Motets of Guillaume de Machaut," Studies in Medieval Music Festschrift for Ernest Sanders (New York: Columbia University, 1990), pp. 199-245.
The European Music Heritage c. 800-c. 1750, (New York: Random House, 1987)
"A Phantom Treatise of the Fourteenth Century? The Ars Nova," The Journal of Musicology IV (1985-86), 23-50.
Recent Conference Papers:
"On Singing to Delight: A Medieval Theory of Performance Practice," Greater New York Chapter of the American Musicological Society, meeting of March 21, 1998.
"'Delectabatur in hoc auris': Some Fourteenth-Century Perspectives on Aural Perception," Music as Heard: Listeners and listening in late-medieval and early modern Europe (1300-1600), conference held at Princeton University, 27-28 September, 1997.
"Modal Discourse and Fourteenth-Century French Song," American Musicological Society, Annual Meeting, New York, November 3, 1995.
"Exploring Tonal Structure in 14th-Century Polyphonic song," conference on Tonal Structures in Early Music, University of Pennsylvania, March 29, 1996.
"On Interactions between Contrapunctus and Mensuration in Guillaume de Machaut's Two-Voice Secular Songs." Read at the 31st International Congress on Medieval Studies, Kalamazoo, MI, May 10, 1996.