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Mark Anson-Cartwright
Position: Assistant Professor, Queens College and Graduate Center
Campus Affiliation: Queens College
Degrees/Diplomas: PhD, CUNY
Research Interests: Schenkerian Analysis, 18th-Century Music

Mark Anson-Cartwright is a music theorist specializing in the analysis of  tonal music, with particular emphasis on Schenkerian analysis and 18th century music. He has presented many papers at national and international conferences and has had articles published in Music Analysis, Music Theory Spectrum, Journal of Music Theory, and Intégral. He is also the former editor of the journal Theory and Practice.


REPRESENTATIVE PUBLICATIONS:

“The Mutable Subject: Tonal and Rhythmic Transformations in Selected Fugues of J.S. Bach,” Journal of Music Theory 58/1 (2014): 1–24.
 
“Subdominant Returns in the Vocal Music of J.S. Bach,” Eighteenth-Century Music 10/2 (2013): 253–276.
 
“Beethoven: Structural Principles and Narrative Strategies,” in The Cambridge Companion to the Symphony, ed. Julian Horton (Cambridge: Cambridge University Press, 2013), pp. 174–189.
 
Review of Metric Manipulations in Haydn and Mozart, by Danuta Mirka, Music & Letters 92/1 (2011): 125–128.
 
Review of The Schenker Project, by Nicholas Cook, Intersections 30/2 (2010): 120–123.
 
“Temporal Spaces and Thematic Development in Beethoven’s Music,” Tijdschrift voor Muziektheorie / Dutch Journal of Music Theory 14/2 (2009): 114–125.
 

“Elision and the Embellished Final Cadence in J. S. Bach’s Preludes,” Music Analysis 26/iii (2007): 267-288.

“Concepts of Closure in Tonal Music: A Critical Study,”  Theory and Practice 32 (2007): 1-17.

Review of Explaining Tonality, by Matthew Brown, Journal of Schenkerian Studies 2 (2007): 141–148.

“Tonal Conflicts in Haydn’s Development Sections: The Role of C Major in Symphonies  Nos. 93 and 102,” in Structure and Meaning in Tonal Music: A Festschrift for Carl Schachter, ed. Poundie Burstein and David Gagné. Hillsdale, NY: Pendragon Press, 2006.

“Haydn’s Hidden Homage to Mozart: Echoes of ‘Voi che sapete’ in Opus 64 No. 3,” Intégral 14/15 (2000/2001): 121–136.

“Chasing Rainbows: Wolf’s ‘Phänomen’ and Ideas of Coherence,” Journal of Music Theory 45/2 (Fall 2001): 233–261.

Review of Unfoldings, by Carl Schachter, Music Theory Spectrum 23/2 (2001): 242–47.

“Chromatic Features of E-flat-Major Works of the Classical Period,” Music Theory Spectrum 22/2 (2000):  177–204.

“Chord as Motive: The Augmented-Triad Matrix in Wagner’s Siegfried Idyll,” Music Analysis 15/1 (March 1996): 57–71.