Michael Markham's research is on the music of the early Italian Baroque. He joins
SUNY Fredonia from Stanford University where he was a Mellon Fellow in the Humanities
and visiting lecturer in Music and Cultural History from 2006-2008. He received his
B.Mus in classical guitar and an M.M. in Musicology from The Peabody Conservatory
of The Johns Hopkins University.
In 2001 he received his M.A. and in 2006 his Ph.D. in Musicology from the University
of California – Berkeley. His dissertation is entitled The Heritage of Campaspe: Oral
Tradition and Giulio Caccini's "Le nuove musiche" (1602). It touches on theories of
performance and space in early 17th-Century Italy and the problem of text and Italian
solo song in the Renaissance.
His writings on early Baroque performance spaces, on solo song, on Monteverdi and
Bach, and on music history pedagogy have appeared in The Cambridge Opera Journal,
The Opera Quarterly, Repercussions, and Seventeenth-Century Music. He has twice presented at the annual conference of the American Musicological Society
and has given scholarly lectures at the University of Cambridge, Stanford University,
The University of California – Berkeley, Stony Brook University, and The University
of South Carolina.
Recent publications include:
"Caccini's Stages: Identity and Performance Space in the late-cinquecento court,"
in The Music Room in Early Modern France and Italy: Sound, Space, and Object, eds. Deborah Howard and Laura Moretti (Oxford University Press, 2012), 195-210.
"On Being and Becoming: The First Year of Teaching On the Clock," in The Music History Classroom, ed. James Davis (Ashgate, 2012), 247-67.
"Sarassine's Failure, Campaspe's Lament: Solo Song and the End[s] of Material Reproduction,"
The Opera Quarterly, Vol. 26, No. 1 (Winter, 2010), 4-41
"Monteverdi, Hero" Review essay of Massimo Ossi, Divining the Oracle and other recent
Monteverdi scholarship, Cambridge Opera Journal, Vol. 20 (2008): 111-116
"'The Usefulness of Such Artworks': Expression, Analysis, and Nationalism in 'the
Art of Fugue.'" Repercussions 9/1 (Fall 2001), 33-76.
In addition to regular courses ranging from the music of Middle Ages to 20th Century
Modernism, some of Dr. Markham's more popular seminars at SUNY Fredonia include:
"The History of Performance and the Analysis of Interpretation"
"Narrative Analysis of Music"
"The Romantic [Anti-]Hero in Music"
Michael Markham is a guest