Michael Markham's research is on the music of the early Italian Baroque and on classical
music in contemporary culture. He joined The STate University of New York at 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
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.
Along with chapters appearing in recent books available through The Oxford University
Press and Ashgate, 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, Seventeenth-Century Music, and
Gli Spazie della Musica. 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.
He is a regular contributor at the Los Angeles Review of Books where he supplies essays
on the contemporary reception of classical music (available at the following links):
Recent academic publications include:
- “Caccini’s Two Bodies: Problems of Text and Space in Early-Baroque Monody,” Gli Spazi della Musica, Vol. 2, No. 1: 33-54
- "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.'"
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 Fredonia include:
- "The History of Performance and the Analysis of Interpretation"
- "Narrative Analysis of Music"
- "The Romantic [Anti-]Hero in Music"