Michael Markham is an assistant professor of Music History at the State University of New York at Fredonia. His writings on Baroque music and performance spaces, on solo song, and on J. S. Bach have appeared in Gli spazi della musica, The Cambridge Opera Journal, The Opera Quarterly, and Repercussions. Two recent essays can be found in The Music Room in Early Modern France and Italy: Sound, Space, and Object published by Oxford University Press and The Music History Classroom published by Ashgate.
CONTRIBUTOR ARTICLES
How About a Little Poptimism for Tchaikovsky?
Rockism vs. Poptimism through the centuries...
The Significance of Philip Glass
“Philip Glass has become, whether he likes it or not, a name on a list of sound-material used to induce states of mind.”...
Bach Psychology: Gothic, Sublime, or just human?
With scant primary documents to his name, Bach is nonetheless the most written-upon classic composer, which has led to a fluid historical identity....
The New Mythologies: Deep Bach, Saint Mahler, and the Death Chaconne
THERE IS A PHRASE about two minutes from the end of J. S. Bach’s famous Chaconne for solo violin that, ...
Vivaldi Unbound
Handel is the true OG: sampling when it was still called stealing....
