Nikhil Hogan Show

Returning to the program is Professor Robert Gjerdingen, Professor Emeritus of Music at Northwestern University’s School of Music. He is well known for his research in Music Schemata Theory, Partimento and is an expert in music of the 18th century. His previous book was the influential 2007 book “Music in the Galant Style” and he has a new book out entitled,”Child Composers in the Old Conservatories: How Orphans Became Elite Musicians”. He is also very actively updating his new website partimenti.org ----- 0:48 How did you come to write Child Composers? 2:43 Do you still conduct research in Music Schema Theory? 3:20 How long did you work with Alma Deutscher and what did you work on? 5:56 How do the elite child classical performers of today compare with the elite child musicians of these old conservatories? 8:22 What was the typical job description of a graduate of the Neapolitan conservatories? 9:44 Was fugal training overkill with regard to the work that the graduates would use in their professional lives in the 18th century? 11:24 What are the problems with Move-able Do in Solfeggio? 16:19 How were intavolature, beginning keyboard pieces, used at the conservatories? 18:12 What are some good, easy keyboard pieces that children today could use? 18:54 If I was a violinist, would I still need to sing and play the keyboard? 19:26 Even if I played guitar, cello, trumpet or any instrument I’d still be expected to sing and play keyboard? 19:37 Why did the Neapolitans place so much importance on singing? 20:23 How many hours a day did one of these child composers dedicate to music at the conservatories? 21:21 How many times a week would a class like partimento be taken a week? 22:04 Did Debussy study partimenti at the Paris Conservatory? 23:42 What is the difference between the Bologna and Naples traditions? 25:28 Henri Busser’s blackballing at his harmony entrance exam by Theodore Dubois 28:30 Did Rameau and his theories of fundamental bass have any influence on the Paris Conservatory? 29:46 If the Paris Conservatory was so emulated around the world and Walter Piston studied with Nadia Boulanger, why didn’t the old italian methods continue on in America in the 20th century? 32:58 Do things like submediants, supertonics then exist? 33:49 Are there modern theories of music with levels of harmony or is it just a serious study of counterpoint? 35:08 Are these 20th century college books of harmony just for learning “about” music and instead of real study of music would entail a serious multi-year course of counterpoint? 36:19 What is your opinion about classical music performance competitions? 39:14 How do these old Italian methods work with regular, non-prodigy children and people? 41:40 Have you seen a change in perception in music analysis with regard to music schema, partimento, figured bass over the years? 45:00 What about Heinrich Schenker’s popularity in music conservatories, didn’t he believe in counterpoint? 45:55 What’s your plan with partimenti.org? 46:11 Do you have new books and articles planned for the future? 46:28 Were you friends with Daniel Heartz who recently passed away? 47:33 Commenting on Music Schema with regard to form-functional analysis 48:46 How should a child start learning music?

I’m so pleased to introduce my guest today Harpsichordist, Improviser and Conductor, Professor Ewald Demeyere. Professor Demeyere studied at the Royal Conservatoire of Antwerp obtaining his master’s degree for harpsichord in Jos van Immerseel’s class. On completion of his studies in 1997 he was engaged as a teacher of harmony, counterpoint and fugue by the Royal Conservatoire of Antwerp. In 2002 he succeeded Jos van Immerseel as Professor of Harpsichord and he is also a professor at IMEP in Belgium. A specialist in Early Music, Partimento and counterpoint, he was the winner of the CPE Bach Counterpoint Contest. As a recording artist he has recorded many albums including Tears, Harpsichord Laments of the 17th century, 18th century flemish harpsichord music, Telemann Les nations - Overture & Oboe concertos, Mozart’s Gran Partita, and many more.

Hey everyone, welcome to the Nikhil Hogan Show. I’m really excited to introduce my guest today, Professor John A. Rice. Professor Rice studied music history under Daniel Heartz at the University of California, Berkeley (PhD, 1987) he taught at the University of Washington (1987–88), Colby College (1988–90), the University of Houston (1990–97), and the University of Texas at Austin (1999). More recently he has been a visiting professor at the University of Pittsburgh (2010–11) and the University of Michigan (2012–13). He has received grants from the Alexander-von-Humboldt Stiftung, the National Endowment for the Humanities, and the American Philosophical Society. He has written many articles, reviews of books and musical editions, entries in musical encyclopedias and dictionaries, and six books, one of which, Antonio Salieri and Viennese Opera, received the Kinkeldey Award from the American Musicological Society. Other notable books include “Music in the Eighteenth Century” and “Mozart on Stage” by Cambridge University Press. He has lectured widely in both the United States and Europe. He has served as president of the Mozart Society of America and of the Southwest Chapter of the AMS and as a director-at-large of the AMS. He is an elected member of the Akademie für Mozart-Forschung in Salzburg.  He runs a great YouTube Channel called Settecentista that provides many great examples of Music Schema and other topics. His research can be found on Academia.edu ----- 1:18 How did you come to your research? 2:00 Studying under Daniel Heartz 2:36 What was considered cutting-edge in music history research in 1987? 3:11 What’s the difference between Opera Seria and Buffa? 4:09 Do these genres stem from nationality? 4:40 How have views on Opera changed from a music history perspective? 5:47 How did Opera relate to popular entertainment in the 18th century? 7:03 On your Antonio Salieri project in Vienna 8:02 On the popular perception of Salieri vs his real standing 9:32 What was the contemporary reception of Salieri? 10:48 Essays on Opera 1750-1800 11:20 Was Opera the dominant popular entertainment at the time? 12:01 What does Settecentista means? 12:20 How did you get into Musical schema? 13:24 How did you find new schema? 14:10 What was the first new schema that you found? 15:20 Did you tell your professor that you named the schema after him? 15:31 The Lully schema 16:28 The Morte schema 16:53 How many times do you have to notice a schema before it becomes important enough to identify? 17:27 How does partimento relate to schema? 18:09 Are there more schema lurking out there yet to be discovered? 19:32 On the few attempts to apply schema analysis to Opera 20:33 Examples in opera where it’s difficult to apply current schema theory 21:45 On the ubiquity of rising lines in Opera, contrasted with the many falling line schemas 22:56 What was instrumental music used for in the 18th century? 24:11 The Monte-Romanesca 25:44 What is the sublime? 26:23 Does the rising nature of the Monte-Romanesca relate to that feeling of the sublime? 26:37 Analyzing the quartet in Idomeneo with schema theory 27:40 What are the limitations of schema theory? 28:27 What’s been the most surprising thing to you about your research? 29:08 Saint Cecilia 29:58 Who was Saint Cecilia and why is she significant? 32:34 Examples of musicians who were the first who started to use her as an inspiration 33:16 What text was used to accompany the music? 34:41 Where was that phrase found? 34:51 Why do you think she resonated with the musicians? 35:08 When did organs appear? 35:57 How widespread was her image? 37:14 Is she still invoked today in liturgy and music? 37:51 What is interesting to you about renaissance music? 38:57 Were musicians of the 18th century well versed in renaissance music and older? 40:36 Wasn’t Mozart more of a harbinger of the newer, more popular style? 41:29 Can you recommend some music that’s not well known but should be because it’s so great 42:27 What about great Operas that should be more known? 43:09 What do you have planned for 2020? 44:10 When will the new book be published? 44:20 Wrapping Up

I’m really happy to introduce my guest today, Professor Johannes Menke. In 2004, he received his doctorate with a thesis on Giacinto Scelsi at the TU Berlin. From 1999-2009 he taught music theory and ear training at the Musikhochschule Freiburg and was also active as a radio author, organist and choirmaster. Since 2007 he has been Professor of Historical Theory at the Schola Cantorum Basiliensis. From 2008 to 2012 he was President of the Society for Music Theory (GMTH). He is co-editor of the book series Sinefonia (Wolke-Verlag) and the journal Musik & Ästhetik (Klett-Cotta). His numerous publications deal mainly with questions of music theory and analysis, especially with regard to history and didactics. His focus is on the music of the 16th and 17th centuries. These are the book publications counterpoint I: The music of the Renaissance and counterpoint II: The music of the Baroque. His work at the Schola Cantorum Basiliensis includes subjects in the fields of Renaissance to Romantic music, Early Music, the History of Music Theory as well as supervising doctoral projects. He is also co-founder of the project series Klangwelt Renaissance and the Basel Forum for Music Aesthetics. ----- 1:02 When did the State of Germany come about? 2:03 Was it originally divided by religion or culture? 2:39 Siefried Dehn 3:52 How was Dehn trained? 4:17 Had generalbass existed in Germany at that time? 4:58 On parallels with Italian partimento and their differences 5:21 Adolf Bernhard Marx 6:36 How did Marx learn music? 7:00 Was his training similar to Dehn’s training? 8:05 What artist would represent the ancient regime? 8:29 Why would Marx say these things when many of old German masters studied generalbass? 9:16 What kind of music theory was Marx trying to promote to replace generalbass? 10:08 Does that include Roman Numerals? 10:31 Who came up with Roman Numerals? 10:50 Marx’s nationalist sentiments 11:37 Ferdinand Hiller 12:33 The reception of partimenti and Fenaroli in Germany 13:42 The perception that partimento was deficient because it appeared to lack chordal theory 14:28 Did Marx win the music theory wars? 14:59 Did Marx have successful students of note? 15:33 Was Dehn nationalistic as well? 16:05 Richard Wagner before Weinlig 17:09 Who was Christian Theodor Weinlig? 17:37 Weinlig called himself a Maestro, an Italian term 18:05 Wagner’s recollections in his autobiography about his lessons 19:41 Wagner being a grandchild of the Bologna tradition 20:07 Would Wagner have composed thinking more along the lines of generalbass? 21:27 How do we know that Wagner liked Bellini? 22:07 Did the love for Bellini stay with Wagner for his whole life? 23:14 What was the reception of Italian music, such as Opera, in Germany? 24:15 Is the word partimento mentioned in Germany in the 19th century? 25:08 Did the lack of figures in partimento influence generalbass or was it more like bologna, which had figures? 25:38 Is there an equivalent for the Rule of the Octave in Germany? 26:53 Was Partimento hard to be accepted because it was an oral tradition and lacked detailed treatises 27:54 What were the famous harmony books in Germany? 28:44 Gottfried Weber 30:03 How did Mendelssohn learn music? 30:49 Was Johann Georg Albrechtsberger familiar with the italian methods or was he more of a generalbass-ist? 31:46 On generalbass being thought of as just accompaniment rather than a complete method of composition and counterpoint. 33:03 If I was a student in the 19th century, how would I learn to be a composer? 33:31 Do different cities in Germany have different music theory traditions? 34:30 Did Germany have an equivalent to Italian Solfeggio and the study of melody? 35:46 How do you learn music in the generalbass way? 36:55 Franz Liszt being part of the generalbass tradition through Czerny 37:25 Where did the newer, progressive methods of music theory come from? 38:24 So do these ideas come from the new ideas of chordal thinking? 39:22 How do the traditional ideas of generalbass influence modern music education? 40:35 With so many music theory methods, what should the modern music student learn? 41:56 Would you use roman numerals to explain romantic music? 43:07 What music would be good to analyze with chord inversions and roman numerals? 44:26 Would you expect a student to learn all the tools? 45:22 Upcoming articles and projects for 2020 45:50 Where to find Professor Menke’s work 46:12 How would you reform music education? 46:52 Should everyone learn generalbass? 47:10 Wrapping Up

I’m so thrilled to be able to talk to my guest: Professor of Music Theory and Cognition, Professor Vasili Byros. Professor Byros is a tenured Associate Professor of Music Theory and Cognition at Northwestern University. He researches the compositional, listening, and pedagogical practices of the long 18th century, with an emphasis on the music of Beethoven, J. S. Bach, and Mozart, using a holistic methodology that combines perspectives from schema theory. A prolific scholar, his research articles can be founded in numerous scholarly publications and journals. Examples include, “Thinking in Bach’s language, Teaching in His Shoes”, “Mozart’s Vintage Corelli,: The Microstory of a Fonte-Romanesca”, “Prelude on a Partimento: Invention in the Compositional Pedagogy of the German states in the time of JS Bach” and many more. His article “Prelude on a Partimento” received the Outstanding Publication Award from the Society for Music Theory in 2017. Also in 2017, he was awarded the Charles Deering McCormick Professorship, Northwestern University’s highest recognition of teaching excellence and curricular innovation. Finally, Professor Byros is currently writing a monograph on Late Beethoven.

We have a very special show today, returning to the show the master classical improviser Professor David Dolan, from the Guildhall School of Music and Drama. Also joining the program is Professor Henrik Jensen, from the Department of Mathematics at the Imperial College of London. He leads the Centre for Complexity Science, which engages in a range of research into the applied and fundamental aspects of complexity science. For today’s show, we’ll be diving into the fascinating collaborative research that my two guests have doing for the last 10 years, involving studying the brain with improvised and non-improvised music and how it functions during each activity, quantifying improvisatory behavior, improvisation and communication between brains. ----- 1:13 How did you come up with the idea of the project? 2:35 Talking about levels of synchronization 4:43 Deriving information from the EEGs 7:01 Were the musicians from Guildhall? 7:36 Talking about the instrumentation of the players 7:51 Did you need a harmonic player like a harpist to provide structure? 8:55 Talking about the selection of the music 10:55 Million dollar question: Is the brain radically different between improvising and non-improvising musicians? 13:09 What does the index mean? 14:06 Talking about the Strict phase and the Let Go phase 17:02 In the Strict phase, was the music sight read or memorized? 18:12 How is memory different between the two phases? 19:11 Talking about sustained attention 22:58 Is the brain being used more when improvising or less, is the brain more relaxed during improvising? 25:46 Discussing levels of comfort and familiarity with improvisation? 27:20 The difference in brain function in the speed of the improvisation 31:26 What is happening when the brain is undergoing a “magic moment”? 32:39 Did you tell the audience that the improvisation was a secret? 33:07 Talking about the listener’s experience during improvisation and non-improvisation 34:42 The Let Go portion had more interest in the listeners 35:29 If you could re-do the experiment with unlimited funding, what would you do? 36:48 If you had told the audience there was improvisation, would it have affected their answers? 38:19 Is the idea that Strict a left brain thing and Let Go a right brain thing a myth? 39:52 Is it just more fun to improvise? 41:53 What can you recommend people check out to follow up on this research? 45:21 Any other key takeaways from this research that we should mention? 46:30 What hypotheses do you suspect are the possible conclusions of this research? 49:37 Wrapping Up

My guest today is Professor of Music Theory, Lydia Carlisi. She studied in Rome (Università di Roma 2/Tor Vergata) completing in 2010 a Bachelor Thesis on Leonardo Leo's Partimenti under the direction of Professor Giorgio Sanguinetti. In 2015 she completed a Master in Music Theory in the class of Prof. Dr. Ludwig Holtmeier at the Hochschule für Musik Freiburg (DE) with a thesis on Gaspare Selvaggi's «Trattato di armonia» (1823). During this time she was awarded a DAAD scholarship. She worked at creating the Neapolitan canon project at the university of the arts Bern and she is now professor for music theory at the Conservatorio of Lugano, Switzerland. Her upcoming PhD thesis focuses on the French reception of Partimento. ----- 1:02 When was the Paris Conservatory founded? 2:39 Was Italian music very influential in France at the time? 3:26 Did France have it’s own music tradition separate from Italy? 4:02 How and why was the Paris Conservatory founded? 4:56 What happened in 1799? 5:47 Emanuele Imbimbo’s background 7:12 Fenaroli’s popularity in France 8:38 On French music theory 8:52 Talking about Honoré Langlé 9:32 Was Niccolò Piccinni the first head of the Paris Conservatory? 10:23 Did the French government send people to Naples to procure Italian music materials? 13:27 Was the Paris Conservatory interested also in German music at the time? 14:10 Gaspare Selvaggi’s massive collection of Neapolitan composers 14:55 Did people like to collect music scores? 15:33 Did the Paris Conservatory copy the Neapolitan model of Solfeggio and Partimenti? 18:02 Was the Paris Conservatory Solfeggio different from the Neapolitan Solfeggio? 19:50 Did other conservatories around the world copy the model of the Paris Conservatory? 20:46 On the separation of subjects within the Paris Conservatory curriculum 21:05 On Luigi Cherubini’s background and training 25:30 Was the word “partimenti” found in any of the French texts 26:18 Did Partimenti get “reborn” in France in the middle of the 19th century? 27:28 How did they learn counterpoint in the Paris Conservatory? 28:07 Did Choron have any influence on the Paris Conservatory? 29:03 Was partimenti viewed as old-fashioned or incomplete according to François-Joseph Fétis at the Paris Conservatory? 30:22 Was the Paris Conservatory approach to harmony similar to the Neapolitan method? 31:02 Were only composers and accompanists the ones who practiced improvisation? 32:00 Who was responsible for the fragmentation of the Neapolitan method in the Paris Conservatory? 33:10 Did accompanists like Debussy learn how to do “partimenti”-like exercises? 34:20 Were accompanists only practicing chords? 35:48 What were the important pedagogical books that the students would use at the Paris Conservatory? 36:40 Did the Charles-Simon Catel book erase the Neapolitan view of harmony? 37:43 What do you teach at the mentiParti? 39:07 How is the Partimenti composition class different from a more orthodox composition class? 39:53 What books can you recommend to people interested in developing their compositional training? 41:08 How do you improve your written counterpoint? 41:26 What are some basics for counterpoint that beginners can use? 43:12 Is renaissance-style counterpoint useful for learning galant music? 43:48 Is partimento counterpoint considered strict? 44:29 Are fugues at the end of the counterpoint study? 45:54 How do you introduce orchestration into composition study? 46:46 What are some common mistakes when learning the Neapolitan tradition? 48:05 Do you have unlearn a lot of information when learning partimento? 48:27 Who are your favorite Neapolitan composers? 49:00 Do you have favorite Partimenti? 49:29 What is the future for Partimento research? 51:06 Did Bach have Durante scores? 51:35 Is Partimento theory applicable for the 21st century? 52:22 If you could reform music education, how would you do it? 53:43 Can you learn to compose as an adult or is it too late? 54:37 Wrapping up

I'm so pleased to introduce my guest today: Professor of Music Theory and History, Professor Nicholas Baragwanath! His book “The Italian Traditions and Puccini”, a major study of compositional theory and practice in 19th-century Italy, was published in 2011 by Indiana University Press. It surveys the once commonplace fundamentals, methods, and formulas that were taught at Italian music conservatories, and explores their significance for composition through case studies from Rossini, Bellini, and Donizetti to Verdi, Boito, and Puccini. His upcoming book, "The Solfeggio Tradition: A Forgotten art of melody in the long 18th century", will be released in the summer of 2020, published by Oxford University Press. ----- 1:17 What is your musical background? 1:35 What was your area of research in academia? 2:32 How did you end up researching solfeggio? 4:14 Authentic partimenti realizations tend to be rare but are solfeggi manuscripts complete by comparison? 5:16 Are there historical treatises on how to do Solfeggio? 8:03 Did they use “Ut” instead of “Do”? 9:49 What do you mean by 84, aren’t there just 7 clefs? 10:23 Would someone with absolute or perfect be bothered by this Italian solfeggio? 11:24 So does Italian solfeggio have similarities to moveable do? 11:36 If hexachord means six notes, where did that 7th note Si or Ti come from? 13:31 Are modes (like Aeolian or Dorian) relevant to solfeggio? 14:44 What are key differences between 17th, 18th and 19th century solfeggi? 16:20 Is solfeggio always tied with a bass? 16:59 How did students learn counterpoint and composition through solfeggio? 19:34 Talking about Solfèges d’Italie and how a single syllable could yield multiple notes of different pitches 20:49 Adding extra notes to Do and Re 22:05 Did the Neapolitan students study singing for 3 years or 6 years? 22:19 What is the difference between basic Lettura or note reading and l’arte del canto: Solfeggio cantato meant with graces? 25:32 Would these Neapolitan students be familiar with Music Schema like the Prinner? 26:28 Would you have to look at a lot of solfeggi examples to build that vocabulary? 27:21 What was the trickiest thing for you to learn, when you started doing solfeggio? 30:09 How should one start solfeggio training from the very beginning? 33:41 As a trained pianist, do you look at your old music scores differently with this solfeggio insight? 35:18 What’s the difference in style between the strict style solfeggi and the more popular style solfeggi? 36:37 Did you have choral training in your musical background? 37:05 What was the contemporary reception of Italian solfeggio? 38:12 Have you collaborated with people in historical performance regarding your research in solfeggio? 39:56 To prepare for your book, what should interested musicians and students practice and have prepared? 41:03 Going back to perfect pitch, would pitch matching be erased if someone learned the italian solfeggio way because of the similarities to moveable do? 42:06 Did they use “Do” or the letter “C”? 42:48 It’s a very moveable-doish sort of perception? 43:10 Is Italian solfeggio robust enough a system to tackle “progressive” 19th and 20th century music? 44:48 How does solfeggio tackle dissonance? 46:17 How did solfeggio die out? 47:43 You seem to have cracked the mastery of solfeggio.. are there more mysteries left to be uncovered? 50:46 What does it mean: singing the wrong pitch to the right syllable? 51:46 What musical tools and skills did you “discard”, as you’ve evolved as a musician? 53:38 Upcoming events 54:33 Wrapping Up

Hey everyone welcome back to the Nikhil Hogan Show, the show interviewing the best musicians in the world and what a treat today, I’m so thrilled to introduce my guest, Pianist, Composer, Arranger, and Teacher, Isaac Raz! Isaac Raz holds a Bachelor of Music degree in Jazz Composition and Music Synthesis from the Berklee College of Music in Boston, MA, and is a recipient of the Duke Ellington Award. He received his Master of Arts in Teaching degree in Music Education from Lehman College, Bronx, NY, and is a recipient of the Joseph Dellicarri fund award. In 1993 he composed the musical score for the Emmy Award winning documentary film “Pioneer Women”. In 2000 Isaac worked with jazz record producer Teo Macero, playing keyboards and programming tracks for his “Impressions of Miles Davis” album featuring Vernon Reid, David Leibman, Lew Soloff, and Lincoln Goinnes. His arranging skills have been utilized on many pop music recordings, including Zomba Record’s gold selling R&B artist Joe. Isaac continues to work as a composer, creating music for film, TV, and educational applications. His Jazz and pop groups have played throughout the US and abroad featuring his own compositions as well as popular music of all styles. In the NY Jazz scene, Isaac is an 8 year veteran of Barry Harris’ weekly tuesday workshop and a great proponent of Barry Harris’ method. He is the founder of Whole Music LLC, and runs a fast growing Youtube channel. ----- 2:07 What’s your musical background? 3:06 Do you have Absolute or Perfect Pitch? 3:57 What was your development like in Berklee leading up to the Barry Harris workshop? 5:26 Are you talking about chord scales and modes? 6:47 What was your first day like in the Barry Harris masterclass? 8:25 Do you remember your first interaction with Barry Harris? 9:45 What happened in that 2nd year of going to the workshop? 10:39 Talking about Barry Harris’s identity 12:02 Does he include hard bop in his style? 13:51 What about the criticism of Barry Harris that he’s old fashioned? 16:28 On there being a whole more music left for people to write 17:34 The breakdown of the 6 hour masterclass and the improvisation section of the class 20:17 How should we break up Cherokee into scales? 22:09 What scales do we need? What kinds of minor do we need to learn? 23:21 What about the major and minor 6th diminished scales? 23:59 Is that the same as the bebop scale? 26:06 Is it used more for a scale outline or for theory and harmony? 26:48 How does he break up a tune with different line building materials? 30:47 On Barry Harris’ method having close parallels with Partimento 31:26 Are you able to listen to the classic bebop recordings and break them down? 32:17 On the criticism that Barry Harris is a Bud Powell clone 33:17 The diminished genealogy and the 4 related dominants 35:29 Altering the diminished chord to get different chords 38:08 How would you use these chords out of the diminished chord? 40:13 Would you thrown in the Dominant Diminished scale with 2 bars of a dominant chord? 41:17 How do you use these scale of chords? 42:52 Taking Cherokee as an example 43:35 Talking about 6th chord rules 45:31 Is this a framework to looking at Harmony? 45:59 What does Barry Harris think of the hard bop pianists like Bobby Timmons and Sonny Clark? 47:25 Funny jive moment at the Barry Harris workshop 48:15 On Barry Harris’ Big Band compositions 53:07 How do you get good at Jazz? 56:12 Talking about discovering Partimento 57:46 On Barry Harris being impressed by Partimento 59:32 Wrapping Up

My guest today is the great Professor of Music, William Caplin! Caplin specializes in the theories of musical form and musical cadence. His extensive investigations into formal procedures of late-eighteenth-century music culminated in the 1998 book “Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (Oxford University Press), which won the 1999 Wallace Berry Book Award from the Society for Music Theory. A textbook version, Analyzing Classical Form: An Approach for the Classroom (Oxford University Press), was published in November 2013. In addition to writing many scholarly articles, Caplin served as President of the Society for Music Theory from November 2005 to November 2007. In March 2015, he was the Robert M. Trotter Visiting Professor at the School of Music, University of Oregon; In March, 2008, he was Visiting Professor at the University of Rome-Tor Vergata.   He is currently writing a large-scale book project entitled “Cadence: A Study of Closure in Tonal Music.” ----- 1:55 How do we make sense of all the different theories of harmony? 3:46 On the lack of analysis on musical form 5:41 The different traditions music theory 8:03 Why did you select the “classical” period as the basis for your theoretical work? 10:04 Why did you not use German functional theory? 12:27 How is fundamental bass theory different from figure bass theory? 13:49 Do chords or bass notes have inner urges or functions to move? 16:42 Does the plagal cadence exist? 19:26 Where did the term plagal cadence come from? 20:03 Is it hard to find this plagal cadence in the 18th century? 22:08 Could you give an example of such a thing? 22:53 What are the different types of cadences? 24:17 Where does an evaded cadence go? 25:39 What about the abandoned cadence? 27:38 Do you depart from Ratz and Schoenberg in your theoretical work? 29:20 How would you analyze a Mozart or Haydn Piano Sonata differently from Ratz or Schoenberg? 30:56 Where have you found difficulty in applying your theory? 32:30 How about examples where the theory works great and one where it’s harder to use 36:10 Could you elaborate on the missing form functionality of Gjerdingen’s Galant Schema theory 38:43 Did Leonard B. Meyer have an influence in your work? 39:54 What are the differences in form between Haydn, Mozart and Beethoven? 41:43 How did Beethoven break the tradition of form? 43:14 What do you find are the common challenges for students tackling your work? 45:13 Does counterpoint have a place in this theoretical framework? 46:09 What music that you like, that has great form? 46:35 What does Sibelius do with form that intrigues you? 47:15 Talking about Simon Sechter 48:02 Talking about Robert Wason’s “Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg” 49:38 Kirnberger’s contradictory position on fundamental bass theory 51:42 Have you dipped into non-German theories of harmony and music analysis? 52:58 If you could reform music education, what would you do? 55:17 Could you recommend any harmony text books? 56:04 Mentioning the Analyzing Classical Form Website 56:56 Wrapping Up