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Scott Leslie Balthazar
Professor - Music History
Chair, Music History
Room 233, Swope Music Building
Phone: 610-436-2284
sbalthazar@wcupa.edu
Education
M.A., Ph.D., University of Pennsylvania
B.A., Amherst College
Curriculum Vitae
Scott Balthazar studied music history with Lawrence Bernstein, Norman Smith, Gary Tomlinson and Eugene K. Wolf, and music theory with Leonard Meyer and Eugene Narmour. He has lectured and published on stylistic aspects of nineteenth-century Italian opera and on contemporary theories of instrumental form in the eighteenth and nineteenth centuries. Dr. Balthazar is a contributor to the New Grove Dictionary of Music and the New Grove Dictionary of Opera, and his articles and reviews have appeared in the Journal of the American Musicological Society, Journal of Musicological Research, Journal of Musicology, Opera Journal, Cambridge Opera Journal, Journal of the Royal Musical Association, Current Musicology, Opera Quarterly, Music and Letters, and Music Library Association Notes. He won the scholarly essay contest of the National Opera Association in 1994. He edited and contributed two chapters for the Cambridge Companion to Verdi for Cambridge University Press (2004).
Dr. Balthazar has received grants from the National Endowment for the Humanities, Mellon Foundation, U.S. Department of Education, Virginia Foundation for the Humanities and the University of Virginia. He has served as President of the Mid-Atlantic Chapter of the American Musicological Society, panelist-reviewer for the National Endowment for the Humanities Division of Grants and Fellowships, at-large reviewer for the Journal of the American Musicological Society, contributor to the GTE Music Examination, and member of the Directoral Board for the U.S.-RISM Project to Catalogue Operatic Librettos in US Libraries. Dr. Balthazar taught previously at the University of Virginia.
Publications
Cambridge Companion to Verdi, Scott Balthazar, ed. (Cambridge University Press, 2004)
"Scene Structure in Verdi’s Operas," chapter for Cambridge Companion to Verdi, 49-68
"Desdemona’s alienation and Otello’s fall," chapter for Cambridge Companion to Verdi, 237-54
Articles for the New Grove Dictionary of Music and Musicians, revised edition (London: Macmillan, 2001):
"Mayr, Simon"
"Pacini, Giovanni"
"Paer, Ferdinando"
"Ritorni, Carlo"
Review of Herbert Lindenburger, Opera in History: From Monteverdi to Cage, Yearbook of Comparative and General Literature 47 (1999), 185-90
"Tonal and Motivic Process in Mozart’s Expositions," The Journal of Musicology 16 (1998), 421-466
"Three-part Solos in Rossini’s and Mayr’s Duets," in Franz Hauk and Iris Winkler, eds., Werk und Leben Johann Simon Mayrs im Spiegel der Zeit" (Munich, 1998), 11-29
Review of Gioachino Rossini, Ermione: azione tragica in due atti di Andrea Leone Tottola; prima rappresentazione Napoli, teatro San Carlo, 27 Marzo 1819, Patricia B. Brauner and Philip Gossett, eds., Edizione critica delle opere, sez. 1: Opere teatrali, 27 (Pesaro, 1995), Music Library Association Notes (1998), 764-67
"Plot and Tonal Design as Compositional Constraints in Il trovatore," Current Musicology 60/61 (1996, appeared 1998), 51-78
"Mayr and the Development of the Two-Movement Aria," in Francesco Bellotto, ed., Giovanni Simone Mayr: L'opera teatrale e la musica sacra (Bergamo, 1997), 229-51
"A Processive Model of the Sonata Exposition and Mozart’s ‘Haffner’ Symphony," Revista de musicología 17 (1993, appeared 1997), 3419-38
"Aspects of Form in the Ottocento Libretto," Cambridge Opera Journal 7 (1995), 23-35
"Tectonic and Linear Form in the Ottocento Libretto: The Case of the Two Otellos," Opera Journal of the National Opera Association 28 (1995), 2-14
Review of Aspetti dell’opera italiana fra Sette e Ottocento: Mayr e Zingarelli, Guido Salvetti, ed. (Lucca, 1993), Music and Letters 76 (1995), 295-96
Articles for the New Grove Dictionary of Opera (London: Macmillan, 1992):
"Mayr, (Johannes) Simon," and separate articles on Mayr’s "Ginevra DI Scozia," "Lodoiska, La" "Medea in Corinto," and "Rosa bianca e la rosa rossa, La"
"Pacini, Giovanni," and separate articles on Pacini’s "Alessandro nelle Indie," "Medea," "Saffo," and "Ultimo giorno DI Pompei, L’ "
"Paer, Ferdinando," and separate articles on Paer’s "Achille," "Agnese," "Camilla, ossia IL sotterraneo," "Leonora, ossia L’amore conjugale," and "Maître de chapelle, ou Le souper imprevu, Le"
"Ritorni, Carlo"
"The Rhythm of Text and Music in Ottocento Melody: An Empirical Reassessment in Light of Contemporary Treatises," Current Musicology 49 (1991), 5-28
Review of Storia dell’opera italiani, Part 2, I sistemi, v.4, IL sistema produttivo e le sue competenze; v. 5, La spettacolarita; v. 6, Teorie e techniche, immagine, e fantasmi, Lorenzo Bianconi and Giorgio Pestelli, ed. (Turin, 1987-88), Music Library Association Notes (1991), 784-85
Review of Messa per Rossini: la storia, IL testo, la musica, Quaderni dell’istituto DI studi verdiani 5, Michele Girardi e Pierluigi Petrobelli, ed. (Parma, 1988), Music Library Association Notes (1991), 757-58
"Mayr, Rossini, and the Development of the Early Concertato Finale," Journal of the Royal Musical Association 116 (1991), 236-66
"Analytic Contexts and Mediated Influences: The Rossinian convenienze and Verdi’s Middle and Late Duets," Journal of Musicological Research 10 (1990), 19-45
"The U.S.-RISM Libretto Project: A Progress Report," Info RISM 2 (1990), 19-21
"Music, Poetry, and Action in ottocento Opera: The Principle of Concurrent Articulations," Opera Journal of the National Opera Association 22 (1989), 13-34
"The primo ottocento Duet and the Transformation of the Rossinian Code," Journal of Musicology 7 (1989), 471-97
"Mayr, Rossini and the Development of the opera seria Duet," in I vicini DI Mozart, Studi DI musica veneta 15, v. 1, IL teatro musicale tra sette e Ottocento, Maria Teresa Muraro, ed. (Florence, 1989), 377-98
Review of James Hepokoski, Verdi’s Falstaff, Opera Quarterly 5 (1987), 111-114
"Ritorni’s Ammaestramenti and the Conventions of Rossinian melodramma," Journal of Musicological Research 8 (1988), 281-312.
"Rossini and the Development of the Mid-century Lyric Form," Journal of the American Musicological Society 41 (1988), 102-125
"Intellectual History and Concepts of the Concerto: Some Parallels from 1750 to 1850," Journal of the American Musicological Society 36 (1983), 39-72
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