Anglican Church of Saint Peter and Saint Paul (Arlington, Texas), Music Director and Organist (2011-2017)
Anglican Church of Saint Peter and Saint Paul (Arlington, Texas), Organist (2008-2011)
Anglican Church of Saint Laurence (Southlake, Texas), Organist and Choir Director (2006-2007)
First United Methodist Church (Prosper, Texas), Organist (1997-2001)
Christ Our Savior Lutheran Church (Lago Vista, Texas), Organist and Choir Director (1990-1996)
Travis Oaks Baptist Church (Lago Vista, Texas), Organist (1989-1990)
Lon Morris College, Chapel Organist (1996-1997)
American Guild of Organists- Choir Master’s Certificate (ChM), (2014)
American Guild of Organists- Colleague’s Certificate (CAGO), (2016)
Letter of Commendation from the Episcopal Diocese of Fort worth (2015)
“D. A. Kolb’s Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material.”
Master’s Thesis, University of North Texas (2001).
Michael T. Lively, Ph.D.
2301 Vanderbilt Court
Denton, Texas 76201
940-387-9849
michaellively@prodigy.net
“Non-Linear and Multi-Linear Time in Beethoven’s Opus 127: An Analysis of the ‘Krakow’ Sketch Materials.”
Ph.D. Dissertation, University of North Texas, 2010.
University of North Texas, Ph.D. in Music Theory (2010)
University of North Texas, Master of Music in Music Theory (2001)
Texas State University, Master of Music in Instrumental Conducting (1995)
University of Texas, Bachelor of Arts in Music (1992)
Dr. Timothy L. Jackson
University of North Texas
1155 Union Circle #311367
Denton, Texas 76203-5017
940-565-3748
timothy.jackson@unt.edu
Dr. Frank Heidlberger
University of North Texas
1155 Union Circle #311367
Denton, Texas 76203-5017
940-369-7542
frank.heidlberger@prodigy.net
Dr. Mark Feezell
Southern Methodist University
6101 Bishop Boulevard
Dallas, Texas 75275-0356
214-768-2531
mfeezell@smu.edu
Dr. Thomas Keck
Southern Methodist University
6101 Bishop Boulevard
Dallas, Texas 75275-0356
214-768-4618
tkeck@smu.edu
Southern Methodist University
Search Committee for Director of the Music Division (2021-2022)
Academic Policies Committee, Meadows School of the Arts
Individual Student Committees, Master’s Degree in Music Theory Pedagogy
Individual Student committees, Undergraduate Recitals
Outside Reader, Bach: Journal of the Riemenschneider Bach Institute.
Independent Reviewer for McGraw Hill, Tonal Harmony, 9th edition (Kostka-Almén)
Information Literacy Stipend Award (2021- MUTH 3350)
Application Reader for the SMU President's Scholars Program (2022-2024)
Member of the SMU Association of Asian and Pacific Scholars
Texas Woman’s University
Music Technology Committee
Honors Recital Committee
Lon Morris College
Student Awards Committee
Library Acquisitions Committee
Southern Methodist University, Senior Lecturer in Music Theory (2020-2024)
Southern Methodist University, Lecturer in Music Theory (2017-2020)
Southern Methodist University, Visiting Lecturer in Music Theory (2015-2017)
Texas Woman’s University, Visiting Assistant Professor of Music Theory (2013-2014)
Anglican Church of Saint Peter and Saint Paul (Arlington, Texas), Music Director and Organist (2011-2017)
Lon Morris College, Instructor of Music and Director of Bands (1996-1997)
Austin College, Adjunct Faculty (2006)
Collin County Community College, Associate Faculty (2005-2009)
University of North Texas, Teaching Fellow (1999-2001, 2003-2009)
Southern Methodist University
Music Fundamentals (Common Curriculum: Creativity and Analysis)
Musicianship I, II, III, and IV
Advanced Musicianship
Music Theory II, III, IV
Form and Analysis (Common Curriculum: Writing in the Major)
Analysis of Contemporary Music
Analytical Techniques (Graduate)
Music Theory Pedagogy Practicum (Graduate)
Analysis of Contemporary Music (Graduate)
Directed Study (Graduate)
Advanced Musicianship (Graduate)
Graduate Theory Review (Online Class)
Texas Woman’s University
Music Theory I, II, III, IV
Aural Skills I, II, III, IV
Counterpoint
Instrumental Arranging
Music Theory Pedagogy (Graduate)
Musical Styles (Graduate)
University of North Texas
Music Theory
Aural Skills
Counterpoint
Introduction to Music Theory
Aural Skills (Graduate)
Austin College
Music Theory
Aural Skills
Music Fundamentals
Collin County Community College
Music Theory
Aural Skills
Music Fundamentals
Music Appreciation
Group Piano
Commercial Piano
Lon Morris College
Music History
Music Appreciation
Introduction to the Fine Arts
Applied Trumpet
Band
Choir
“Multi-Linear Continuity and ‘Songs to the Dark Virgin’ by Florence Price.”
South Central Regional Conference of the College Music Society.
Ada, Oklahoma- March 12, 2022.
“A Proposal to Revise the Forte Chart.”
South Central Regional Conference of the College Music Society.
University of Central Arkansas- March 12, 2020.
“Story, Discourse, and the Rhetoric of Musicological Narrativity.”
Southwest Regional Conference of the American Musicological Society (AMS-SW).
Fort Worth, Texas- October 5, 2019.
“Gesualdo’s Moro lasso and the Freudian Repetition Compulsion.”
Southwest Regional Conference of the American Musicological Society (AMS-SW).
McKinney, Texas- April 7, 2018.
“Developing Variation and Structural Voice-Leading in Gesualdo’s Moro lasso.”
South Central Regional Conference of the College Music Society.
Durant, Oklahoma- March 17, 2018.
“Critical Thinking and the Pedagogy of Music Theory.”
South Central Regional Conference of the College Music Society.
Henderson State University- March 31, 2017.
“Multi-Linear Continuity, Musical Perception, and Renaissance Poly-Modality.”
Southwest Regional Conference of the American Musicological Society (AMS-SW).
Trinity University- April 2, 2016.
“A Multi-Linear Approach to Lewin’s Morgengruß.”
Southwest Regional Conference of the American Musicological Society (AMS-SW).
University of North Texas- April 11, 2015.
“Multi-Linear Continuity and David Lewin’s Analysis of Morgengruß.”
South Central Regional Conference of the College Music Society.
Tahlequah, Oklahoma- March 12, 2015.
“The Narrative Persona and the Nineteenth-Century Solo Concerto: An Analytical Study of Stylistic Competency and the Troping of Temporality.”
Southwest Regional Conference of the American Musicological Society (AMS-SW).
Rice University- October 5, 2013.
“‘Because True Nature Always Finds Its Principles in Art’: Non-Linear and Multi-Linear Continuity in the Second Movement of Beethoven’s Opus 127.”
South Central Regional Conference of the College Music Society.
Little Rock, Arkansas- March 5, 2011.
“Johannes Brahms and the Paratext of the Schumann ‘Clara’ Cipher.”
Schumann Perpectives: A View Across the Disciplines.
Texas Tech University- September 30, 2006.
“Hindemith, Schenker, and the University of North Texas: Early Comparative Studies Supervised by Robert W. Ottman During the Mid 1950s.”
Annual Conference of the Texas Society for Music Theory.
University of North Texas- February 25, 2006.
“D. A. Kolb’s Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material.”
South Central Regional Conference of the College Music Society.
University of Oklahoma- March 10, 2005.
“The Narrative in Hector Berlioz’s Harold in Italy.”
International Berlioz Bi-Centennial Symposium.
University of North Texas- November 11, 2003.
Peer-Reviewed Journal Articles
“Multi-Linear Continuity and ‘Songs to the Dark Virgin’ by Florence Price.”
College Music Symposium 63 (2023).
“Gesualdo’s Moro lasso and the Freudian Repetition Compulsion.”
Gamut: Journal of the Music Theory Society of the Mid-Atlantic 9 (2020).
“Teaching Materials and Strategies for the AP Music Theory Exam.”
Music Educators Journal 104 (September 2017): 47-54.
“The Development, Implementation, and Supervision of Online Music Theory Courses.”
College Music Symposium 56 (2016).
[full text]
“Critical Thinking and the Pedagogy of Music Theory.”
Inquiry 30 (2015): 59-68.
“Hindemith, Schenker, and the University of North Texas: Early Comparative Studies Supervised by Robert W. Ottman During the Mid 1950s.”
South Central Music Bulletin 6 (2007): 4-10.
“D. A. Kolb’s Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material.”
Journal of Music Theory Pedagogy 19 (2005): 77-100.
[full text]
Conference Proceedings
“Gesualdo’s Moro lasso and the Freudian Repetition Compulsion.”
American Musicological Society Southwest Chapter Conference Proceedings 7 (2018).
[full text]
“Multi-Linear Continuity, Musical Perception, and Renaissance Poly-Modality.”
American Musicological Society Southwest Chapter Conference Proceedings 5 (2016).
“The Narrative Persona and the Nineteenth-Century Solo Concerto: An Analytical Study of Stylistic Competency and the Troping of Temporality.”
American Musicological Society Southwest Chapter Conference Proceedings 3 (2013).
Copyright © Michael Lively. All Rights Reserved