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• 
  Alban Berg
  Alban Maria Johannes Berg (February 9, 1885 – December 24, 1935) was an Austrian composer. He was a member of the Second Viennese School with Arnold Schoenberg and Anton Webern, and produced compositions that combined Mahlerian Romanticism with a personal adaptation of Schoenberg's twelve-tone technique.
  Berg was born in Vienna, the third of four children of Johanna and Conrad Berg. His family lived comfortably until the death of his father in 1900.
  He was more interested in literature than music as a child and did not begin to compose until he was fifteen, when he started to teach himself music. In late February or early March 1902 he fathered a child with Marie Scheuchl, a servant girl in the Berg family household. His daughter, Albine, was born on December 4, 1902.
  Berg had little formal music education before he became a student of Arnold Schoenberg in October 1904. With Schoenberg he studied counterpoint, music theory, and harmony. By 1906, he was studying music full-time; by 1907, he began composition lessons. His student compositions included five drafts for piano sonatas. He also wrote songs, including his Seven Early Songs (Sieben Frühe Lieder), three of which were Berg's first publicly performed work in a concert that featured the music of Schoenberg's pupils in Vienna that year. The early sonata sketches eventually culminated in Berg's Piano Sonata, Op. 1 (1907–1908); it is one of the most formidable "first" works ever written.
  
  wn.com/Alban_Berg
• 
  Allen Forte
  Allen Forte (born December 23, 1926) is a music theorist and musicologist. He was born in Portland, Oregon and fought in the Navy at the close of World War II before moving to the East Coast. He is now Battell Professor of Music, Emeritus at Yale University. Forte is arguably best known for his book The Structure of Atonal Music, in which he extrapolates from the serial theory of Milton Babbitt, proposing a musical "set theory" of pitch-class-set analysis analogous to mathematical set theory with the avowed intention of providing a method for the analysis of non-serial atonal music. The musicologist Richard Taruskin and the composer and music theorist George Perle are among the most vocal critics of this method. Forte was also the editor of the Journal of Music Theory during an important period in its development, from volume 4/2 (1960) through 11/1 (1967). His involvement with the journal, including many biographical details, is addressed in David Carson Berry, "Journal of Music Theory under Allen Forte's Editorship," Journal of Music Theory 50/1 (2006): 7-23.
  
  wn.com/Allen_Forte
• 
  Arnold Schoenberg
   Arnold Schoenberg (help·info) (pronounced [ˈaːɐ̯nɔlt ˈʃøːnbɛɐ̯k]; 13 September 1874 – 13 July 1951) was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. He used the spelling Schönberg until after his move to the United States in 1934 (Steinberg 1995, 463), whereupon he altered it to Schoenberg "in deference to American practice" (Foss 1951, 401), though one writer claims he made the change a year earlier (Ross 2007, 45).
  Schoenberg's approach, both in terms of harmony and development, is among the major landmarks of 20th-century musical thought; at least three generations of composers in the European and American traditions have consciously extended his thinking or, in some cases, passionately reacted against it. During the rise of the Nazi Party in Austria, his music was labeled, alongside jazz, as degenerate art^{[citation needed]}.
  Schoenberg was widely known early in his career for his success in simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify pioneering innovations in atonality (although Schoenberg himself detested the term "atonality" as inaccurate in describing his intentions) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, a widely influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation, and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
  
  wn.com/Arnold_Schoenberg
• Benjamin Boretz
  Benjamin Boretz (3 October 1934) is an American composer and music theorist.
  Boretz was born in Brooklyn, New York and graduated with a degree in music from Brooklyn College. He later studied composition at Brandeis University with Arthur Berger, at the Aspen Music Festival and School with Darius Milhaud, at UCLA with Lukas Foss, and at Princeton with Milton Babbitt and Roger Sessions. He was one of the early composers to work with computer-synthesized sound (Group Variations II, 1970–72). In the late 1970s and 1980s he converged his compositional and pedagogical practices in a project of real-time improvisational music-making, culminating in the formation (at Bard College) of the music-learning program called Music Program Zero, which flourished until 1995. He has written extensively on musical issues, as critic, theorist, and musical philosopher, from the perspective of a practicing composer. His earliest (1970) large-scale music-intellectual essay was the book-length "Meta-Variations, Studies in the Foundations of Musical Thought", which addresses the epistemological questions involved in the cognition and composition of music, and propounds a radically relativistic/individualistic/ontological reconstruction of the music-creative process. Later (1978), his text composition "Language, as a Music, Six marginal Pretexts for Composition" engaged questions of the origin and nature of language and meaning as they might be conceived from the perspective of music.
  
  wn.com/Benjamin_Boretz
• Carl Seashore
  Carl Emil Seashore (January 28, 1866 - October 16, 1949) was a prominent American psychologist.
  Seashore was born in Mörlunda, Hultsfred Municipality, Kalmar County, Sweden to Carl Gustav and Emily Sjöstrand. He emigrated with his family to the United States in 1870 and settled in Iowa. The name “Seashore” is a translation of the Swedish surname Sjöstrand. He graduated from Gustavus Adolphus College, St. Peter, Minnesota in 1891, having studied mathematics, music, and classical languages and literature. During his years in college he served as the organist and choir director of a Swedish-Lutheran church and his salary there paid most of his college expenses. Seashore attended Yale when that school had just opened its psychology department under George Trumbull Ladd. In 1895, Seashore was awarded the school’s first Ph. D in psychology for his dissertation on the role of inhibition in learning.
  After a trip to Europe and a subsequent fellowship at Yale, he accepted a permanent position at the University of Iowa where he spent the remaining 50 years of his life. There, he was eventually made chairman of the department of psychology and Dean of the Graduate School.
  
  wn.com/Carl_Seashore
• David Lewin
  David Lewin (July 2, 1933–May 5, 2003) was an American music theorist, music critic and composer. Called "the most original and far-ranging theorist of his generation" (Cohn 2001), he did his most influential theoretical work on the development of transformational theory, which involves the application of mathematical group theory to music.
  Lewin was born in New York City and studied piano from a young age. He graduated from Harvard in 1954 with a degree in mathematics. Lewin then studied theory and composition with Roger Sessions, Milton Babbitt, Edward Cone, and Earl Kim at Princeton University, earning an M.F.A. in 1958. He returned to Harvard as a Junior Fellow in the Harvard Society of Fellows from 1958–61. Following teaching positions at the University of California, Berkeley (1961–1967), the State University of New York at Stony Brook (1967–1979), and Yale University (1979–1985), he returned to Harvard as the Walter W. Naumberg Professor of Music in 1985. Lewin was a Guggenheim Foundation Fellow in 1983–1984, served as the president of the Society for Music Theory from 1985–1988 and was a member of the American Academy of Arts and Sciences. He received honorary doctoral degrees from the University of Chicago in 1995, from the New England Conservatory of Music in 2000, and posthumously from Université Marc Bloch de Strasbourg, France, in 2006.
  
  wn.com/David_Lewin
• Dmitri Tymoczko
  Dmitri Tymoczko is a composer and music theorist. His music, which draws on rock, jazz, and romanticism, has been performed by ensembles such as the Ansermet Quartet, the Brentano Quartet, Janus, Newspeak, the San Francisco Contemporary Players, the Pacifica Quartet, and Ursula Opens. As a theorist, he has published more than two dozen articles dealing with topics related to contemporary tonality, including scales, voice leading, and functional harmonic norms. His article "The Geometry of Musical Chords," was the first music-theory article ever published by Science Magazine.
  Tymoczko was born on December 16, 1969, in Northampton, Massachusetts. His father Thomas Tymoczko was a philosopher of mathematics, while his mother Maria Tymoczko was a professor of comparative literature. He attended Harvard University, studying composition, music theory, and philosophy, and did graduate work in Philosophy at Oxford University as a Rhodes scholar. After being asked to leave the philosophy D. Phil. program, he eventually returned to music, acquiring a Ph.D. in composition from The University of California, Berkeley. Since 2002, he has been a professor at Princeton University. He is the recipient of fellowships from the Guggenheim foundation and the Radcliffe Institute of Advanced Study. He is married to the philosopher Elisabeth Camp, with whom he has a son Lukas.
  
  wn.com/Dmitri_Tymoczko
• Fred Lerdahl
  Alfred Whitford Lerdahl (Fred Lerdahl) (born March 10, 1943, in Madison, Wisconsin) is the Fritz Reiner Professor of Musical Composition at Columbia University, and a composer and music theorist best known for his work on pitch space and cognitive constraints on compositional systems or "musical grammar[s]." He has written many orchestral and chamber works, three of which were finalists for the Pulitzer Prize for Music: Time after Time in 2001, String Quartet No. 3 in 2010, and Arches in 2011.
  Lerdahl's influences include Elliott Carter, late Sibelius, early Schoenberg, Bartok, and Stravinsky. Lerdahl has said he "always sought musical forms of [his] own invention," and to discover the correct form for the expression. His spiral form (implying both change and repetition), "in which a simple and stable musical idea is expanded on," has been described as a "recurrent motif of interweaving patterns."
  Lerdahl studied with James Ming at Lawrence University, where he earned his BMus in 1965, and with Milton Babbitt, Edward Cone, Roger Sessions, and Earl Kim at Princeton University, where he earned his MFA in 1967. He then studied with Wolfgang Fortner at the Hochschule für Musik in Freiburg/Breisgau in 1968-69, on a Fulbright Scholarship. Lerdahl was awarded an honorary doctorate from Lawrence University in 1999, and previously taught at the University of Michigan, Harvard University, and the University of California at Berkeley. He is a member of the American Academy of Arts and Letters.
  
  wn.com/Fred_Lerdahl
• Guerino Mazzola
  Guerino Mazzola (born 1947) is a Swiss mathematician, musicologist, jazz pianist as well as book writer.
  He graduated at the University of Zürich in Mathematics, Theoretical Physics and Crystallography and completed his PhD in Mathematics in 1971. In 1980, he habilitated in Algebraic Geometry and Representation theory. In 2000, he was awarded the medal of the Mexican Mathematical Society. In 2003, he habilitated in Computational Science at the University of Zürich.
  Mazzola has recorded several Free Jazz CDs with musicians like Mat Maneri, Heinz Geisser, Sirone, Jeff Kaiser, Scott Fields, Matt Turner and Rob Brown.
  Mazzola is well-known for his application of sophisticated mathematical concepts such as topos theory to music theory, described in his book The Topos of Music. The result has been somewhat controversial, drawing praise from some mathematicians and music theorists (among others: Alexander Grothendieck, Yuri Manin, Yves André, François Nicolas, Thomas Noll), and dissent from others (among others: Dmitri Tymoczko).
  
  wn.com/Guerino_Mazzola
• Heinrich Schenker
  Heinrich Schenker (June 19, 1868, Wisniowczyki Ukraine – January 13, 1935, Vienna) was a music theorist, best known for his approach to musical analysis, now usually called Schenkerian analysis.
  Schenker was born in Wisniowczyki (now Vyshnivchyk) in Galicia then in Austria-Hungary (now Ternopil oblast, Ukraine) to a Jewish family. His musical talent was recognized early on, and at the age of 13 he was sent to study with Carl Mikuli, a student of Chopin, in Lemberg (now Lviv). After a move to Vienna, he studied music under Bruckner and became known as a pianist, accompanying lieder singers (such as Johan Messchaert) and playing chamber music.
  He taught piano and music theory privately, and Anthony van Hoboken (future cataloguer of Haydn's oeuvre), Felix Salzer, and Hans Wolf were among his pupils. Other influential figures, such as the conductor Wilhelm Furtwängler, and the Leipzig Conservatory professor and composer Reinhard Oppel were students of Schenker's work and are known to have consulted him.
  
  wn.com/Heinrich_Schenker
• 
  Hugo Riemann
  Karl Wilhelm Julius Hugo Riemann (July 18, 1849 - July 10, 1919) was a German music theorist and composer.
  Riemann was born at Grossmehlra, Schwarzburg-Sondershausen. He was educated in theory by Frankenberger, studied the piano with Barthel and Ratzenberger, studied law, and finally philosophy and history at Berlin and Tübingen. After going through the Franco-German war he decided to devote his life to music, and studied accordingly at the Leipzig Conservatory. He then went to Bielefeld for some years as a teacher and conductor, but in 1878 returned to Leipzig as Privatdozent at the University.
  As a much-desired appointment at the Conservatory did not materialize, Riemann went to Bromberg in 1880, but 1881-90 he was a teacher of piano and theory at Hamburg Conservatory. After a short time at the Sondershausen Conservatory, he held a post in the conservatory at Wiesbaden (1890-95), but eventually returned to Leipzig University as lecturer in 1895. In 1901, he was appointed professor.
  In addition to his work as a teacher, lecturer and composer of pedagogical pieces, Riemann had a worldwide reputation as a writer on musical subjects. His best known works are Musik-Lexikon (1882; 5th ed. 1899; Eng. trans., 1893-96), a complete dictionary of music and musicians, the Handbuch der Harmonielehre, a work on the study of harmony, and the Lehrbuch des Contrapunkts, a similar work on counterpoint, all of which have been translated into English. One of his inventions, the Tonnetz, is the predecessor of the modern idea of pitch spaces, and is a fundamental analytical tool of the current field of neo-Riemannian theory.
  
  wn.com/Hugo_Riemann
• 
  John Philip Sousa
  John Philip Sousa (/ˈsuːsə/; November 6, 1854 – March 6, 1932) was an American composer and conductor of the late Romantic era, known particularly for American military and patriotic marches. Because of his mastery of march composition, he is known as "The March King" or the "American March King" due to his British counterpart Kenneth J. Alford also being known as "The March King". Among his best known marches are "The Washington Post", "Semper Fidelis" (Official March of the United States Marine Corps), and "The Stars and Stripes Forever" (National March of the United States of America).
  His father was Portuguese, and his mother of Bavarian ancestry. Sousa began his career playing violin and studying music theory and composition under John Esputa and George Felix Benkert. His father eventually enlisted him in the United States Marine Band as an apprentice in 1868. After departing the band in 1875, Sousa eventually learned to conduct. From 1880 until his death, Sousa began focusing exclusively on conducting and wrote marches during this time. He eventually rejoined the Marine Band and served there for 12 years as director. Upon leaving the Marine Band, Sousa organized his own band. He toured Europe and Australia and also developed the sousaphone, a large brass instrument similar to the tuba. On the outbreak of World War I, Sousa was commissioned as a Lieutenant Commander and led the Naval Reserve Band in Illinois. Following his tenure there, Sousa returned to conduct the Sousa Band until his death in 1932.
  
  wn.com/John_Philip_Sousa
• Jonathan Kramer
  Jonathan Donald Kramer (December 7, 1942, Hartford, Connecticut – June 3, 2004, New York City), was a U.S. composer and music theorist.
  Kramer received his B.A. magna cum laude from Harvard University (1965) and his M.A. and Ph.D. in Music from the University of California, Berkeley (1967 and 1969). His composition teachers included Karlheinz Stockhausen, Roger Sessions, Leon Kirchner, Seymour Shifrin, Andrew Imbrie, Richard Felciano, Jean-Claude Éloy, Billy Jim Layton, Edwin Dugger, and Arnold Franchetti. He studied theory with David Lewin, criticism with Joseph Kerman, and computer music with John Chowning.
  Kramer was Professor of Composition and Theory at Columbia University from 1988 until his death in 2004. He also taught at the Oberlin Conservatory, Yale University, and the University of Cincinnati College-Conservatory of Music. He held visiting appointments at Wesleyan University, King's College of the University of London, the Canberra School of Music, the University of Western Australia, the Rockefeller Study Center in Bellagio (Italy), the Center for New Music and Technology (Berkeley), May in Miami, the ISCM Summer Workshop for Composers (Poland), and the European Mozart Academy (Poland). He served four years as Program Annotator of the San Francisco Symphony Orchestra, was Annotator of the Cincinnati Symphony since 1980, and a collection of his program notes, Listen to the Music, was published by Schirmer Books. He was the Cincinnati Symphony's Composer-in-Residence and New-Music Advisor from 1984 to 1992 and served as artist in residence of The Moebius Ensemble since 1997. He produced and hosted several local and national radio programs and represented American Public Radio three times at the International Rostrum of Composers in Paris.
  
  wn.com/Jonathan_Kramer
• Milton Babbitt
  Milton Byron Babbitt (May 10, 1916 – January 29, 2011) was an American composer, music theorist, and teacher. He is particularly noted for his serial and electronic music.
  Babbitt was born in Philadelphia, Pennsylvania (Barkin & Brody 2001) to Albert E. Babbitt and Sarah Potamkin. He was raised in Jackson, Mississippi, and began studying the violin when he was four but soon switched to clarinet and saxophone. Early in his life he was attracted to jazz and theater music. He was making his own arrangements of popular songs at seven, and when he was thirteen, he won a local songwriting contest (Kozinn 2011).
  Babbitt's father was a mathematician, and it was mathematics that Babbitt intended to study when he entered the University of Pennsylvania in 1931. However, he soon left and went to New York University instead, where he studied music with Philip James and Marion Bauer. There he became interested in the music of the composers of the Second Viennese School and went on to write a number of articles on twelve tone music, including the first description of combinatoriality and a serial "time-point" technique. After receiving his bachelor of arts degree from New York University College of Arts and Science in 1935 with Phi Beta Kappa honors, he studied under Roger Sessions, first privately and then later at Princeton University. At the university, he joined the music faculty in 1938 and received one of Princeton's first Master of Fine Arts degrees in 1942 (Barkin & Brody 2001). During the Second World War, Babbitt divided his time between mathematical research in Washington, D.C., and Princeton, where he became a member of the mathematics faculty from 1943 to 1945 (Barkin & Brody 2001).
  
  wn.com/Milton_Babbitt
• 
  Oscar van Dillen
  Oscar Ignatius Joannes van Dillen (born June 25, 1958 in 's-Hertogenbosch) is a Dutch composer, conductor, and instrumentalist.
  Van Dillen studied North-Indian classical music (sitar, tabla, vocal) with Jamaluddin Bhartiya at the Tritantri School in Amsterdam and bansuri with Gurbachan Singh Sachdev at the Bansuri School of Music in Berkeley, California from 1977 to 1980, as well as classical and jazz flute at the Sweelinck Conservatory in Amsterdam between 1982 and 1984. Here, he also received composition lessons from Misha Mengelberg.
  After studies of medieval and Renaissance music with Paul Van Nevel in Leuven (Belgium), he studied classical composition with, among others, Dick Raaymakers and Gilius van Bergeijk at the Koninklijk Conservatory in The Hague in 1990/1991 and with Klaas de Vries, Peter-Jan Wagemans and René Uijlenhoet at the Rotterdam Conservatory from 1996 to 2002. He also studied composition with Manfred Trojahn at the Robert Schumann College in Düsseldorf in 2001, where he also received lessons in conducting from Lutz Herbig.
  
  wn.com/Oscar_van_Dillen
• 
  Ray Jackendoff
  Ray Jackendoff (born January 23, 1945) is an American linguist. He is professor of philosophy, Seth Merrin Chair in the Humanities and, with Daniel Dennett, Co-director of the Center for Cognitive Studies at Tufts University. He has always straddled the boundary between generative linguistics and cognitive linguistics, committed as he is both to the existence of an innate Universal Grammar (an important thesis of generative linguistics) and to giving an account of language that meshes well with the current understanding of the human mind and cognition (the main purpose of cognitive linguistics).
  Jackendoff's research deals with the semantics of natural language, its bearing on the formal structure of cognition and its lexical and syntactic expression. He has also done extensive research on the relationship between conscious awareness and the computational theory of mind, on syntactic theory, and, with Fred Lerdahl, on musical cognition. His theory of conceptual semantics developed into a comprehensive theory on the foundations of language, which indeed is the title of a recent monograph (2002): Foundations of Language. Brain, Meaning, Grammar, Evolution. Much earlier, in his 1983 Semantics and Cognition, he was one of the first linguists to integrate the vision faculty into his account of meaning and human language.
  
  wn.com/Ray_Jackendoff
• Stanley Sadie
  Stanley Sadie CBE (30 October 1930 – 21 March 2005) was a leading British musicologist, music critic, and editor. He was editor of the sixth edition of the Grove Dictionary of Music and Musicians (1980), which was published as the first edition of the New Grove Dictionary of Music and Musicians.
  Sadie was educated at St Paul's School, London, and Gonville and Caius College, Cambridge, where he read music under Thurston Dart (BA, MusB 1953, MA 1957, PhD 1958). His doctoral dissertation was on mid-eighteenth-century British chamber music. After Cambridge, he taught at Trinity College of Music, London (1957-1965).
  Sadie then turned to music journalism, becoming music critic for The Times (1964-1981), and contributing reviews to the Financial Times after 1981, when he had to leave his position and The Times because of his commitments to the Grove and other scholarly work. He was editor of The Musical Times 1967-1987.
  From 1970 Sadie was editor of what was planned to be the sixth edition of the Grove Dictionary of Music and Musicians (1980). Sadie oversaw major changes to the Dictionary, which grew from nine volumes to 20, and was published as the New Grove Dictionary of Music and Musicians (New Grove), and is now referred to as the first edition under that name. He was also an important force behind the second edition of New Grove (2001), which grew further to 29 volumes. Sadie also oversaw a major expansion of the Grove franchise, editing the one-volume Grove Concise Dictionary of Music (1988), and several spinoff dictionaries, such as the New Grove Dictionary of Musical Instruments (three volumes, 1984), the New Grove Dictionary of American Music, (with H. Wiley Hitchcock, four volumes, 1986), and the New Grove Dictionary of Opera (four volumes, 1992). He also edited composer biographies based on the entries in Grove.
  
  wn.com/Stanley_Sadie

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