Christoph Neidhöfer

Academic title(s): 

Associate Professor

Department: 
Music Research
Area(s): 
Music Composition
Music Theory
Contact Information
Phone: 
514-398-4400 ext. 00280
Email address: 
christoph.neidhofer [at] mcgill.ca
Group: 
Faculty
Biography: 

Christoph Neidhöfer is Associate Professor at McGill University, Schulich School of Music, where he has been teaching since 1999. He holds diplomas in Composition, Music Theory, and Piano from the Musikhochschule Basel, where his principal teachers were Rudolf Kelterborn (Composition), Roland Moser (Theory), and Jean-Jacques Dünki (Piano), and a PhD in Music Theory from Harvard University, where he worked with David Lewin and wrote a dissertation on the early serial music of Igor Stravinsky. At Harvard he also studied with composers Donald Martino and Bernard Rands.

Christoph Neidhöfer’s research, which has been supported by grants from the Social Sciences and Humanities Research Council of Canada and the Paul Sacher Foundation Basel, as well as by a fellowship from the Alexander von Humboldt Foundation, focuses on 20th/21st-century music, post-tonal theory, sketch studies, aesthetics of serialism, and eighteenth-century counterpoint. He has twice been a Fellow at the Mannes Institute for Advanced Studies in Music Theory (Transformational Theory, 2003; Schoenberg, 2007). In 2000 he served on the composition faculty and in 2012 and 2014 on the theory faculty at the Darmstadt International Summer Courses for New Music, where he co-taught the colloquium “Aesthetics, Analysis & Theory” with Ulrich Mosch and Yuval Shaked. As a composer, Neidhöfer won first prize at the Besançon Orchestral Composition Competition (1994) and the Akiyoshidai Composition Award (1997), and as a duo pianist with Anton Vishio the Kranichstein Music Prize Darmstadt (1994). He served as book reviews editor for the journal of the Society for Music Theory, Music Theory Spectrum (Nov. 2010 – Nov. 2013), and is currently a Member-at-Large on the society’s Executive Board. He also serves on the editorial board of the journal Intégral and is a member of the Scientific Committee of the Centro Studi Luciano Berio. At McGill, he served as Chair of the Department of Music Research from Fall 2012 to Summer 2015.

Christoph Neidhöfer has given guest lectures and workshops in Europe and North America, more recent events including the keynote address at the Annual Meeting of the West Coast Conference of Music Theory and Analysis, University of Utah (2014), and the 2nd Zurich Master Class for Music Theory, Zurich University of the Arts (2015). At McGill, he teaches courses in 20th/21st-century theory and analysis, mathematical models for musical analysis, nineteenth-century analysis, Baroque counterpoint, composition, as well as graduate seminars in music theory.

Selected publications: 

Forthcoming publications

“Experiencing Time in Brian Cherney’s String Quartet No. 4 (1994),” Intersections.

“Berio Analyzes Webern: A Window into Luciano Berio’s ‘Poetics of Analysis,’” in Anton Webern und das Komponieren im 20. Jahrhundert (Webern-Studien), edited by Pietro Cavallotti and Rainer Schmusch (Vienna: Lafite).

Journal articles

“Character and Form by Way of Integral Serialism: An Analysis of Fantasia concertante (1957) by Camillo Togni,” Archival Notes 3 (2018), 47-79. http://onlinepublishing.cini.it/index.php/arno/article/view/92

Angela Ida De Benedictis and Christoph Neidhöfer, “Luigi Dallapiccola, Massimo Mila, and the Journey of a Manuscript: An Analysis of Tre poemi (1949) in Context,” Contemporary Music Review 36:5 (2017 [2018]), 440-81. https://www.tandfonline.com/doi/abs/10.1080/07494467.2017.1401378

“Energetik und Form: Analytische Reflexionen über Rudolf Kelterborns Four Pieces for Four Players (2005)” [Energetics and Form: Analytical Reflections on Four Pieces for Four Players (2005) by Rudolf Kelterborn], Dissonance 115 (2011), 18-31. Reprint in: Rudolf Kelterborn, Hier und Jetzt: Reflexionen und Gespräche zur kompositorischen Gestaltung, edited by Michael Kunkel (Friedberg: Pfau, 2016), 55-74.

“Inside Luciano Berio’s Serialism,” Music Analysis 28:2-3 (2009 [2011]), 301-48.

“Atonalität und transformational analysis: Zu einigen verborgenen (und nicht so verborgenen) Strukturen in Schönberg’s Klavierstück op. 11, 3” [Atonality and Transformational Analysis: On Some Hidden (and Not So Hidden) Structures in Schoenberg’s Klavierstück op. 11, no. 3], Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 2008/2009, 53-73.

“Bruno Maderna’s Serial Arrays,” Music Theory Online 13:1 (2007). http://www.mtosmt.org/issues/mto.07.13.1/mto.07.13.1.neidhofer.html

“A Theory of Harmony and Voice Leading for the Music of Olivier Messiaen,” Music Theory Spectrum 27:1 (2005), 1-34. http://mts.oxfordjournals.org/content/27/1/1

“Bruno Madernas flexibler Materialbegriff – eine Analyse des Divertimento in due tempi (1953)” [Bruno Maderna’s Flexible Notion of the Material – An Analysis of the Divertimento in due tempi (1953)], Musik & Ästhetik 9:33 (2005), 30-47.

“Musiktheorie als exakte Wissenschaft: Milton Babbitts Modell einer ‘scientific method’ zur Formulierung musikalischer Konzepte” [Music Theory as Exact Science: Milton Babbitt’s Model of a ‘Scientific Method” for the Formulation of Musical Concepts], Zeitschrift der Gesellschaft für Musiktheorie 2:2 (2005), 11-19. http://www.gmth.de/zeitschrift/artikel/517.aspx

“Twelve-Tone Theory,” Zeitschrift der Gesellschaft für Musiktheorie 2:2 (2005), 207-17. http://www.gmth.de/zeitschrift/artikel/529.aspx

“Set Theory,” Zeitschrift der Gesellschaft für Musiktheorie 2:2 (2005), 219-27. http://www.gmth.de/zeitschrift/artikel/530.aspx

“‘Blues’ through the Serial Lens: Transformational Process in a Fragment by Bruno Maderna,” Mitteilungen der Paul Sacher Stiftung 18 (2005), 14-20. https://www.paul-sacher-stiftung.ch/en/research-publications/publications/official-bulletin/nr-18-maerz-2005.html

“A Case of Cross-Fertilization: Serial and Non-Serial Counterpoint in Stravinsky’s Cantata (1951-52),” Tijdschrift voor Muziektheorie 9:2 (2004), 87-104.

“Milton Babbitt – Composer and Theorist,” Dissonanz (Neue Schweizerische Musikzeitschrift) 54 (1997), 4-11.

Textbook

Peter Schubert and Christoph Neidhöfer, Baroque Counterpoint (Upper Saddle River, N. J.: Prentice-Hall, 2006).

Book chapters

Improvvisazioni Concertanti No. 1 (1961) by Norma Beecroft: Serialism, Improvisatory Discourse, and the Musical Avant-garde,” in Analytical Essays on Music by Women Composers, edited by Laurel Parsons and Brenda Ravenscroft (New York: Oxford University Press, 2016), 32-66.

Christoph Neidhöfer and Peter Schubert, “Form and Serial Function in Trois Poèmes de Pierre Reverdy op. 92 by René Leibowitz,” in Formal Functions in Perspective, edited by Julie Pedneault, Nathan Martin, and Steven Vande Moortele (Rochester NY: University of Rochester Press, 2015), 373-410.

“Messiaen’s Counterpoint,” in Messiaen Perspectives 2: Techniques, Influence and Reception, edited by Christopher Dingle and Robert Fallon (Farnham: Ashgate, 2013), 77-110.

“Berio at Work: Compositional Procedures in Circles, O King, Concerto for Two Pianos, Glossa, and Notturno,” in Luciano Berio: Nuove Prospettive / New Perspectives, edited by Angela Ida De Benedictis (Florence: Leo S. Olschki, 2012), 195-233.

“Vers un principe commun: Intégration de la hauteur et du rythme dans le Quartetto per archi in due tempi (1955)” (trans. Delphine Iacono), in À Bruno Maderna, vol. 2, edited by Geneviève Mathon, Laurent Feneyrou, and Giordano Ferrari (Paris: Basalte, 2009), 323-58.

“Analyse und kompositorische Praxis: einige Betrachtungen” [Analysis and Compositional Practice: Some Considerations], in Musiktheorie an ihren Grenzen: Neue und Alte Musik, edited by Angelika Moths, Markus Jans, John MacKeown, and Balz Trümpy (Bern: Peter Lang, 2009), 127-40.

“Zeitgenössische Musik und ihre Etikettierung: Einige Betrachtungen” [Contemporary Music and its Labels: Some Considerations], in Hörgeschichten: Neue Musik ganz schön vielseitig, edited by Martin Schüssler (Basel: Opinio Verlag, 2001), 183-200.

“Beobachtungen zum Tempo bei John Cage vor 1950” [Observations on Tempo in John Cage's Music before 1950], in Der Grad der Bewegung: Tempovorstellungen und –konzepte in Komposition und Interpretation 1900-1950, edited by Jean-Jacques Dünki, Anton Haefeli, and Regula Rapp (Bern: Peter Lang, 1998), 87-111.

Book reviews

Review of Theodor W. Adorno, Kranichsteiner Vorlesungen, edited by Klaus Reichert and Michael Schwarz (Suhrkamp, 2014), Music Theory Online 23:4 (2017). http://mtosmt.org/issues/mto.17.23.4/mto.17.23.4.neidhofer.html

Review of Joseph N. Straus, Stravinsky’s Late Music (Cambridge University Press 2001), Music Theory Spectrum 27:2 (2005), 336-53. https://academic.oup.com/mts/article-abstract/27/2/336/1103994?redirectedFrom=fulltext