Steven Baur
Dalhousie University, Music, Faculty Member
- Steven Baur earned his PhD in Musicology at UCLA in 2001. He was Assistant Professor at Occidental College and Visit... moreSteven Baur earned his PhD in Musicology at UCLA in 2001. He was Assistant Professor at Occidental College and Visiting Assistant Professor at UCLA before coming to Dalhousie in 2005, where he is now Associate Professor of Music.
Professor Baur’s primary areas of research include nineteenth-century music, American music, Russian music, cultural studies in music, and popular music studies. He has published articles on the music of Felix Mendelssohn, Maurice Ravel, and the Beatles, and his work appears in the Journal of the American Musicological Society, American Music, and Popular Music and Society. He is the co-editor of Musicological Identities: Essays in Honor of Susan McCalry (Ashgate, 2008) with Raymond Knapp and Jacqueline Warwick, and he co-edited The Beatles and Philosophy (Open Court, 2006) with Michael Baur. He is currently working on a book investigating the role of music in defining and negotiating class relationships in late nineteenth-century America, covering music from the concert hall to the dance hall, from the opera stage to the blackface minstrel stage.
Steven Baur is also a drummer and performs in Halifax with The Sorrys, who have released two albums, The Last Clear Thought Before You Fall Backwards (Chrissy Horse Music, 2007) and Neanderthal Cell Phone (Gooseberry Records, 2009).edit
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... I would like to thank Frank D'Accone, Sylvia Kahan, Raymond Knapp, Susan McClary, Mitchell Morris, Colin Slim, Richard Taruskin, and Robert Walser for their thoughtful readings of preliminary versions of this essay and... more
... I would like to thank Frank D'Accone, Sylvia Kahan, Raymond Knapp, Susan McClary, Mitchell Morris, Colin Slim, Richard Taruskin, and Robert Walser for their thoughtful readings of preliminary versions of this essay and for their valuable comments and contributions. ...
Research Interests:
Research Interests:
Research Interests:
on that a scholarly tome should not be expected. It is an eclectic mix and therefore, depending on the reader’s expectations, some of essays may disappoint, an inevitable consequence perhaps of being ‘supple and daring’. This... more
on that a scholarly tome should not be expected. It is an eclectic mix and therefore, depending on the reader’s expectations, some of essays may disappoint, an inevitable consequence perhaps of being ‘supple and daring’. This attractive-looking book will doubtless catch the eye of a good many and, by reaching out across the Atlantic, it may also heighten interest, scholarly or otherwise, in The Oxford American magazine and some of its contributors. Its contents provide a captivating succession of well-written quick reads, unsurprising perhaps, since most of the essays have been penned by established fiction and non-fiction writers, whose lack of criticality is compensated for by emotive writing which appeals to the soul as much as the mind, seeping in like the music, maybe, through a sense of shared human experience. The allure of this vast anthology lies in the diversity of its contents and there is something here for almost everyone, from scholar to avid fan of music writing to casual reader alike. Non-American readers of this volume may enjoy being introduced to some new writers, and for those more familiar with American music writing penned by the likes of Robert Christgau, Lester Bangs, Greil Marcus and Richard Meltzer this book might make a refreshing, albeit slightly unconventional, diversion.
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Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
on that a scholarly tome should not be expected. It is an eclectic mix and therefore, depending on the reader’s expectations, some of essays may disappoint, an inevitable consequence perhaps of being ‘supple and daring’. This... more
on that a scholarly tome should not be expected. It is an eclectic mix and therefore, depending on the reader’s expectations, some of essays may disappoint, an inevitable consequence perhaps of being ‘supple and daring’. This attractive-looking book will doubtless catch the eye of a good many and, by reaching out across the Atlantic, it may also heighten interest, scholarly or otherwise, in The Oxford American magazine and some of its contributors. Its contents provide a captivating succession of well-written quick reads, unsurprising perhaps, since most of the essays have been penned by established fiction and non-fiction writers, whose lack of criticality is compensated for by emotive writing which appeals to the soul as much as the mind, seeping in like the music, maybe, through a sense of shared human experience. The allure of this vast anthology lies in the diversity of its contents and there is something here for almost everyone, from scholar to avid fan of music writing to casual reader alike. Non-American readers of this volume may enjoy being introduced to some new writers, and for those more familiar with American music writing penned by the likes of Robert Christgau, Lester Bangs, Greil Marcus and Richard Meltzer this book might make a refreshing, albeit slightly unconventional, diversion.