{"id":1043,"date":"2022-04-01T10:50:00","date_gmt":"2022-04-01T14:50:00","guid":{"rendered":"http:\/\/www.bu.edu\/cfa\/?post_type=profile&p=1043"},"modified":"2022-04-11T10:53:57","modified_gmt":"2022-04-11T14:53:57","slug":"jeremy-yudkin","status":"publish","type":"profile","link":"https:\/\/www.bu.edu\/cfa\/about\/contact-directions\/directory\/jeremy-yudkin\/","title":{"rendered":"Jeremy Yudkin"},"content":{"rendered":"

Jeremy Yudkin<\/strong> is Professor of Music, Co-Director of the Center for Beethoven Research, Associated Faculty of the Department of African American Studies, Associated Faculty of the Elie Wiesel Center of Jewish Studies, and former chair of the Department of Musicology and Ethnomusicology at Boston University; and former Visiting Professor of Music at Oxford University. He has also taught as Visiting Professor at Harvard University and Professeur Invit\u00e9 at the Ecole Normale Sup\u00e9rieure and the Conservatoire National Sup\u00e9rieur de Musique in Paris, France. Dr. Yudkin received his BA and MA in Classics and Modern Languages from Cambridge University in England and his PhD in Historical Musicology from Stanford University. He is the recipient of a Fellowship from the National Endowment for the Humanities, a Marion and Jasper Whiting Foundation Fellowship, a Class of 1960 Visiting Scholar at Williams College, a Senior Fellowship at the Boston University Humanities Foundation, and a Research Fellowship from the Camargo Foundation. He is the author of eleven books and has written several book chapters and articles for many journals.<\/p>\n

Professor Yudkin\u2019s principal fields of research include medieval music, Beethoven, popular music, and jazz. He has taught classes on medieval polyphony, the Beatles, Beethoven, Bartok, and Miles Davis, among many others. He has been nominated six times for Boston University\u2019s highest teaching award and was chosen as the University Lecturer in 2010. Jeremy Yudkin is perhaps best known in the field for his definitive textbook Music in Medieval Europe and his highly successful music appreciation textbook Understanding Music, which is used by approximately twenty thousand students across North America every year. The video that he produced, Inside the Orchestra, detailing the history and function of the classical symphony orchestra, was the winner of a 2005 Telly Award for outstanding non-broadcast educational video.\u00a0 He is also the author of several other books on medieval and Renaissance music, Beethoven, and jazz.\u00a0 His book Miles Davis, Miles Smiles, and the Invention of Post-Bop (2009) won an Award for Excellence in Historical Sound Research from the Association for Recorded Sound Collections.\u00a0 His book From Silence to Sound: Beethoven’s Beginnings was nominated as a 2021 Outstanding Reference Book of the Year by the American Library Association.<\/p>\n

Professor Yudkin is a contributor to The Harvard Dictionary of Music; Musicians and Composers of the Twentieth Century; and A Companion to the Modern American Novel, 1900-1950. He is currently engaged in two book projects, one on the Beatles and another on jazz in the 1950s.\u00a0 He served as an advisor to the Smithsonian Institution for the Smithsonian Collection of Classic Jazz and is a consultant on jazz to the Oxford English Dictionary.\u00a0 He is a Cultural Partner and Distinguished Speaker for the Osher Lifelong Learning Institute and founder and host of the Lenox Library Association\u2019s Distinguished Lecture Series.\u00a0 He is the pre-concert lecturer for the Boston Symphony Orchestra\u2019s annual Tanglewood Festival every summer and has lectured across the United States and in England, France, Israel, and Russia.<\/p>\n

PUBLICATIONS<\/strong><\/h5>\n

Books<\/strong><\/p>\n

    \n
  • 1959: The Greatest Year in Jazz.\u00a0 [In preparation.]<\/li>\n
  • From Silence to Sound: Beethoven\u2019s Beginnings.\u00a0 Woodbridge, UK: Boydell and Brewer, 2020.\u00a0 (446 pp., 9 black and white, 118 line illustrations.)<\/li>\n
  • [As editor] The New Beethoven: Evolution, Analysis, Interpretation. New York: University of Rochester Press, 2020.\u00a0 [572 pp., 94 black and white, 104 line illustrations.)<\/li>\n
  • [Pamphlet] Not a Note Too Many, Not a Second Too Long: Beethoven, Miles, and McCartney.\u00a0 University Lecture, Boston University.\u00a0 Boston: Trustees of Boston University, 2010.\u00a0 (22 pp.)<\/li>\n
  • [As editor] Value and Judgment in Medieval Music, 4th-14th Centuries.\u00a0 Boston, Massachusetts: Boston University School of Music, 2009.\u00a0 (141 pp.)<\/li>\n
  • Miles Davis, Miles Smiles, and the Invention of Post Bop.\u00a0 Bloomington: Indiana University Press, 2008.\u00a0 (179 pp., 23 musical transcriptions.)\u00a0 [Winner of Award for Excellence in Historical Recorded Sound Research, 2009.]<\/li>\n
  • The Lenox School of Jazz: A Vital Chapter in the History of American Music and Race Relations.\u00a0 (160 pp., 40 black and white photos.)\u00a0 Lenox, Massachusetts: Farshaw, 2006.<\/li>\n
  • [Chinese translation of Music in Medieval Europe.\u00a0 Beijing, China: The Central Conservatory of Music, 2006.]<\/li>\n
  • Discover Music.\u00a0 Upper Saddle River: Prentice Hall, 2004.\u00a0 (350 pp., 100 illustrations, 4 compact disks.)<\/li>\n
  • Understanding Music.\u00a0 Upper Saddle River: Prentice Hall, 1996.\u00a0 (A music appreciation textbook; 500 pp., 300 illustrations, 7 compact disks, CD-ROM.)\u00a0\u00a0 (New editions: 1999, 2002, 2005, 2008, 2010, 2012, 2014, 2016.)<\/li>\n
  • De musica mensurata:\u00a0 The Anonymous of St. Emmeram. Complete Critical Edition, Translation, and Commentary.\u00a0 Music: Scholarship and Performance series.\u00a0 Thomas Binkley, general editor.\u00a0 Bloomington: Indiana University Press, 1990. (385 pp.)<\/li>\n
  • Music in Medieval Europe.\u00a0 Prentice Hall History of Music Series.\u00a0 H. Wiley Hitchcock, general editor.\u00a0 Englewood Cliffs, New Jersey: Prentice Hall, 1989.\u00a0 (612 pp., 149 musical examples, 59 illustrations, 6 maps, 2 cassette tapes.)<\/li>\n
  • The Music Treatise of Anonymous IV: A New Translation.\u00a0 Musicological Studies and Documents, volume 41.\u00a0 Neuhausen-Stuttgart: American Institute of Musicology, 1985.\u00a0 (82 pp.)<\/li>\n
  • Johannes Thomas Freig (1543-1583): ‘Paedagogus’ – The Chapter on Music.\u00a0 Musicological Studies and Documents, volume 38.\u00a0 Neuhausen-Stuttgart: American Institute of Musicology, 1983.\u00a0 (94 pp.)<\/li>\n<\/ul>\n

    Video<\/strong><\/p>\n

      \n
    • Inside the Orchestra.\u00a0 (A 60-minute video in three parts explaining orchestral instruments, how an orchestra works, and the development of the orchestra from the 18th to the 20th century.)\u00a0 Upper Saddle River, New Jersey: Prentice Hall, 2005.\u00a0 [Winner of Telly Award for Outstanding Non-Broadcast Educational Video, 2005.]<\/li>\n<\/ul>\n

      Articles<\/strong><\/p>\n

        \n
      • \u201cAnonymus IV.\u201d\u00a0 Lexikon: Schriften \u00fcber Musik.\u00a0 Ed. Ullrich Scheideler and Felix W\u00f6rner.\u00a0 Musikwissenschaftliches Institut der Universit\u00e4t Basel.\u00a0 Kassel: B\u00e4renreiter, 2017.<\/li>\n
      • \u201cThe Thirteenth-Century Copula: Progress of an Idea.\u201d\u00a0 In Analizar, Interpretar, Hacer M\u00fasica: De las Cantigas de Santa Maria a la organolog\u00eda.\u00a0 Pp. 233-70.\u00a0 Ed. Melanie Plesch.\u00a0 Buenos Aires: Gourmet Musical, 2013.<\/li>\n
      • \u201cMiles Davis\u2019s Kind of Blue.\u201d\u00a0 OUPBlog: Oxford University Press’s Academic Insights for the Thinking World.\u00a0 August 17, 2014.<\/li>\n
      • \u201cThe Naming of Names: \u2018Flamenco Sketches\u2019 or \u2018All Blues\u2019? Identifying the Last Two Tracks on Miles Davis’s Classic Album Kind of Blue.\u201d\u00a0 The Musical Quarterly 95 (2012): 15-35.<\/li>\n
      • \u201cModernism and the Other Arts II: Musical Culture.\u201d In A Companion to the Modern American Novel.\u00a0 Ed. John T. Matthews.\u00a0 Oxford: Blackwell, 2009.<\/li>\n
      • \u201cMiles Davis.\u201d\u00a0 2,000-word entry on life and works for Musicians and Composers of the Twentieth Century.\u00a0 Pasadena, California: Salem Press, 2009.<\/li>\n
      • \u201cChasin\u2019 the Truth: The Lost Historiography of American Vernacular Music.\u201d\u00a0 American Music 26 (2008): 398-409.<\/li>\n
      • \u201cPassion Play.\u201d\u00a0 Berkshire Living, July 2008, 50-53.<\/li>\n
      • \u201c\u2018Jazz-Shaped\u2019:\u00a0 Literary and Amateur Contributions to the Story of Jazz in America.\u201d\u00a0 Unpublished, 2008.<\/li>\n
      • \u201cAvoiding the Music:\u00a0 Jazz, Sociopolitics, and the American Academy.\u201d\u00a0\u00a0 Unpublished, 2008<\/li>\n
      • “The Enduring Ludwig: What Is It about Beethoven that Keeps Audiences Coming back for More?” Berkshire Living, July 2007, 57-61.<\/li>\n
      • Contributor to The Harvard Dictionary of Music, fourth edition (Cambridge, Massachusetts: Harvard University Press, 2003).<\/li>\n
      • “Ut hic: A Study of the Musical Examples Cited or Quoted in the Five Principal Music Treatises of the Thirteenth Century.” In From Rome to the Passing of the Gothic: Western Chant Repertoires and Their Influence on Early Polyphony.\u00a0 Isham Library Papers, volume 4.\u00a0 Cambridge, Mass.: Harvard University Press, 1995.<\/li>\n
      • “Beethoven’s ‘Mozart’ Quartet.”\u00a0 Journal of the American Musicological Society XLV (1992): 30-74.<\/li>\n
      • “A la recherche d’un th\u00e9oricien du treizi\u00e8me si\u00e8cle \u00e0 Paris.”\u00a0 In Aspects de la musique liturgique au moyen \u00e2ge.\u00a0 Ed. Michel Huglo and Marcel P\u00e9r\u00e8s.\u00a0 Pp. 202-217.\u00a0 Paris: Editions Cr\u00e9aphis, 1991.<\/li>\n
      • “The Anonymous Music Treatise of 1279: Why St. Emmeram?” Music and Letters LXXII (1991): 177-196.<\/li>\n
      • “The Influence of Aristotle on French University Music Texts.”\u00a0 In Music Theory and Its Sources:\u00a0 Antiquity and the Middle Ages.\u00a0 Notre Dame Conferences in Medieval Studies, volume 1.\u00a0 Ed. Andr\u00e9 Barbera.\u00a0 Notre Dame, Indiana: University of Notre Dame Press, 1990.<\/li>\n
      • “The Anonymous of St. Emmeram and Anonymous IV on the Copula.”\u00a0 The Musical Quarterly LXX (1984): 1-22.<\/li>\n
      • “The Rhythm of Organum Purum.”\u00a0 The Journal of Musicology II (1983): 355-376.<\/li>\n
      • “The Ballate of the Decameron in the Musical Context of the Trecento.”\u00a0 Stanford Italian Review II (1981):\u00a0 49-58.<\/li>\n
      • “The Copula According to Johannes de Garlandia.”\u00a0 Musica Disciplina XXXIV (1980):\u00a0 67-8.<\/li>\n<\/ul>\n

        Reviews<\/strong><\/p>\n

          \n
        • Review of Keith Waters, The Studio Recordings of the Miles Davis Quintet, 1965-68.\u00a0 Oxford Studies in Recorded Jazz.\u00a0 New York: Oxford University Press, 2012.\u00a0 American Music 30 (2012): 527-30.<\/li>\n
        • Review of “Sidney Bechet: Treat It Gentle.”\u00a0 DVD by Anthony Wall.\u00a0 Yearbook for Traditional Music 42 (2010): 237-38.<\/li>\n
        • \u201cRiches of Organum.\u201d\u00a0 Early Music 33 (2005): 708-10.<\/li>\n
        • Review of Hendrik van der Werf, Integrated Directory of Organa, Clausulae, and Motets.\u00a0 Rochester, New York: The Author, 1989.\u00a0 Notes: The Quarterly Journal of the Music Library Association XLVII (March, 1991): 731.<\/li>\n
        • Review of John Stevens, Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050-1350.\u00a0 Cambridge, England: Cambridge University Press, 1986.\u00a0 Speculum: A Journal of Medieval Studies LXIV (1989): 765-769.<\/li>\n
        • Review of Hendrik van der Werf, The Extant Troubadour Melodies: Transcriptions and Essays for Performers and Scholars.\u00a0 Rochester, New York: The Author, 1984.\u00a0 Speculum: A Journal of Medieval Studies LXII (1987): 744-746.<\/li>\n
        • Review of Mario Pintacuda, Interpretazioni musicali sul teatro di Aristofane.\u00a0 Palermo: Palumbo, 1982.\u00a0 The American Journal of Philology CIV (1983): 302-303.<\/li>\n<\/ul>\n","protected":false},"author":14125,"template":"","bu_progs_degree-option":[],"dicipline":[125],"school":[133],"unit":[],"program":[153],"position":[123],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/profile\/1043"}],"collection":[{"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/profile"}],"about":[{"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/types\/profile"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/users\/14125"}],"version-history":[{"count":1,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/profile\/1043\/revisions"}],"predecessor-version":[{"id":1045,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/profile\/1043\/revisions\/1045"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/media?parent=1043"}],"wp:term":[{"taxonomy":"bu_progs_degree-option","embeddable":true,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/bu_progs_degree-option?post=1043"},{"taxonomy":"dicipline","embeddable":true,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/dicipline?post=1043"},{"taxonomy":"school","embeddable":true,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/school?post=1043"},{"taxonomy":"unit","embeddable":true,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/unit?post=1043"},{"taxonomy":"program","embeddable":true,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/program?post=1043"},{"taxonomy":"position","embeddable":true,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/position?post=1043"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}