A. B. Harvard University, M.A., Ph.D. University of California at Berkeley
Area of Specialization
Eighteenth- and nineteenth-century music, rock music, musical labels and identities, studies of folk music, disciplinary histories
Baroque Music; Music History Introduction; Music, Enlightenment, and Revolution; Rock and Pop Music Since World War II; and Music Focus: Issues and Debates in Rock and Pop.
Matthew Gelbart is interested in how and why we listen to music and take meaning from it. His particular areas of focus have been in the classical and romantic periods, in Scottish folk music, and in British classic rock and punk.
The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner, Cambridge University Press, 2007.
“Voice and Persona in the Kinks’ Music of the late 1960s,” Journal of the Royal Musical Association 128 (2003).
“Nation, Folk, and Music History in the Finale of Brahms’s First Symphony,” Nineteenth Century Studies, 2009.
"A Cohesive Shambles: The Clash's London Calling and the Normalization of Punk," Music and Letters 92/2 (2011).
"The Language of Nature': Music as Historical Crucible for the Methodology of Folkloristics," Ethnomusicology 53/3 (Fall 2009).
"Riemann and Melodic analysis: Studies in Folk-Musical Tonality," co-written with Alexander Rehding. Forthcoming in The Oxford Handbook of Neo-Riemannian Music Theories, ed. Alexander Rehding and Ed Gollin. Oxford: Oxford University Press, 2011.
"Allan Ramsay, the Idea of 'Scottish Music' and the Beginnings of 'National Music' in Europe. Forthcoming in Eighteenth-Century Music 9/1 (2012).