Christopher D Herbert
Dr. Christopher Dylan Herbert (baritone) is an Associate Professor at William Paterson University where he leads the Voice Program and teaches Music History. He teaches one-on-one voice lessons, advises students, manages and coordinates the Vocal Program, directs Opera Workshop, and teaches the Music History Sequence.
As a professional vocalist, Dr. Herbert performs frequently throughout North America, Europe, Asia, and is a two-time GRAMMY® nominee. He has soloed with The San Francisco Symphony and Chamber Music Society of Lincoln Center, performed Ginastera centennial celebrations with International Contemporary Ensemble and the Choir of Trinity Wall Street, and consistently presents Winterize – an outdoor adaptation of Winterreise with transistor radios.
He holds a B.A. in Music from Yale University, an M.A. in Middle Eastern Studies from Harvard University, and D.M.A. in Voice from The Juilliard School. His current research focus is on the music of colonial Pennsylvania. He was the baritone in the critically acclaimed ensemble New York Polyphony for 10 years.
www.christopherdylanherbert.com
As a professional vocalist, Dr. Herbert performs frequently throughout North America, Europe, Asia, and is a two-time GRAMMY® nominee. He has soloed with The San Francisco Symphony and Chamber Music Society of Lincoln Center, performed Ginastera centennial celebrations with International Contemporary Ensemble and the Choir of Trinity Wall Street, and consistently presents Winterize – an outdoor adaptation of Winterreise with transistor radios.
He holds a B.A. in Music from Yale University, an M.A. in Middle Eastern Studies from Harvard University, and D.M.A. in Voice from The Juilliard School. His current research focus is on the music of colonial Pennsylvania. He was the baritone in the critically acclaimed ensemble New York Polyphony for 10 years.
www.christopherdylanherbert.com
less
Related Authors
InterestsView All (11)
Uploads
Papers by Christopher D Herbert
This article outlines the methodology that the author developed as part of a dissertation in order to capture, organize, understand, and synthesize data of Ephrata and Snow Hill music manuscripts. It discusses the creation of a descriptive catalog of all extant available music manuscripts. This catalog is the first of its kind: it organizes music manuscripts according to their content and proposes a chronology for them. The article also discusses inferences and hypotheses relating to the music manuscripts and their creation. Of particular note is the research-based discovery that the music manuscripts provide tangible evidence of the first possible female composers in America. Finally, the article outlines potential avenues of research in future Ephrata music studies.
This dissertation accomplishes four research tasks associated with Ephrata music. First, it provides a thorough descriptive catalog of all extant available Ephrata music manuscripts. This catalog is the first of its kind in this field, organizing music manuscripts according to their content. Next, the dissertation translates and analyzes the Ephrata music treatise, situating it within the history of music theory. It also examines Ephrata’s unorthodox use of a pedagogical tool for composition known as the règle de l’octave. Third, the study focuses on Ephrata music, discussing its content, style, and practice, proposing that hymns and motets were written in a workshop format, based on a set procedure of group composition. Finally, the dissertation explores the topic of authorship, and demonstrates that Ephrata music manuscripts provide evidence of America’s first female composers.
This article outlines the methodology that the author developed as part of a dissertation in order to capture, organize, understand, and synthesize data of Ephrata and Snow Hill music manuscripts. It discusses the creation of a descriptive catalog of all extant available music manuscripts. This catalog is the first of its kind: it organizes music manuscripts according to their content and proposes a chronology for them. The article also discusses inferences and hypotheses relating to the music manuscripts and their creation. Of particular note is the research-based discovery that the music manuscripts provide tangible evidence of the first possible female composers in America. Finally, the article outlines potential avenues of research in future Ephrata music studies.
This dissertation accomplishes four research tasks associated with Ephrata music. First, it provides a thorough descriptive catalog of all extant available Ephrata music manuscripts. This catalog is the first of its kind in this field, organizing music manuscripts according to their content. Next, the dissertation translates and analyzes the Ephrata music treatise, situating it within the history of music theory. It also examines Ephrata’s unorthodox use of a pedagogical tool for composition known as the règle de l’octave. Third, the study focuses on Ephrata music, discussing its content, style, and practice, proposing that hymns and motets were written in a workshop format, based on a set procedure of group composition. Finally, the dissertation explores the topic of authorship, and demonstrates that Ephrata music manuscripts provide evidence of America’s first female composers.