{"id":273,"date":"2017-09-20T18:41:45","date_gmt":"2017-09-20T18:41:45","guid":{"rendered":"https:\/\/www.montclair.edu\/john-j-cali-school-of-music\/?page_id=273"},"modified":"2026-01-22T12:54:26","modified_gmt":"2026-01-22T17:54:26","slug":"music-history","status":"publish","type":"page","link":"https:\/\/www.montclair.edu\/john-j-cali-school-of-music\/about-the-cali-school\/faculty-leadership\/music-history\/","title":{"rendered":"Music History"},"content":{"rendered":"
\n
\"Leah<\/a><\/figure>\n<\/div>

\nLeah Batstone
\n<\/strong>Music History Area Coordinator
\nGeneral Education Area Coordinator
\nProfessor of Music
\nMusic History
\nChapin Hall 244
\nbatstonel@montclair.edu<\/a>
\n
Bio<\/div>
\n
\n

Leah Batstone<\/b>\u00a0is\u00a0a historical musicologist working at the intersections of art music, politics, and philosophy in Central and Eastern Europe. Her first book,\u00a0Mahler’s Nietzsche: Politics and Philosophy in the\u00a0<\/i>Wunderhorn\u00a0Symphonies<\/i>\u00a0was published by Boydell and Brewer in 2023. As a scholar of art music in Ukraine, she is currently\u00a0working on her second monograph concerning musical modernism in Ukraine and a handbook to the yet-unpublished Symphony No. 1 of Ukraine’s first woman composer, Stefania Turkevych.\u00a0Along with Peter Schmelz, she is also co-editing the volume\u00a0Perspectives on Ukrainian Music<\/i>\u00a0for Indiana University Press.\u00a0Her research has been\u00a0published in the\u00a0Journal of the Royal Musical\u00a0<\/i>Association<\/i>,\u00a0Music and Letters<\/i>,\u00a019th-Century Music<\/i>, and\u00a0Musicology Now<\/i>, the peer-reviewed digital platform of the American Musicological Society. Her forthcoming article in the\u00a0Journal of the American Musicological Society\u00a0<\/i>considers Ukrainian modernism against broader questions of imperial narratives of music history.\u00a0She\u00a0<\/span>is currently organizing a special issue of\u00a0Musicologica Austriaca<\/i>\u00a0on Ukraine in music history with Rutger Helmers, whose contributions came out of the international conference \u201cUkraine in Music History: A Reassessment,\u201d \u00a0which she co-organized at the University of Vienna in May 2023. In April 2024, she also co-organized the conference \u201cUkrainian Musical Avant-Gardes:\u00a0From the 1910s to the Present\u201d at Sorbonne University (Paris) with Louisa Chevalier-Martin.<\/p>\n

Currently completing a position as a Visiting Scholar at the Jordan Center at New York University, Dr. Batstone received her Master’s degree from the University of Oxford and her PhD from McGill University in Montreal, during which time she was also a Fulbright scholar at the University of Vienna.\u00a0From 2021 to 2024, she was one of only sixteen recipients of the\u00a0REWIRE postdoctoral fellowship, a Marie Sklodowska Curie Actions project COFUND supported by the European Commission, at the University of Vienna.\u00a0She has helding teaching positions at Baldwin Wallace University’s\u00a0Conservatory of Music, The Ohio State University, and Hunter College, City University of New York.\u00a0In addition to her scholarly work, Dr. Batstoneis the founder and Creative Director of the annual New York-based Ukrainian Contemporary Music Festival. Every spring, the\u00a0festival, which began in 2020, presents Ukraine’s unique contributions to new music through the presentation of a concert series and academic discussions. The festival, which\u00a0<\/span>has been profiled in outlets such as\u00a0The New Yorker<\/i>\u00a0and\u00a0The New York Times,<\/i>\u00a0is responsible for the performance of several world premieres and numerous American premieres of new music by Ukrainian composers and works with some of the city’s top new music performers, including members of Talea, Ekmeles, TAK ensemble, The Rhythm Method, PinkNoise, and Bergamot Quartet.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div>\n

\n
<\/figure>\n<\/div>

\nBeatriz Goubert Burgos
\n<\/strong>Adjunct Professor
\nMusic History
\ngoubertburgb@montclair.edu<\/a>
\n
Bio<\/div>
\n

Beatriz Goubert Burgos<\/strong> biography to come soon.<\/span>
\n<\/p><\/div><\/div><\/p><\/div><\/p><\/div>\n

\n
<\/a><\/figure>\n<\/div>

\nDavid Witten<\/strong>
\nProfessor of Music
\nPiano; Keyboard Studies Coordinator
\nMusic History
\n973-655-4379
\nChapin G6
\nwittend@montclair.edu<\/a>
\nDavid Witten – Website<\/a>
\n
Bio<\/div>
\n

Pianist David Witten<\/strong> has performed extensively in Europe, Russia and South America. As a 1990 Fulbright Scholar, he spent five months in Brazil. Witten has recorded piano music of various Latin American composers. Witten’s involvement in music has not been limited to performance. He is editor of Nineteenth-Century Piano Music: Essays in Performance and Analysis<\/em> (Garland, 1997), which includes his landmark analytical study of the Chopin Ballades. Born in Baltimore, Witten studied at Peabody Conservatory and Rubin Academy of Music in Jerusalem. His undergraduate studies at Johns Hopkins University led to a degree in Psychology. Later graduating with high honors from Boston University, he earned the DMA degree in piano performance. Witten is currently Coordinator of Keyboard Studies at the Cali School of Music at Montclair State University.
\n<\/p><\/div><\/div><\/p><\/div><\/p><\/div>\n

\n
\"Elizabeth<\/a><\/figure>\n<\/div>

\nElizabeth Frickey<\/strong>
\nAdjunct Professor
\nMusic History
\nfrickeye@montclair.edu<\/a>
\n
Bio<\/div>
\n

Elizabeth Frickey<\/strong> is a Ph.D. candidate and MacCracken Fellow studying musicology at New York University. Prior to her studies at NYU, she earned her master\u2019s degree in musicology at Indiana University and her bachelor\u2019s degree in music education from Florida State University. Her dissertation project examines the cultural, ecological, and political impact of community gardens and other NYC\u00a0 greenspaces through the lens of music and sound. Elizabeth has presented her research in numerous national and international settings, including annual meetings of the Society for American Music; the American Musicological Society; the Society for Ethnomusicology; the Association for the Study of Literature and Environment; the Society for Literature, Science, and the Arts; the Music Studies and the Anthropocene Research Network; and the 2023 Music, Research, and Activism Conference held in Helsinki. Her writing has also been published in numerous forums including Jazz & Culture,<\/em> the Journal of Jazz Studies, Women & Music: A Journal of Gender and Culture<\/em>, and Journal SEAMUS<\/em>.
\n<\/p><\/div><\/div><\/p><\/div><\/p><\/div>\n

\n
<\/a><\/figure>\n<\/div>

\nJeffrey Gall<\/strong>
\nProfessor of Music
\nMusic History
\n973-655-7213
\nChapin Hall G39
\ngallj@montclair.edu<\/a>
\n
Bio<\/div>
\n

Jeffrey Gall<\/strong> made his Metropolitan Opera debut in 1988 – the first countertenor ever to sing at the Met. He sang Tolomeo in Handel’s Giulio Cesare<\/em>, and in 1994 returned to the Met for Britten’s Death in Venice<\/em>. He studied voice at the Yale School of Music with Blake Stern, and holds degrees in Slavic languages from Princeton and Yale Universities. He sang with such early music ensembles as the Waverly Consort and Pomerium Musices early in his career and then moved on to solo roles in Baroque and contemporary opera. He has sung principal roles at La Scala, Teatro San Carlo (Naples) and La Fenice in Italy; the Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es and the Salle Garnier in France; the Monnaie in Brussels; the Netherlands Opera; the Cologne and Frankfurt Operas in Germany; the Canadian Opera, as well as the Spoleto, Edinburgh, Innsbruck, Halle, Schwetzingen, and Bordeaux Festivals. In the United States he has sung at the San Francisco, Chicago Lyric, Santa Fe, Los Angeles, Dallas, Philadelphia, and Boston Operas, and has made many concert appearances at Lincoln Center and Carnegie Hall in New York, as well as at the Kennedy Center in Washington. He has recorded for CBS, Harmonia Mundi, Erato, Nonesuch, Titanic and Smithsonian Records, and appears in the title role on the London video of Peter Sellars’ production of Handel’s Giulio Cesare<\/em>. Prof. Gall has conducted clinics and master classes in both standard repertory and early-music techniques at music schools across the United States. In addition, he is a founding member of the Italian vocal ensemble Il Terzo Suono.
\n<\/p><\/div><\/div><\/p><\/div><\/p><\/div>\n

\n
\"Oksana<\/a><\/figure>\n<\/div>

\nOksana Nesterenko<\/strong>
\nAdjunct Professor
\nMusic History
\nnesterenkoo@montclair.edu<\/a>
\n
Bio<\/div>
\n

Oksana Nesterenko<\/strong> is a musicologist specializing in twentieth- and twenty-first-century music and postcolonial studies. She earned a PhD in Music History and Theory at Stony Brook University in 2021. Her current book project, A Forbidden Fruit? Sacred Music in the USSR before its Fall<\/em>, was supported by the National Endowment for the Humanities, the American Council of Learned Societies, the Association for the Advancement of Baltic Studies, and the American Research Institute of the South Caucasus. The forthcoming book redefines the concept of contemporary sacred music and explores art music with religious
\nthemes in Armenia, Estonia, Ukraine, and Russia. Dr. Nesterenko\u2019s writing has been published in Perspectives of New Music, Yale Journal of Music<\/em> & Religion, Musicology Now, the Claquers,<\/em> and other publications. She is a host and a co-founder of Extended Techniques<\/em>, a podcast and blog about contemporary music in New York.
\n<\/p><\/div><\/div><\/p><\/div><\/p><\/div>\n

\n
\"Cara<\/a><\/figure>\n<\/div>

\nCara Turnbull\u00a0<\/strong>
\nAdjunct Professor
\nMusic History
\nturnbullc@montclair.edu<\/a>
\n
Bio<\/div>
\n

Cara Turnbull<\/strong> is a musicologist specializing in music cognition and empirical musicology. She received her Ph.D. in music from Princeton University, where she held graduate fellowships in both the Program in Cognitive Science and the Center for Digital Humanities. She also has an M.A. in Music, Science, and Technology from Stanford University and a Bachelor of Music in Music Performance (double bass) and Sound Recording Technology from Ithaca College. Most recently, Cara’s research has focused on music-evoked imaginings, including daydreams and autobiographical memories triggered by music. She has presented research in this area at national and international conferences, including at the Society for Music Perception and Cognition, the International Conference on Music Perception and Cognition, and the Society for Music Theory.
\n<\/p><\/div><\/div><\/p><\/div><\/p><\/div>\n

\n
<\/figure>\n<\/div>

\nIvan Sturm<\/strong>
\nAdjunct Professor
\nMusic History
\nsturmi@montclair.edu<\/a>
\n
Bio<\/div>
\n

Ivan Sturm <\/strong>bio to come soon.
\n<\/p><\/div><\/div><\/p><\/div><\/p><\/div>\n

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