Jack Boss

Jack Boss's picture
Professor of Music Theory
and Composition
541-346-5654
|
Office: 
208 Frohnmayer Music Building
Degrees: 
PhD 1991, Music Theory, Yale University
MMus 1981, Composition, Ohio State University
BMus 1979, Composition, Ohio State University

Jack Boss is professor of music theory and composition at the University of Oregon and the recipient of a Fund for Faculty Excellence Award in 2017-18. He received B.Mus. and M.Mus. degrees in composition from Ohio State University in 1979 and 1981, and the Ph.D. in music theory from Yale University in 1991. At Yale, his teachers included Allen Forte, David Lewin, and Claude Palisca. His doctoral dissertation, advised by Allen Forte, was titled "An Analogue to Developing Variation in a Late Atonal Song of Arnold Schoenberg."

Boss's articles, book chapters and reviews may be found in the Journal of Music Theory, Music Theory Spectrum, Perspectives of New Music, Music Analysis, Music Theory Online, Intégral, Gamut, Konturen, Notes, Musical Currents from the Left Coast, Analyzing the Music of Living Composers (and Others), and Form and Process in Music, 1300-2014. His 437-page monograph, Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea, was published by Cambridge University Press as part of their “Music Since 1900” series in November 2014. In November 2015, Schoenberg’s Twelve-Tone Music received the Wallace Berry Award “for a distinguished book by an author of any age or career stage” from the Society for Music Theory. He is under contract with Cambridge University Press to provide a companion volume, Schoenberg’s Atonal Music (proposed publication date of 2019 or 2020). Boss has also co-edited three collections of analytical essays originating as West Coast Conference of Music Theory and Analysis papers: Musical Currents from the Left Coast (Cambridge Scholars Publishing, 2008), with Bruce Quaglia, Analyzing the Music of Living Composers (and Others) (Cambridge Scholars Publishing, 2013), with Brad Osborn, Tim Pack and Stephen Rodgers, and Form and Process in Music, 1300-2014: An Analytic Sampler (Cambridge Scholars Publishing, 2016), with Heather Holmquest, Russell Knight, Inés Thiebaut, and Brent Yorgason.

Like his dissertation, many of Boss’s publications deal with motivic structure and large-scale coherence in Schoenberg's music. Other articles consider motivic processes in Beethoven's piano sonatas, large-scale coherence in Mahler’s symphonies, and parallels between text and musical structure in the music of Bernard Rands and Queen’s Bohemian Rhapsody. Boss has also given a large number of scholarly presentations throughout the U.S., England, Ireland and Belgium on different aspects of Schoenberg's music and theory.

Before coming to the University of Oregon, Boss taught at Brigham Young University for three years (1992-95), Ball State University for one year (1991-92), and Yale University for one year (1990-91). He served as undergraduate theory coordinator at BYU and also coordinated the freshman theory and aural skills program at Yale. His courses at the University of Oregon include undergraduate form and analysis, 20th-century counterpoint, Schenkerian analysis, post-tonal analysis, motivic analysis, advanced aural skills, music theory pedagogy, the history of music theory, graduate 20th-century music history, and graduate seminars on topics including Schoenberg's vocal music, Schoenberg’s twelve-tone music, and neo-Riemannian analysis.

Boss is involved in professional service at the national and regional levels. He was reviews editor for Music Theory Online, the SMT's electronic journal, from 2001-2006. He was reviews editor, associate editor, and editor-in-chief of the Journal of Music Theory from 1989 to 1991, and served on the editorial board for the Journal of Music Theory Pedagogy from 2005-2010. He frequently serves as a peer reviewer for book publishers as well as journals. He has been president of the West Coast Conference of Music Theory and Analysis since 2003, and has helped determine their programs for numerous meetings. He has also served on program committees for the Rocky Mountain Society for Music Theory.

Selected Publications: 

BOOKS

  • Schoenberg’s Atonal Music: Musical Idea, Basic Image, and Specters of Tonal Function (forthcoming from Cambridge University Press)
  • Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea (Cambridge University Press, 2014).
  • Co-editor (with Heather Holmquest, Russell Knight, Inés Thiebaut and Brent Yorgason), Form and Process in Music, 1300-2014: An Analytic Sampler (Cambridge Scholars Publishing, 2016)
  • Co-editor (with Brad Osborn, Tim Pack and Stephen Rodgers), Analyzing the Music of Living Composers (and Others) (Cambridge Scholars Publishing, 2013).
  • Co-editor (with Bruce Quaglia), Musical Currents from the Left Coast (Cambridge Scholars Publishing, 2008). 
  • ARTICLES/REVIEWS

  • “Schoenberg’s Opus 33b and the Problem of its Contrasting ‘Continuation’ and Second Theme” (forthcoming from Music Analysis)

  • “Little High, Little Low: Hidden Repetition, Long-Range Contour and Classical Form in Queen’s Bohemian Rhapsody,” in Form and Process in Music, 1300-2014: An Analytic Sampler (Cambridge Scholars Publishing, 2016)
  • Away With Motivic Working?’ Not So Fast: Motivic Processes in Schoenberg’s Op. 11, No. 3,” Music Theory Online 21/3 (September 2015).
  • Interval Symmetries as Divine Perfection in Schoenberg’s Moses und Aron,” Konturen 5 (2014): 31-58.
  • “Presentation of ‘Musical Idea’ through Tetrachord Exchanges and Rhythmic/Metric Correspondences in the Intermezzo and Gavotte of Schoenberg’s Suite for Piano, Op. 25,” Intégral 27 (2013): 1-52.
  • “Mahler’s Musical Idea: A Schenkerian-Schoenbergian Analysis of the Adagio from Symphony No. 10,” in Analyzing the Music of Living Composers (and Others), ed. Jack Boss, Brad Osborn, Timothy Pack and Stephen Rodgers (Cambridge Scholars Publishing, 2013), pp. 115-31.
  • "The ‘Musical Idea' and the Basic Image in an Atonal Song and Recitation of Arnold Schoenberg," Gamut 2/1: 223-66.
  • “The ‘Musical Idea’ and Motivic Structure in Schoenberg’s Op. 11, No. 1,” in Musical Currents from the Left Coast, ed. Jack Boss and Bruce Quaglia (Cambridge Scholars Publishing, 2008), pp. 256-81.
  • "The 'Musical Idea' and Global Coherence in Schoenberg's Atonal Music," Intégral 14/15: 209-64.
  • "Schenkerian-Schoenbergian Analysis" and Hidden Repetition in the Opening Movement of Beethoven's Piano Sonata Op. 10, No. 1," Music Theory Online 5/1.
  • "The 'Continuous Line' and Structural and Semantic Text-painting in Bernard Rands's Canti d'Amor," Perspectives of New Music 36/2: 143-85. 

  • "Schoenberg on Ornamentation and Structural Levels," Journal of Music Theory 38/2: 187-216.
  • "Schoenberg's Op. 22 Radio Talk and Developing Variation in Atonal Music," Music Theory Spectrum 14/2: 125-49.
  • Book Reviews of Schoenberg’s Musical Imagination by Michael Cherlin in Music Theory Online, Schenker Studies 2, ed. by Carl Schachter and Hedi Siegel, in Notes, and Analytic Approaches to Twentieth-Century Music by Joel Lester in Journal of Music Theory.