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Sarah Marlowe

Assistant Professor and Associate Director of Music Theory

Music and Performing Arts Professions

Sarah Marlowe is Assistant Professor and Interim Director of Music Theory and History. Her research interests include counterpoint, fugue, Schenkerian analysis, Russian music theory, the music of J. S. Bach and Dmitri Shostakovich, and music theory and aural skills pedagogy.

She received the Patricia Carpenter Emerging Scholar Award (2013) for her work developing Schenkerian voice-leading paradigms in fugue expositions (Theory and Practice, 2014). Two additional studies on Schenkerian analysis of Bach fugues are forthcoming in the Journal of Music Theory Pedagogy (2019) and Music Theory Online (2020). Recent publications on pedagogy appear in the Journal of Music Theory Pedagogy (2016), The Norton Guide to Teaching Music Theory (2018), and BACH: Journal of the Riemenschneider Bach Institute (2018).

Dr. Marlowe is a recipient of the NYU Steinhardt Teaching Excellence Award (2018), the University of Rochester's Edward Peck Curtis Award for Excellence and Teaching by a Graduate Student (2010), and the Eastman School of Music's Teaching Assistant Prize (2008). She served on the board of the Music Theory Society of New York State for two terms (2013–2017) and was co-editor of Theory and Practice (2016–2019).

Selected Publications

  • Marlowe, S. 2018. "A Taxonomy for Teaching Written Theory: J. S. Bach and Lessons in Invertible Counterpoint." BACH: Journal of the Riemenschneider Bach Institute 49/2: 365–387.
  • Marlowe, S. 2018. "Integrating Schenkerian Concepts with the Undergraduate Theory Curriculum." In The Norton Guide to Teaching Music Theory, edited by Rachel Lumsden and Jeffrey Swinkin, 56–78. New York: W. W. Norton & Company.
  • Marlowe, S. 2016. "On Teaching Counterpoint: Issues of Pedagogy, Textbook Selection, and a Detailed Review of Two Textbooks by Douglass M. Green and Evan Jones." Journal of Music Theory Pedagogy 30: 221–244.
  • Marlowe, S. 2014. “Tonal Answers and Their Role Within Fugal Expositions: Two Revised Paradigms.” Theory and Practice 39: 47–73.