Andrew Schartmann holds a BMus and MA in music theory from McGill University, where he also taught for several years. In 2011, he was awarded the Schulich School of Music Teaching Award for his course on musical form in the music of Haydn, Mozart, and Beethoven. Most recently, his pedagogical interests have led him to explore the ways in which digital technology can improve the teaching of music. His companion site for the forthcoming textbook Analyzing Classical Form (Oxford University Press 2013) provides an innovative tool to enhance the learning experience.
Schartmann's most current project, Playing Beethoven's 32 Piano Sonatas: A Work in Progress, documents his thoughts (some analytical, some practical) on these seminal works. More on this and other projects can be found at www.andrewschartmann.com.
Among Schartmann's other work is a forthcoming publication in DSCH Journal on Shostakovich's conception of sonata form. Similar explorations of musical form in post-classical repertoires, along with theoretical accounts of orchestration in the music of high classical composers, constitute some of Schartmann's principal research interests.
At present, Schartmann is working toward his PhD in music theory at Yale University.
Music & Vision articles by Andrew Schartmann
The Anatomy of Music. Part V: Some Notes on Composition
The classical inheritance of Schubert's Symphonies. '... a fascinating perspective ...'
The Anatomy of Music. Part IV: Hybrid Themes
Sally Pinkas plays Fauré. '... fine interpretations of this underplayed repertoire.'
The Anatomy of Music. Part III: Analysis in Practice
The Anatomy of Music. Part II: The Period
The Anatomy of Music. Part I: The Sentence
The 'Physics' of Music. On Musical Momentum and its Compositional Implications
Two tales of the Rising Sun. On Depicting Nature in Music
On the Elusive Nature of the Nationalist Spirit in Music
Some thoughts on the performing artist's role in the 21st century
A Change of Face. 'Character Development' in Mozart's Symphony in G minor, K 183
Listening with New Ears. A Listening Strategy for Webern's String Trio
An Exercise in Self-Constraint. Non-conventional Harmony in Poulenc's Sonata for Flute and Piano
From Pedantry to Masterwork. A Note on Chopin's Étude in C major, Op 10, No 1
Servant to no one. In the first of an occasional series, Andrew Schartmann examines Beethoven's Op 2 No 2 and the rise of the romantic artist