• BA, Yale University
  • MPhil, Yale University
  • PhD, Yale University

Professor Latham was the recipient of Temple University's 2008 Lindback Award and the 2007 Teaching Academy Award for excellence in teaching. His research focuses on the interdisciplinary analysis of texted or danced musical works and his publications (in Music Theory Online, Indiana Theory Review, Theory and Practice, Gamut, Dance Chronicle, and Ex Tempore) include articles and chapters (in two essay collections published by Garland Press) on the music of Bach, Debussy, Gershwin, Korngold, and Schoenberg, an article on the analysis of multimedia works, and reviews of the work of Ethan Haimo, Stephanie Jordan, Philip Rupprecht and Arnold Whittall. His recent regional, national and international conference papers have also addressed the intersection of musical and dramatic or choreographic structure in works by Bach, Mozart, and Weill. His book on twentieth-century American opera, Tonality as Drama, was published in 2008 by the University of North Texas Press. 

Works and Publications

Latham, Edward D. “Le Jeu Choreomusical: Analytical and Interpretive Games in Stravinsky Dances.”Dance Chronicle 33/3 (2010), 453–459. [Blind peer-reviewed. Top-tier journal in dance. 7pp.]

 Latham, Edward D. “Drei Nebensonnen: Forte’s Linear-Motivic Analysis, Korngold’s Di tote Stadt, and Schubert’s Winterreise.” Gamut 2/1 (2009), 299–346.  [Blind peer-reviewed. Second-tier journal. 47pp.]

 Tonality as Drama: Closure and Interruption in Twentieth-Century American Opera. Denton: University of North Texas Press, September 2008. [Blind peer-
reviewed. Academic press. 224pp.]

Latham, Edward D. and Roberta Sloan. “Musical Brokenness, Intentionality, and the Singer-Actor: A View From the Stage.” In Richard Parncutt, Emilios Cambouropoulos, Costas Tsougras, and Makis Solomos, eds., Proceedings of the Conference on Interdisciplinary Musicology. Thessaloniki: Aristotle University, 2008. [Refereed. Top-tier conference. 6pp.]

Latham, Edward D. “Analysis and Performance Studies: A Summary of Current Research.” Jahrbuch vom Zeitschrift der Gesellschaft für Musiktheorie 2/2–3 (2005), 157–62. [Published in Fall 2007. Refereed. Top-tier contributors. 6pp.]

“Reuniting the Muses: Cross-Disciplinary Analysis of Debussy’s Pelléas and Prelude à “L’après-midi d’un faune.” Ex Tempore 12/2 (Spring/Summer 2005), 25–46.[Published in Fall 2006. Blind peer-reviewed. Second-tier journal. 22pp.]

 Meglin, Joellen A., Edward D. Latham, Hwan Jung Jae, Ok Hee Jeong, Sue In Kim, and Seónagh Odhiambo. “Music of the Body: Modern Minuets and Passepieds Far From Passé.” In Sound Moves: An International Conference on Music and Dance Proceedings (Spring 2006), 125–41.[Refereed. Top-tier conference (dance). 17pp.] 

Latham, Edward D. “It Ain’t Necessarily So: Sporting Life’s Triumph in Gershwin’s Porgy and Bess.” Indiana Theory Review 25 (Fall 2005), 29–45. [Refereed. Special double issue. Second-tier journal. 17pp.]

“Analysis and Performance Studies: A Summary of Current Research.” Zeitschrift der Gesellschaft für Musiktheorie 2/2 (Fall 2005).[Refereed. Top-tier contributors. 6pp.]

“Binary Oppositions in Arnold Whittall’s Exploring Twentieth-Century Music: Tradition and Innovation(Cambridge University Press, 2003) and Their Implications for Analysis.” Music Theory Online 10.3 (Fall 2004). [Article-review. Blind peer-reviewed. Top-tier journal. 8pp.]

Latham, Edward D. and Joellen Meglin. “Motivic Design and Physical Gesture in L’Après-midi d’un Faune.” In Richard Parncutt, Annekatrin Kessler, and Fränk Zimmer, eds., Proceedings of the Conference on Interdisciplinary Musicology. Graz: University of Graz, 2004, 110–15. [Refereed. Top-tier conference. 6pp.]

Latham, Edward D. “Britten’s Strategic Use of Tonality: A Review-Essay on Philip Rupprecht’s Britten’s Musical Language (2001).” Theory and Practice 28 (Fall 2003), 137–46.[Article-review. Blind peer-reviewed. First-tier JSTOR journal. 10pp.]

“Physical Motif and Aural Salience: Sounds and Symbols in Die glückliche Hand, op. 18.” In Schoenberg and Words: The Modernist Years, ed. Charlotte M. Cross and Russell A. Berman. New York: Garland Publishing, 2000, 179–202. [Blind peer-reviewed. Academic press. 24pp.] 

“The Prophet and the Pitchman: Dramatic Structure and its Musical Elucidation in Moses und Aron, Act I, Scene 2.” In Political and Religious Ideas in the Works of Arnold Schoenberg, ed. Charlotte M. Cross and Russell A. Berman. New York: Garland Publishing, 2000, 131–58. [Blind peer-reviewed. Academic press. 28pp.]

“Physical Motif and Concentric Amplification in Godard/Lully’s Armide.” Indiana Theory Review 19 (Spring/Fall 1998), 55–86. [Refereed. Second-tier journal. 32pp.]

“Review of Ethan Haimo’s ‘Atonality, Analysis and the Intentional Fallacy.’” Music Theory Online 3.2 (March 1997). [Blind peer-reviewed. Top-tier journal. 7pp.]

 Works in progress: 

 Latham, Edward D. “The Permanent Interruption.” Journal of Music Theory (proposed). [Blind peer-reviewed. JSTOR journal. Status: draft in progress.] Dancing Tonality in the Twentieth Century. Ashgate Press (proposed). Status: research completed; three chapters drafted.

“Linear-Dramatic Analysis and the Interpretation of Peter Grimes (1945).  Music Theory Spectrum(proposed). [Blind peer-reviewed. JSTOR journal. Status: in revision. Length: @30pp.]

“Interpreting the Interrupted 8-line in American Song.” Tidschrift voor Musiktheorie [Dutch Journal of Music Theory] (proposed). [Blind peer-reviewed. JSTOR journal. Status: in revision. Length: @15pp.]

Latham, Edward D. and Joellen Meglin. “Harmony in Motion: Doris Humphrey’s Partita No. 5 in G major (1942) as a Utopian Vision of American Dance.” Dance Research Journal. [Blind peer-reviewed. Top-tier journal (dance). Status: in revision. Length: 29pp.]

Latham, Edward D. “The Extended Harmonic Tone as Support, Substitution, and Structural Pitch in American Opera.” Journal of Schenkerian Studies (proposed). [Peer- reviewed. Top-tier journal. Status : in revision. Length: @30pp.]